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| 5.817 Ft
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| 1. | Atlanta
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| 2. | Two in One
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| 3. | The Snake as Road Sign [For Elias Canetti]
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| 4. | Geometry
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Jazz / Avant-Garde, Free Jazz
Evan Parker - Sax (Soprano), Sax (Tenor), Design
Barry Guy - Bass
Paul Lytton - Percussion, Drums
Caroline Forbes Photography
Dave Bernez Digital Mastering
Robin Gibson Producer
Recorded in 1986 at a concert in Atlanta, the trio of Parker, Guy, and Lytton had even then been playing together for over a decade, and here it shows. Over four pieces, all of them improvised on the spot, Parker leads the trio through the gyrations of his circular improvisation on both soprano and tenor and also through the small and basic elements of "jazz" he respects -- but they get mutated almost immediately, as one might expect. Parker's interplay with his rhythm section is akin to a rough dancer skidding along the floor to a graceful, elegant orchestra. The interplay between Guy and Lytton is so mesmerizing, so completely self-contained, it's Parker who has to focus on them or he'll be lost in the glorious tumult. The rhythmic communication -- especially as Guy pulls out three or four notes, legato, and then slides a chord up the bass as Lytton creates a rhythm around that phrase for Guy to come back to and extrapolate -- is breathtaking. As for Parker, there is little to say except that, despite having to be very physical on this evening, he was aware of everything, offering whatever color and shape, whatever texture or fragment that might be useful to the rhythmic dance, though he was the frontman. This is a must-have for fans of this trio. ~ 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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