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CD |
| 4.941 Ft
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| 1. | Uncle Joe's Spirit House
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| 2. | Jacques' Groove
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| 3. | Ennio's Tag
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| 4. | Document for LJ
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| 5. | Let's Go Down to the River
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| 6. | Buddha's Joy
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| 7. | The Struggle 846
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| 8. | Theme for the Tasters
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| 9. | Oasis
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Jazz
Recorded: January 22, 2010, The Gallery Recording Studio, Brooklyn, NY
William Parker: bass
Darryl Foster: tenor sax
Cooper-Moore: organ
Gerald Cleaver: drums
All compositions by William Parker, Centering Music BMI
Recorded & Mixed by Keith Parker at The Gallery Recording Studio, Brooklyn, NY
Produced by William Parker for Centering Records
Mastered by Luis Delgado
Family photos courtesy of Uncle Joe
A special project fully produced by William Parker for his own Centering Records imprint and dedicated to his Aunt Carrie Lee & Uncle Joe (who is pictured on the album cover) -- they celebrate their 65th wedding anniversary on August 6th, 2010. William really wanted to get this done in time for this auspicious date and he did. Seven of the songs on this CD were written in December 2009 especially for this recording session which took place on January 22, 2010; Ennio's Tag and Oasis were previously written and they fit in perfectly.
A soul-jazz organ quartet album that hearkens back to early-mid 60s sessions of similar form, though fully freshed-up by William Parker's indelible compositions and the musical gifts of Darryl Foster, Cooper-Moore and Gerald Cleaver. This is a straight-up late summer joy to celebrate life with all year 'round!
This album will be "officially released" in limited numbers through our world-wide distribution network on October 12, 2010 – until then it will only be available via direct mail-order from AUM Fidelity and from William Parker at his performances. This album is pressed in a limited CD edition of 1000 copies in deluxe 6-panel digipak with liner notes by WP and further family photos courtesy of Uncle Joe. It is recommended to act now on purchase, so that you may enjoy sooner! --SJ
From the liner notes by William Parker:
"I think we are all given gifts; the true blessing is receiving the grace to accept the gift" --WP
When I first discovered that music was my calling I thought that it was mandatory for me to step inside into <my own world>. Once inside that world I was able to learn the language of sound and silence. I became well versed in many forms of music including celestial, cosmic, and aumic, as well as the mystery systems and the world folk forms. I went on to spend 30 years traveling around the world hoping to bring a musical message of love and peace to those I met and played for. In 1994 with the official formation of the Little Huey Creative Music Orchestra, I began to reconnect to the world which I had departed from. The door to that world was closed but not locked. I'm so happy that I was able to understand that the real art is the art of living. Raising one's family through hard work, be it carpenter, electrician, mailman, policeman, garbage man, and perhaps the most difficult of all jobs, the stay at home mother. Two masters of that art are my Aunt Carrie Lee Edwards and my Uncle Joe who are 91 and 92 years old. They are both alive and going strong, living in the Bronx enjoying their children, grandchildren, and great grandchildren. They will celebrate their 65th wedding anniversary on August 6th, 2010. This CD is dedicated them.
William Parker
Active Decades: '90s and '00s
Born: Jan 10, 1952 in New York, NY
Genre: Jazz
Styles: Modern Creative, Modern Free, Free Jazz, Progressive Jazz, Avant-Garde Jazz, Free Improvisation
In the early '90s, the direct musical heirs of Taylor, Ayler, and Coleman were mostly ignored by New York jazz critics, who found more to like about the hard bop revivalists who dominated major-label recording. Hence, the public visibility of musicians devoted to an "energy music" aesthetic was minimal. Despite its low profile, however, that strain of free jazz was kept alive by a fairly large group of Lower East Side musicians, many of whom gathered around the music's pre-eminent bassist, William Parker. Parker was the scene's major catalyst for musical activity. With his wife, dancer Patricia Nicholson, and other downtown free players such as drummer Jackson Krall and pianist Mark Hennen, Parker founded the Improvisers Collective, an organization that presented free jazz in combination with other types of spontaneous performance. Beginning in 1994 (and continuing in one form or another as of this writing), the collective produced a well-received series of concerts and festivals that featured some of the city's finest free improvisers -- saxophonists Marco Eneidi, Sabir Mateen, and Daniel Carter, trumpeter Lewis Barnes, and pianist Cooper-Moore, to name a few. Parker was the fulcrum of the collective; he played in nearly all of its various ad hoc groups, and led the Collective's enormous big band, which later recorded under Parker's name as the Little Huey Creative Music Ensemble.
As a bassist, Parker is possessed of a formidable technique, albeit an unconventional one. Unlike a great many jazz bassists, Parker was not formally trained as a classical player, though he did study with three of the finest jazz players of the '60s, Jimmy Garrison, Richard Davis, and Wilbur Ware. Consequently, Parker's style is based on a tradition of self-expression and experimentation. His arco work is possibly the most fascinating aspect of his idiom; Parker excels at the creation of dense, hyperactive streaks of color, gleaned from the inherent harmonic properties of the instrument. At bottom, he is a textural player. Lyricism plays a secondary role in his work, with or without the bow. Parker's pizzicato style is overwhelmingly percussive, in intent and effect. Though he does, to an extent, serve as a harmonic anchor in his groups, his more important role is as a source of energy. Parker drives a band like few other bassists; in combination with a powerful drummer, a Parker-led rhythm section is an inexorable force.
Parker grew up in New York City. Very early in his career he formed an association with Cecil Taylor; Parker played Carnegie Hall with the pianist in the early '70s. Parker released his first album as a leader in 1979. Through the Acceptance of the Mystery Peace (on Parker's own Centering Records) featured saxophonists Charles Brackeen and Jemeel Moondoc, and violinist Billy Bang. Parker became Taylor's regular bassist in the '80s. He played on several of the pianist's European records, and on Taylor's most recent domestic major-label release, 1989's In Florescence, on A&M. Parker left Taylor in the early '90s and began working more often as a leader. He recorded a big-band record for his own label, then began releasing a series of CDs for other companies, significantly Black Saint. Beside his activities as a leader and community organizer, Parker would continue to work as a sideman through the mid-'90s; he remained the bassist of choice for downtown free players like David S. Ware, Matthew Shipp, and Rob Brown. 2000 was particularly busy for Parker as he recorded three of his own dates (Mayor of Punkville, Painter's Spring, and O'Neal's Porch) and appeared on numerous other recordings as sideman.
---Chris Kelsey, Rovi |
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