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| Time Lapse |
| Evan Parker |
| első megjelenés éve: 2006 |
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| (2006)
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CD |
| 3.821 Ft
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| 1. | Ak-Kok-Deer
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| 2. | Monkey's Fist
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| 3. | Threnody for Steve Lacy
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| 4. | Gees Bend
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| 5. | Those Doggone Dogon
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| 6. | Time Lapse
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| 7. | Pulse and the Circulation of the Blood
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| 8. | Organ Point
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| 9. | The Burden of Time
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| 10. | Alone on a Long Hard Road
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| 11. | Chorus After Alaric 1 or 2 for Gavin Bryars
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Jazz
Evan Parker - Liner Notes, Organ, Producer, Saxophone
The music of avant garde saxophonist Evan Parker is not generally known as easy listening, and though his recordings for ECM may have tended toward the atmospheric, 2006's TIME LAPSE, released on Tzadik, finds Parker returning to challenging form. There are 11 original compositions here, and Parker's sax is the only instrument on most (though he makes ample use of multi-tracking ). Parker can be ruminative at times, and at others full of gutsy, exploratory fire, giving fans familiar with this contemporary avant icon's wild, mercurial sound much to appreciate.
* Caroline Forbes - Photography
* Heung-Heung "Chippy" Chin - Design
* John Zorn - Executive Producer
* Kazunori Sugiyama - Associate Producer
* Roger Ackling - Sculpture
* Scott Hull - Mastering
* Steve Lowe - Editing, Recording, Sequencing
Evan Parker sounds like no one else. He has developed a singular approach to playing and improvisation on the soprano saxophone that still has people scratching their heads wondering, "How does he do that?" His solo style often sounds like there's more than one player, and on Time Lapse he takes that style a step further by overdubbing himself on about half the pieces. This isn't the first time he has taken this approach (Process and Reality dates to the early '90s) and these pieces were recorded between 1999 and 2001. Parker composes through improvisation, and the overdubbed pieces are fascinating in the way he assembles the pieces, adding a part here or elaborating on a figure there. Of course, his solo playing is equally fascinating, and although he says in the liner notes that the overdubbed pieces alternate with the solo pieces, there are times when the listener would be hard-pressed to differentiate between the two. Time Lapse doesn't really offer anything new to the Parker book, but it's an excellent recording that provides stellar examples of his solo playing as well as showcasing his relatively rare work overdubbing himself. It's a captivating listen by one of improvised music's giants.
---Sean Westergaard, All Music Guide |
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