This extraordinary improvisation quartet joining NY and London improvisers made it's debut over the course of 3 concerts in Europe in 2012, with Evan Parker on sax, Peter Evans on trumpet, Craig Taborn on piano, and Sam Pluta on laptop.
Label: More Is More
Catalog ID: 133
Squidco Product Code: 18006
Recorded live at The Vortex Jazz Club, London on May 25th, 2012.
Evan Parker-tenor saxophone, soprano saxophone
Peter Evans-trumpet, piccolo trumpet
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1. Fluid Dynamics 17:14
2. Life Support Systems 16:26
3. Flutter 12:54
4. Noise Control 10:59
Related Categories of Interest:
NY Downtown & Jazz/Improv
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Top 40 for 2013
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"A collaborative improvising quartet, assembled by trumpet Peter Evans, and featuring three of his favorite instrumental innovators: saxophonist Evan Parker, pianist Craig Taborn and computer musician Sam Pluta. Each player has broadened the previously known boundaries of his chosen instrument and married this craft to a refined musical sensitivity.
The players have a wide variety of history between them; Taborn and Evans have collaborated and recorded with Parker for several of his ECM recordings ("Boustrophedon" and "The Moment's Energy"), Pluta and Evans have worked together in a variety of contexts since 2008, both duo (Pluta's "Sum and Difference") and in the Peter Evans Quintet.
The May 2012 concerts in Europe were the very first this quartet played together, culminating in a performance at the historic Moers Festival (Parker played in the festivals opening years in the early 70's)"-Saudades
At The Squid's Ear!
• 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)
^ Hide Bio for Evan Parker
• Show Bio for Peter Evans
"Peter Evans is a trumpet player, and improvisor/composer based in New York City since 2003. Evans is part of a broad, hybridized scene of musical experimentation and his work cuts across a wide range of modern musical practices and traditions. Peter is committed to the simultaneously self-determining and collaborative nature of musical improvisation as a compositional tool, and works with an ever-expanding group of musicians and composers in the creation of new music. His primary groups as a leader are the Peter Evans Quintet and the Zebulon trio. In addition, Evans has been performing and recording solo trumpet music since 2002 and is widely recognized as a leading voice in the field, having released several recordings over the past decade. He is a member of the cooperative groups Pulverize the Sound (with Mike Pride and Tim Dahl) and Rocket Science (with Evan Parker, Craig Taborn and Sam Pluta) and is constantly experimenting and forming new configurations with like minded players. As a composer, he has been commissioned by the International Contemporary Ensemble (ICE), Yarn/Wire, the Donaueschingen Musiktage Festival, the Jerome Foundation's Emerging Artist Program, and the Doris Duke Foundation for the 2015 Newport Jazz Festival. Evans has presented and/or performed his works at major festivals worldwide and tours his own groups extensively. He has worked with some of the leading figures in new music: John Zorn, Kassa Overall, Jim Black, Weasel Walter, Levy Lorenzo, Nate Wooley, Steve Schick, Mary Halvorson, Joe McPhee, George Lewis, and performs with both ICE and the Wet Ink Ensemble. He has been releasing recordings on his own label, More is More, since 2011."-Peter Evans Website (http://pevans.squarespace.com/about/)
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• Show Bio for Craig Taborn
"Craig Marvin Taborn (/ˈteɪˌbɔːrn/; born February 20, 1970) is an American pianist, organist, keyboardist and composer. He works solo and in bands, mostly playing various forms of jazz. He started playing piano and Moog synthesizer as an adolescent and was influenced at an early stage by a wide range of music, including by the freedom expressed in recordings of free jazz and contemporary classical music.
While at university, Taborn toured and recorded with jazz saxophonist James Carter. Taborn went on to play with numerous other musicians in electronic and acoustic settings, while also building a reputation as a solo pianist. He has a range of styles, and often adapts his playing to the nature of the instrument and the sounds that he can make it produce. His improvising, particularly for solo piano, often adopts a modular approach, in which he begins with small units of melody and rhythm and then develops them into larger forms and structures.
