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2 x CD |
| 5.961 Ft
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| 1. CD tartalma: |
| 1. | Synergetics No.1
Mariani/Parker/Lipere/Yoshizawa/Prati/Vecchi
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| 2. | Synergetics No.2
Kim
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| 3. | Synergetics No.3
Kim/Parker
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| 4. | Synergetics No.4
Kim/Yoshizawa
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| 5. | Synergetics No.5
Parker/ Kim/Yoshizawa/Lipere
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| 6. | Synergetics No.6
Parker/Lewis
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| 7. | Synergetics No.7
Lipere
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| 8. | Synergetics No.8
Lewis/Lipere
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| 9. | Synergetics No.9
Lipere/Namchylak/Prati/Vecchi
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| 2. CD tartalma: |
| 1. | Synergetics No.10
Lipere/Lewis
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| 2. | Synergetics No.11
Yoshizawa
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| 3. | Synergetics No.12
Yoshizawa/Lewis
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| 4. | Synergetics No.13
Namchylak
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| 5. | Synergetics No.14
Namchylak/Mariani
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| 6. | Synergetics No.15
Namchylak/Lipere
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| 7. | Synergetics No.16
Lewis
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| 8. | Synergetics No.17
Parker/Lewis
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| 9. | Synergetics No.18
Lewis/Yoshizawa
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| 10. | Synergetics No.19
all musicians
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Jazz / Avant-Garde Jazz, Free Improvisation
Recorded live at Jazzatelier, Ulrichsberg on 18/19 September 1993
Evan Parker, tenor and soprano saxophones
Jin Hi Kim, komungo; George Lewis, trombone, computer; Thebe Lipere, imbumbu, percussion; Carlo Mariani, launeddas; Sainkho Namchylak, voice; Walter Prati, electronics; Marco 'Bill' Vecchi, electronics; Motoharu Yoshizawa, bass, voice
Francesco Martinelli - Liner Notes
Leo Feigin - Producer
Wow! is the only word that can be used to adequately describe the listener's first reaction to this music, all recorded at the third Synergetics festival in 1993 under the direction of British free music and saxophone god Evan Parker. Parker used familiar partners such as American trombone legend George Lewis, Korean vocal enigma Sainkho Namchylak, Marco "Bill" Vecchi, and Walter Prati on various electronics. But in addition he recruited the truly astonishing bass and vocal talents of Motoharu Yoshizawa. Carlos Mariani plays the luaaneddas, an instrument that sounds at first like the bagpipes is here enhanced by electronic looping, but is played by the use of circular breathing (in and out breath occur simultaneously). Add to this the percussion and African didgeridoo (called here an imbumbu) playing of Thebe Lipere and the komungo (a type of Vietnamese harp) played by Jin Hi Kim, and you have an idea of how exotic this group is. Then it must be stated that everything on these two CDs was performed live and unedited for CD. The basic strategy of all these musicians -- who did not rehearse -- was to have one player begin a segment with a solo (each was given two or three segments in a row to preside over), then to interact with one other player of her or his choosing in a duo enhanced by electronics, and finally to interact with all members of the group in various combinations except for trio and all at once. This may sound confusing, but it doesn't when listened to. Each combination, from the beginning, is something from out of time and space, a freely improvised music with trans-cultural implications; a music of surprise and delight to the musicians and obviously to those attending the festival. Here are sounds and combinations and fragments of sounds, heretofore un-uttered, perhaps not even conceptualized before the moment they occurred. Saxophones and voices and didgeridoos caressing the deep bass sub-sonics of Tuvan throat singing and graced by the hypnotic whirl of launeddas. Individual musicians who are the focus of each theme as it is introduced all but disappear into the textured world of sound and vibration. Perhaps more than anything, this recording is the best example of how universal the languages of music and free improvisation are. Is this music "outside"? Given that it is an Evan Parker project, the answer has to be yes. Is it "listenable"? No matter what your definition of that term is, the answer is yes. This set should be in the Top 100 of the best of "new" or "improvised" music. And it should be near the top. Life changing. ~ Thom Jurek, 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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