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| Six of One |
| Evan Parker |
| első megjelenés éve: 1980 |
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| (2002)
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CD |
| 6.177 Ft
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| 1. | One of Six
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| 2. | Two of Six
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| 3. | Three of Six
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| 4. | Four of Six
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| 5. | Five of Six
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| 6. | Six of One
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| 7. | At Sixes and Sevens [*]
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Jazz / Avant-Garde, Free Jazz, Free Improvisation
Evan Parker - Sax (Soprano), Liner Notes
Adam Skeaping Engineer
Graham Sharp Digital Transfers
Martin Davidson Production Coordination
Beware the solo improv album. Ever since Keith Jarrett singlehandedly made it unhip for skilled musicians to improvise in an accessible, tuneful way, improvised music has been largely the province of self-indulgent twerps who think that the ability to alienate audiences with hideous noise is an artistic gift. (Those who like hideous noise aren't complaining, mind you.) But saxophone virtuoso Evan Parker has always been just a bit different. Yes, he's eminently capable of producing ear-splitting skronk with the best and worst of them, but his solo improvisations are just as frequently things of kaleidoscopic delicacy and genuinely breathtaking inventiveness. This recording, which was made in a London church in 1980 (and had been out of print on LP for 20 years when it was reissued on CD in 2002) finds Parker exploring the sonic limits of his soprano saxophone in ways that evoke both the more adventurous jazz-based work of Anthony Braxton and future recordings by downtown legend John Zorn. His mastery of circular breathing techniques means that these pieces -- several of which are over ten minutes long -- proceed without interruption from beginning to end. Most are completely abstract and sound a bit like sped-up tape recordings of sea gulls being molested. But on "Three of Six" he begins with an angular but surprisingly lyrical melody, then gradually tears it apart and breaks it down into a series of fierce, angry squawls; on "Five of Six" he takes a similar approach, starting with a gentle melody played with a warm, open tone and then altering the tone of his saxophone drastically and using overtones and multiphonics to expand the melodic line into something entirely different. Every track on this album is worth hearing, and some of them are quite startlingly lovely. ~ Rick Anderson, All Music Guide
Evan Parker
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 05, 1944 in Bristol, England
Genre: Jazz
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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