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| 4.250 Ft
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| 1. | The Crooner [For Johnny Hartman]
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| 2. | Serpent in Sky
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| 3. | Travel in the Homeland
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| 4. | Spouting Bowl
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| 5. | Collect Calls [Bugged]
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| 6. | AKA Lotan
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| 7. | Reanascreena
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| 8. | At Home in the Universe [For Stuart Kauffman]
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| 9. | Writing on Ice
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| 10. | Phloy in the Frame
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| 11. | Drawninward
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Jazz
Recorded: December 1998
Evan Parker tenor and soprano saxophones, khene
Philipp Wachsmann violin, viola, live electronics, sound processing
Barry Guy double-bass
Paul Lytton percussion, live electronics
Lawrence Casserley live electronics, sound processing
Walter Prati live electronics, sound processing
Marco Vecchi live electronics, sound processing
"Drawn Inward" is the follow-up to the widely-acclaimed "Toward The Margins", a recording that attracted a great deal of critical attention for its sensitive cross-referencing of free improvisation, live electronics and real-time sound processing. "Absorbing, innovative and wholly original music," The Times of London declared. "Drawn Inward" adds computer musician/composer Lawrence Casserley to the line-up. At any given moment, up to five musicians in the band are playing live electronics, increasing the fascinating maze-like complexity of the sound that swirls around Parker's extraordinary saxophone.
* Birgit Binner - Cover Design
* Jan Jedlicka - Cover Photo
* Simon Emmerson - Liner Notes
* Steve Lake - Producer
* Steve Lowe - Engineer
Evan Parker has performed in so many contexts, but he seems to have hit a particular stride with his Electro-Acoustic Ensemble, a strange combination of saxophones, strings, and electronics. What makes this so exceedingly attractive is the continuous wonder that permeates throughout. Parker is no means the standout performer; his soprano and tenor sometimes meld, at others lead, but it is his remarkable companions, Philipp Wachsmann (on violin, viola, and electronics), Barry Guy (on acoustic bass), Paul Lytton (on percussion and electronics), plus three very different electronic sound manipulators, Lawrence Casserly, Walter Prati, and Marco Vecchi, who combine to produce some electrifying and starkly delightful music. Parker fans that have not heard this group before may be surprised at the results. Although the saxophonist embraces his now well-known advanced techniques, they are clearly subordinate to the project. At times there is a busy intensity to it all, at others a serene quality. Highly complex strokes for an increasingly intricate society, perhaps, where moods change and so do their contexts. Don't file under easy listening.
---Steven Loewy, All Music Guide
Evan Parker
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 05, 1944 in Bristol, England
Genre: Jazz
Styles: Avant-Garde, Free Jazz, Avant-Garde Jazz, Free Improvisation, Creative Orchestra, Structured Improvisation
Among Europe's most innovative and intriguing saxophonists, Evan Parker's solos and playing style are distinguished by his creative use of circular breathing and false fingering. Parker can generate furious bursts, screeches, bleats, honks, and spiraling lines and phrases and his solo sax work isn't for the squeamish. He's one of the few players not only willing but anxious to demonstrate his affinity for late-period John Coltrane. Parker worked with a Coltrane-influenced quartet in Birmingham in the early '60s. Upon resettling in London in 1965, Parker began playing with Spontaneous Music Ensemble. He joined them in 1967 and remained until 1969. Parker met guitarist Derek Bailey while in the group, and the duo formed the Music Improvisation Company in 1968. Parker played with them until 1971, and also began working with the Tony Oxley Sextet in the late '60s. Parker started playing extensively with other European free music groups in the '70s, notably the Globe Unity Orchestra, as well as its founder Alexander von Schlippenbach's trio and quartet. Parker, Bailey, and Oxley co-formed Incus Records in 1970 and continued operating it through the '80s. Parker also played with Chris McGregor's Brotherhood of Breath, other groups with Bailey, and did duet sessions with John Stevens and Paul Lytton, as well as giving several solo concerts. Parker's albums as a leader and his collaborations are all for various foreign labels; they can be obtained through diligent effort and mail order catalogs. Among his many releases are Process and Reality (1991), Breaths and Heartbeats (1995), Obliquities (1995), Bush Fire (1997), Here Now (1998), Drawn Inward (1999), Monkey Puzzle (2000), Two Seasons (2000), Alder Brook (2003) and After Appleby (2004). Eleventh Hour, officially credited to the Evan Parker Electo-Acoustic Ensemble, appeared from ECM in 2005.
---Ron Wynn, All Music Guide |
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