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Catalog ID: OGCD 022/023
Squidco Product Code: 10593
Format: 2 CDs
Country: Great Britain
Packaging: Cardboard Gatefold 3 Panels
John Stevens-percussion, cornet
Evan Parker-soprano saxophone
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• Show Bio for John Stevens
"John William Stevens (10 June 1940 in Brentford, Middlesex - 13 September 1994 in Ealing, west London) was an English drummer. He was one of the most significant figures in early free improvisation, and a founding member of the Spontaneous Music Ensemble (SME).
Stevens was born in Brentford, the son of a tap dancer. He used to listen to jazz as a child, but was initially more interested in drawing and painting (media through which he also expressed himself throughout his life). He studied at the Ealing Art College and then started work in a design studio, but left at 19 to join the Royal Air Force. He studied the drums at the Royal Air Force School of Music in Uxbridge, and while there met Trevor Watts and Paul Rutherford, two musicians who became close collaborators.
In the mid-1960s Stevens began to play in London jazz groups alongside musicians like Tubby Hayes and Ronnie Scott, and in 1965 he fronted a septet. Influenced by the free jazz he was hearing coming out of the United States by players like Ornette Coleman and Albert Ayler, his style began to move away from fairly traditional be-bop to something more experimental.
In 1966 SME was formed with Watts and Rutherford and the group moved into the Little Theatre Club at Garrick Yard, St. Martin's Lane, London to develop their new music. In 1967 their first album, Challenge, was released. Stevens then became interested in the music of Anton Webern, and the SME began to play generally very quiet music. Stevens also became interested in non-Western musics.
The SME went on to make a large number of records with an ever changing line-up and an ever changing number of members, but Stevens was always there, at the centre of the group's activity. He also played in a number of other groups, drumming in Watts' group Amalgam and later forming bands like Freebop and Fast Colour, for example, but the SME remained at the centre of his activities.
In the latter part of 1967 Evan Parker joined the SME and worked closely with Stevens in the group, eventually becoming one of the longest standing members. He later summed up Stevens' approach to improvising in two basic maxims: if you can't hear another musician, then you're too loud; and there is no point in group improvisation if what you are playing doesn't relate to what other members of the group are playing.
Stevens also devised a number of basic starting points for improvisation. These were not "compositions" as such, but rather a means of getting improvisational activity started, which could then go off in any direction. One of these was the so-called "Click Piece" which essentially asked for each player to repeatedly play a note as short as possible.
Stevens played alongside a large number of prominent free improvisors in the SME, including Derek Bailey, Peter Kowald, Julie Tippetts and Robert Calvert, but from the mid-1970s, the make-up of the SME began to settle down to a regular group of Stevens, Nigel Coombes playing violin, and Roger Smith playing guitar. During the mid-1970s Stevens played regularly with guitarist and songwriter John Martyn as part of a trio that included bassist Danny Thompson. This line up can be heard on Martyn's 1976 recording Live at Leeds.
From 1983 Stevens was involved with Community Music (CM), an organisation through which he took his form of music making to youth clubs, mental health institutions and other unusual places. Notes taken during these sessions were later turned into a book for the Open University called Search and Reflect (1985). In the late 70s and early 80s John was a regular performer at the Bracknell Jazz Festival.
Aside from SME, Stevens also ran or helped to organise groups that were more jazz or jazz-rock based, such as Splinters, the John Stevens Dance Orchestra, Away, Freebop, Folkus, Fast Colour, PRS, and the John Stevens Quintet and Quartet. He also contributed significantly to Trevor Watts' group Amalgam and Frode Gjerstad's Detail, as well as collaborating with Bobby Bradford on several occasions.
The SME continued to play, the last time being in 1994 with a group including John Butcher. Stevens died later that year."-Wikipedia (https://en.wikipedia.org/wiki/John_Stevens_(drummer))
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• Show Bio for Evan Parker
"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."
Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.
He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.
Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."
A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.
Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."
While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."
The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".
Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.
Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "-Evan Parker Website (http://evanparker.com/biography.php)
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^ Hide Bio for Evan Parker
1. 19.11 9:59
2. 19.44 12:48
3. 20.23 21:25
4. 21.25 5:45
5. 21.47 5:11
6. 22.18 6:27
7. 23.12 11:52
1. 23.40 10:20
2. Corner To Corner 15:01
3. Rubber 9:27
4. Angles 10:20
5. Incidence 3:51
6. Reflections (For Geoff Rigden) 4:39
7. Acute 5:26
8. Each/Other 12:06
sample the album:
European Improv, Free Jazz & Related
London & UK Improv & Related Scenes
Recordings by or featuring Reed & Wind Players
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