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| Double Sunrise Over Neptune |
| William Parker |
| első megjelenés éve: 2008 |
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| (2008)
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CD |
| 4.941 Ft
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| 1. | Morning Mantra
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| 2. | Lights of Lake George
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| 3. | O'Neal's Bridge
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| 4. | Neptune's Mirror
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Jazz
Gerald Cleaver - Drums
Hamid Drake - Drums
Jason Kao Hwang - Violin
Jessica Pavone - Viola
Joe Morris - Banjo, Guitar
Lewis Barnes - Trumpet
Sabir Mateen - Clarinet, Sax (Tenor)
Sangeeta Bandyopadhyay - Vocals
Shayna Dulberger - Bass
* Stefan Heger - Engineer, Mastering, Mixing
* Steven Joerg - Assistant Producer
William Parker continues to churn out CD's on a pace that might rival Steve Lacy, Satoko Fujii or David Murray's epic proportions. While each project reaches ever higher levels, this recording from the twelfth annual Vision Festival in New York City might be close to his zenith. Three long compositions allow his some 16 piece band of horns, woodwinds and strings to not only cut loose with potent solos as you would expect, but exists as a single crystalline entity with multiple and equal facets of ethnic, improvisational and modern compositional forms. The music is as stunning as any Parker has devised in his career, but there are some caveats. For one, Parker plays no acoustic upright bass, leaving that to Shayne Dulberger. The oud of Brahim Frigbane and electric guitar of Joe Morris adds a lean and sparse element. But the music is generally broad ranging, expansive and layered, thanks to the immense talents of accomplished modernists like trumpeter Lewis Barnes, alto saxophonist Rob Brown, tenor saxophonist and clarinetist Sabir Mateen, violinist Jason Kao Hwang, Jessica Pavone on the viola, and twin drummers Gerald Cleaver and Hamid Drake. Of the three long pieces, "Lights Of Lake George" is a true magnum opus. A 7/8 modal bass line joins the dancing baritone of David Sewelson and Frigbane's oud, then the wordless East Indian vocals of Sangeeta Bandyopadhyay make way for string solos from the brilliant Hwang and Pavone, the burnished trumpet of Barnes, the shenai or musette of Cole and Parker, and clarinet of Mateen. The piece is not so much about improvisation as the consistent symmetry and balance from the entire band throughout weaving intricate colors. The double reeds open on the 4/4 "Neptune's Mirror," as the distinct and jangly guitar of Morris takes over, Sewelson leads horn punctuations with a cello aside by Shiau-She Yu, then cello and oud. The piece has and eerie yet earthy feel as all strings chime in, and Bandyopadhyay recites a poem of enlightenment, while reminding us of either loved or allegedly hated humans who have passed that ‘we can not bring them back to life.' The opener "Morning Mantra" is a modal ostinato bass and drums riff with a quick guitar from Morris under long tones from the ensemble dominated by the high pitched double reeds in a universal tonality, with Bandyopadhyay again poetically waxing on the wind, light and life over a multi-layered framework of dense tones, themes and world wide excursions. One who listens closely, and more than once, will reap great rewards from this, another excellent document in the growing and substantive discography of the consistently forward thinking Parker.
---Michael G. Nastos, All Music Guide
William Parker
Active Decades: '70s, '80s, '90s and '00s
Genre: Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Free Improvisation, Free Jazz, Modern Creative, Modern Free, Progressive Big Band
In the early '90s, the direct musical heirs of Taylor, Ayler, and Coleman were mostly ignored by New York jazz critics, who found more to like about the hard bop revivalists who dominated major-label recording. Hence, the public visibility of musicians devoted to an "energy music" aesthetic was minimal. Despite its low profile, however, that strain of free jazz was kept alive by a fairly large group of Lower East Side musicians, many of whom gathered around the music's pre-eminent bassist, William Parker. Parker was the scene's major catalyst for musical activity. With his wife, dancer Patricia Nicholson, and other downtown free players such as drummer Jackson Krall and pianist Mark Hennen, Parker founded the Improvisers Collective, an organization that presented free jazz in combination with other types of spontaneous performance. Beginning in 1994 (and continuing in one form or another as of this writing), the collective produced a well-received series of concerts and festivals that featured some of the city's finest free improvisers -- saxophonists Marco Eneidi, Sabir Mateen, and Daniel Carter, trumpeter Lewis Barnes, and pianist Cooper-Moore, to name a few. Parker was the fulcrum of the collective; he played in nearly all of its various ad hoc groups, and led the Collective's enormous big band, which later recorded under Parker's name as the Little Huey Creative Music Ensemble.
As a bassist, Parker is possessed of a formidable technique, albeit an unconventional one. Unlike a great many jazz bassists, Parker was not formally trained as a classical player, though he did study with three of the finest jazz players of the '60s, Jimmy Garrison, Richard Davis, and Wilbur Ware. Consequently, Parker's style is based on a tradition of self-expression and experimentation. His arco work is possibly the most fascinating aspect of his idiom; Parker excels at the creation of dense, hyperactive streaks of color, gleaned from the inherent harmonic properties of the instrument. At bottom, he is a textural player. Lyricism plays a secondary role in his work, with or without the bow. Parker's pizzicato style is overwhelmingly percussive, in intent and effect. Though he does, to an extent, serve as a harmonic anchor in his groups, his more important role is as a source of energy. Parker drives a band like few other bassists; in combination with a powerful drummer, a Parker-led rhythm section is an inexorable force.
Parker grew up in New York City. Very early in his career he formed an association with Cecil Taylor; Parker played Carnegie Hall with the pianist in the early '70s. Parker released his first album as a leader in 1979. Through the Acceptance of the Mystery Peace (on Parker's own Centering Records) featured saxophonists Charles Brackeen and Jemeel Moondoc and violinist Billy Bang. Parker became Taylor's regular bassist in the '80s. He played on several of the pianist's European records, and on Taylor's most recent domestic major-label release, 1989's In Florescence, on A&M. Parker left Taylor in the early '90s and began working more often as a leader. He recorded a big-band record for his own label, then began releasing a series of CDs for other companies, significantly Black Saint. Besides his activities as a leader and community organizer, Parker would continue to work as a sideman through the mid-'90s; he remained the bassist of choice for downtown free players like David S. Ware, Matthew Shipp, and Rob Brown.
2000 was particularily busy for Parker as he recorded three of his own dates (Mayor of Punkville, Painter's Spring, and O'Neal's Porch) and appeared on numerous other recordings as sideman.
---Chris Kelsey, All Music Guide |
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