In 2011, Down Beat magazine chose Taborn as winner of the electric keyboard category, as well as rising star in both the piano and organ categories. By May 2016, Taborn had released six albums under his own name and appeared on more than eighty as a sideman."-Wikipedia (https://en.wikipedia.org/wiki/Craig_Taborn)
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• Show Bio for Sam Pluta
"Sam Pluta is a New York City-based composer, laptop improviser, electronics performer, and sound artist. Though his work has a wide breadth, his central focus is on the laptop as a performance instrument capable of sharing the stage with groups ranging from new music ensembles to world-class instrumental improvisers. By creating unique interactions of electronics, instruments, and sonic spaces, Pluta's vibrant musical universe fuses the traditionally separate sound worlds of acoustic instruments and electronics, creating sonic spaces which envelop the audience and resulting in a music focused on visceral interaction of instrumental performers with reactive computerized sound worlds. As a composer of instrumental music, Sam has written works for Wet Ink Ensemble, International Contemporary Ensemble, Yarn/Wire, Timetable Percussion, Mivos Quartet, RIOT Trio, Ensemble Dal Niente, Jessie Marino, Mantra Percussion, TAK, Dave Eggar, and Prism Saxophone Quartet. His compositions range from solo instrumental works to pieces for ensemble with electronics to compositions for large ensemble and orchestra. In addition to acoustic and electro-acoustic works, Pluta has written extensive solo electronic repertoire ranging from multi-channel acousmatic compositions to solo laptop works with video to laptop ensemble compositions for up to 15 players.
As an improviser, Sam has collaborated with some of the finest creative musicians in the world, including Peter Evans, Evan Parker, Ikue Mori, Craig Taborn, Jim Black, Anne La Berge, and George Lewis. Sam is a member of multiple improvisation-based ensembles, the jazz influenced Peter Evans Quintet, the free improvisation-based Rocket Science (with Evan Parker, Craig Taborn and Peter Evans), the analog synth and laptop duo exclusiveOr (with Jeff Snyder), his longstanding duo with Peter Evans, and the New York City-based power group Sonic Overload (with Jim Altieri, Dan Peck, Tom Blancarte, Peter Evans, and Jeff Snyder). Sam has also performed with the Evan Parker Electro-Acoustic Ensemble. With these various groups he has toured Europe and America and performed at major festivals and venues, such as the Lucerne Festival in Switzerland, the Moers and Donaueshingen Festivals in Germany, Bimhuis in Amsterdam, and The Vortex in London. Sam is the Technical Director for the Wet Ink Ensemble, a group for whom he is a member composer as well as principal electronics performer. As a performer of chamber music with Wet Ink and other groups, in addition to his own works, Sam has performed and premiered works by Peter Ablinger, Karlheinz Stockhausen, Katharina Rosenberger, George Lewis, Ben Hackbarth, Alvin Lucier, Chiyoko Szlavnics, Alex Mincek, Kate Soper, and Eric Wubbels among others.
Dr Pluta studied composition and electronic music at Columbia University, where he received his DMA in 2012. He received Masters degrees from the University of Birmingham in the UK and the University of Texas at Austin, and completed his undergraduate work at Santa Clara University. His principal teachers include George Lewis, Brad Garton, Tristan Murail, Fabien Levy, Scott Wilson, Jonty Harrison, Russell Pinkston, Lynn Shurtleff, and Bruce Pennycook. A dedicated pedagogue, Sam teaches Composing with Sound and Technology and Improvisation at Bennington College. From 2011-15 he directed the Electronic Music Studio at Manhattan School of Music, and has taught Music Humanities and The History of Sound Art at Columbia University. For the past 15 years he has taught composition, musicianship, electronic music, and an assortment of specialty courses at the Walden School, where he also serves as Director of Electronic Music and Academic Dean."-Sam Pluta Website (http://www.sampluta.com/)
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