The first thing to make clear here is that this recording is not for a general jazz audience. Those readers who get more than their fair share of white noise when the TV can't get a signal are not going to find a great deal to please their ears within the three quarters of an hour ...

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Article: Album Review

Evan Parker/Phillip Wachsmann/Hugh Davies/Eddie Provost: 888

by Rex Butters
September 7, 2004

These four esteemed improvisers participated with others of their kind at the New Music Days series of concerts as part of the Southend International Jazz Festival in 2003. To engender endless numerological speculation, they chose to perform at 8pm on 8/8, and from those performances come a solo piece each, plus a lengthy ensemble expedition into ...

182

Article: Album Review

Evan Parker's Electro-Accoustic Ensemble: Memory/Vision

Read "Memory/Vision" reviewed by Dan McClenaghan

by Dan McClenaghan
June 8, 2004

In 1968 Miles Davis' use of the Fender Rhodes electric piano on Filles de Kilimanjaro caused quite s stir. This same year saw a seminal classical/electronic music release entitled Switched on Bach by Walter (now Wendy) Carlos, a set of Johann Sebastian Bach compositions played on the then-new music synthesizer. 1968 was also the year the ...

564

Article: Interview

A Fireside Chat with Evan Parker

by AAJ Staff
February 21, 2004

In 1968, poet and noted authority on black music Amiri Baraka wrote, “Most jazz critics have been white Americans, but most important jazz musicians have not been." Politics of race aside, in 1968, Baraka's words were not opinion, but fact. John Coltrane, Sonny Rollins, Charlie Parker, Ornette Coleman, Dizzy Gillespie, Miles Davis, Wayne Shorter, Cecil Taylor, ...