7/4

Evan Parker

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Looks like there's a second Evan Parker/Stan Tracey disc. Recorded at Appleby in 2004:

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I must, however, commend PSI for getting another Appleby recording out nearly 3000 years ahead of the performance:

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Annouced as:

FREE ZONE APPLEBY 5003

psi 05.05

Free improvisations by:

EVAN PARKER soprano saxophone, BARRY GUY bass,

PAUL LYTTON percussion, PHILIPP WACHSMANN violin and electronics,

and JOEL RYAN live processing of pre-recorded samples and live input

- the four duos with Ryan, and the four trios without him.

That's what I call avant-garde!!!!

Edited by Bev Stapleton

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Hm, where'd the typo come from? It's 2004 needless to say. Have it, but only listened to half of it so far (so far, quite strong).

I like the Tracey/Parker a lot, though I haven't heard the 1st one (& people who'd heard it seem to like the 1st one a bit better). There will be a piece I did on it on the Paris Transatlantic site on Sep. 1st.

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How do Saxophone Solos, Six of One and The Snake Decides compare to Monoceros? The latter is one of my favourite solo saxophone recordings.

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My favorite Evan Parker solo outing isn't exactly solo -- he overdubs his own horn and a bit of organ on "Time Lapse" on the Tzadik label. I picked this up the second time I saw him over in St. Paul, right after it was released.

The tracks range in length from under three minutes to just over ten, so the listener isn't required to digest some 20-30 minute cuts to see what he is all about. [Like "Lines Burnt in Light", another fave.]

This is really a stunning record, marrying his phenomenal technique to some of his compositional ideas.

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I haven't heard it yet, but apparently Conic Sections is phenomenal.

I have been playing a little with Evan recently, and it has been incredible. He's a real master.

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I've been listening to Conic Sections for the first time today and have really been enjoying it. I'm not sure if this disc is still in print, but I would highly recommend tracking down a copy if you can.

I'll throw out another plug for The Snake Decides, which, for those who can't get enough of Evan's solo discs, is very much worth hearing.

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That's the one! Beat me to it by what, 3 years?! :)

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How do Saxophone Solos, Six of One and The Snake Decides compare to Monoceros? The latter is one of my favourite solo saxophone recordings.

Basically, the solo discs go chronologically from "incredibly harsh ear-drilling exercises" to "kinda pleasant/quasi-tonal maxi-minimalist bagpipe music", in an unbroken timeline, so take your pick based on the recording dates. In other words, Saxophone Solos (the first 2 LPs) are very visceral experiences--it's largely before the cyclical quality that you hear Parker starting to really get into on Monoceros has taken over, so sometimes it's just him blowing hard on a single note, checking out the overtones, even making guttural voice-noise through the horn to add an extra layer of distortion. It's a great CD, though good luck finding it. There are a few short pieces that have that oscilloscope feel you get on stretches of Monoceros.

Things get more evened-out the further you go after that, haven't heard Six of One but do have The Snake Decides, it's a little thornier than Conic Sections, which in turn is a little more intense than Lines Burnt in Light. Actually the latter is the only solo EP album I'd suggest avoiding--it's not terrible, but it feels like a decade-long-delayed footnote to Conic Sections, with only a few moments in the last track that actually explore new territory.

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I should add that in addition to the excellent The Snake Decides, it's worth checking out the long solo track on Atlanta, called "The Snake as Road Sign". It's not a very well-recorded album unfortunately but that solo track is one of EP's best.

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Just heard Boustrophedon for the first time and like it a lot, particularly Furrow 6, which has string backing early on which fades out and morphs into a noticeably "jazzier" vibe, then goes on into late Coltrane land from there. Overall the album does have a slight "chamber" vibe which befits the label it's on, but is by no means overly refined.

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I would have to recommend the long-standing trios, Parker, Lytton, Guy, and Parker, Schlippenbach, Lovens; the second is particularly stunning.

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The new Schlippenbach Trio on Intakt is very fine.

I have a nice quartet recording, with Kowald, from Moers 1974, part of which was later issued on an FMP LP, Three Nails Left. Motherfucker of a performance, that one.

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Big thumb's up for The Moment's Energy on ECM. It's another Electro-Acoustic Ensemble recording, this time adding Ned Rothenberg and sho player Ko Ishikawa to the mix.

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...and I think I'm right in saying that one is Peter Evans' also first appearance with that band on record!

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Evan is a MONSTER. Please tell him I said that.

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...and I think I'm right in saying that one is Peter Evans' also first appearance with that band on record!

That is correct. Forgot to mention that. And it's a memorable first appearance.

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...and I think I'm right in saying that one is Peter Evans' also first appearance with that band on record!

That is correct. Forgot to mention that. And it's a memorable first appearance.

Saw Peter sit in with the trio of Evan, John Edwards and John Russell at the 'Freedom of the City' festival this year. He works absolutely fantastically with Evan IMHO.

Evan is a MONSTER. Please tell him I said that.

:)

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listening to Sankt Gerold now and lovin' it.

I should order that previous ECM album soon.

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Tomorrow night I am going to hear Evan Parker in a trio with William Parker and Hamid Drake. I have had mixed reations to some of the recorded performances of his I have heard. I am looking forward to hearing him live.

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I actually can't comprehend that trio working, but maybe I think of Evan differently than Evan thinks of Evan.

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That does indeed sound an intriguing combination. I'd love to hear your impressions, relyles, if you have time

The Drake/Parker team will certainly provide Evan with a different rhythmic palette to which we hear him most regularly. I can somehow hear Evan's 'more jazz' (poor shorthand alert) tenor locking into their approach. I hope it's a sucess for them all and that he brings them back to the Vortex in London for his monthly gig - but that's just being selfish!

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