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| 4.305 Ft
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| 1. | Tumutumu Koiwi Upokohue
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| 2. | Koauau Koiwi Kuri
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| 3. | Hue Puru Hau
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| 4. | Poiawhiowhio
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| 5. | Pukaea Rakau Kauri
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| 6. | Roria Rakau Puriri
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| 7. | Koauau Rakau Maire
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| 8. | Tumutumu Kohatu Pakohe
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| 9. | Putorino Rakau Matai
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| 10. | Panguru Whakatangi Tanguru
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| 11. | Porotiti Rakau Rewarewa
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| 12. | Putorino Rakau Maire
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| 13. | Koauau Ponga Ihu
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| 14. | Purerehua Kohatu Pounamu
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| 15. | Putatara
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Jazz / Avant Garde
Evan Parker - Sax (Soprano), Producer, Sax (Tenor)
Richard Nunns - Producer, Multi Instruments
Jeff Henderson Liner Notes
Leo Feigin Producer
Stan Wijnans Engineer
This CD is a result of Evan Parker's tour of New Zealand in October, 1999. Richard Nunns is a master musician playing beautiful handcarved ancient Taonga Puoro - instruments of Maori tribe (see full-colour pictures inside the booklet). A live recording of a fascinating meeting between two musicians from the opposite ends of the world who are opening a new door for music lovers from all over the world.
Richard Nunns is a New Zealander of European descent who studies and plays traditional Maori musical instruments. His pairing with Evan Parker (in a performance recorded at the 1999 International Jazz Festival in Wellington), while not necessarily an obvious match, works largely because of the saxophonist's extraordinary flexibility. Many of the Maori instruments are percussive and produce little sustain. They're made of natural materials like gourds, wood, or shells; they don't reverberate in the way a modern designed and manufactured instrument like Parker's saxophone does. Consequently, the music here tends to be sparse and quiet. Parker plays in a near subtone much of the time, and occasionally sounds as if he's playing at some distance from the microphone. A person unacquainted with the subtleties of the Maori instruments is, of course, unable to evaluate Nunns' skills from a cultural standpoint. But the music he produces is indeed moving. The gestures are small but concentrated. The instruments' nature doesn't give Nunns the flexibility to follow and respond to Parker's every move, so he instigates, as Parker responds and embellishes. It's much to the latter's credit that he's able to adapt to Nunns' aesthetic so completely. It's equally admirable for Nunns to have successfully absorbed the Maori manner of making music. It says something about the timeless nature of improvised music that modern jazz's most advanced saxophonist can improvise convincingly with a musician who plays instruments so ancient in conception. Undoubtedly the most affecting element of this music is its innate humanness; on one particular track, for example, the breaths pulsing through Parker's sax and Nunns' Pukaea rakau kauri (a wooden trumpet) sound as if they might be coming from the same set of lungs, so well-attuned the men are to one another and the exigencies of improvised performance. A unconventionally beautiful meeting of souls. ~ Chris Kelsey, 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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