The Squid's Ear Magazine

Parker, Evan / Paul Lytton

Collective Calls (Urban) (Two Microphones) [VINYL]

Parker, Evan / Paul Lytton: Collective Calls (Urban) (Two Microphones) [VINYL] (Otoroku)

A much-needed reissue of saxophonist Evan Parker and drummer/percussionist Paul Lytton's first duo album, recorded in London at the loft of The Standard Essenco in 1972 and originally released on the Incus label, the duo approaching their instruments in fantastic and unusual ways in a dialog far ahead of its time, augmented with recordings and eccentric assemblages.
 

Price: $28.95



Quantity:

In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 24.00 units

Sample The Album:





product information:

Personnel:



Evan Parker-tenor saxophone

Paul Lytton-drums


Click an artist name above to see in-stock items for that artist.




Presented in a specially made Wigston fold-over cover, litho printed with artwork from Alan Johnston and housed in a heavy polyurethane sleeve.

UPC: 5056321695765

Label: Otoroku
Catalog ID: ROKURE 007LP
Squidco Product Code: 34167

Format: LP
Condition: New
Released: 2024
Country: UK
Packaging: LP
Recorded at Experimental Sound Studio, in Chicago, Illinois, on March 29th, 2019, by Alex Inglizian.
Originally released in 1972 as a vinyl LP on the UK Incus label with catalog code Incus 5.

Descriptions, Reviews, &c.

"LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as "An Improvised Urban Psychodrama In Eight Parts," Collective Calls utilizes electronics, pre-records and homemade instruments to wryly in/act self-investigation.

On Collective Calls, only the fifth release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton's percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work.

Parker is listed as performing both saxophones, but also his own homemade assemblages, including one dubbed the 'Dopplerphone' -- a length of soft rubber tubing (activated by a saxophone mouthpiece and manipulated to alter the rate of airflow) attached to a longer length of clear plastic tubing (whirled around the head whilst being played) ending in a plastic funnel. Thickening the brew even more, Parker would also add a cassette recorder, on which he would play back collected sounds and previous recordings of the duo.

Imagining the set up in a 70s loft, it's an assemblage more akin to what today's free ears might see at a Sholto Dobie show, or spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in a corner. It's a testament to Parker's shape shifting sound -- the ever present link to birdsong being at its most warped here -- terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years. "-Otoroku


Presented in a specially made Wigston fold-over cover, litho printed with artwork from Alan Johnston and housed in a heavy polyurethane sleeve.

Artist Biographies

"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)
2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Paul Lytton (born 8 March 1947, London) is an English free jazz percussionist.

Lytton began on drums at age 16. He played jazz in London in the late 1960s while taking lessons on the tabla from P.R. Desai. In 1969 he began experimenting with free improvisational music, working in a duo with saxophonist Evan Parker. After adding bassist Barry Guy, the ensemble became the Evan Parker Trio. He and Parker continued to work together into the 2000s; more recent releases include trio releases with Marilyn Crispell in 1996 (Natives and Aliens) and 1999 (After Appleby).

A founding member of the London Musicians Collective, Lytton worked extensively on the London free improvisation scene in the 1970s, and aided Paul Lovens in the foundation of the Aachen Musicians' Cooperative in 1976.

Lytton has toured North America and Japan both solo and with improvisational ensembles. In 1999, he toured with Ken Vandermark and Kent Kessler, and recorded with Vandermark on English Suites. Lytton also collaborated with Jeffrey Morgan (alto & tenor saxophone), with whom he recorded the CD "Terra Incognita" Live in Cologne, Germany.

He played also on White Noise's pioneer electronic pop music album An Electric Storm in 1969."

-Wikipedia (https://en.wikipedia.org/wiki/Paul_Lytton)
2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



SIDE A



1. Peradam (5:09)

2. Cat's Flux (5:45)

3. Shaker (13:00)

4. Left Of The Neo-Left (1:12)

SIDE B



1. Lytton Perdu (3:25)

2. Voice Fragment (0:21)

3. Some Mother Blues (8:30)

4. What's Left Of The Neo-Left (1:55)

Related Categories of Interest:


Vinyl Recordings
Improvised Music
Free Improvisation
Jazz
London & UK Improv & Related Scenes
Parker, Evan
Duo Recordings
Jazz Reissues
Staff Picks & Recommended Items
New in Improvised Music

Search for other titles on the label:
Otoroku.


Recommended & Related Releases:
Kaucic, Zlatko (w/ Evan Parker, Agusti Fernandez, Rafal Mazur, Lotte Anger, Artun Majewski, Phil Minton, Johannes Bauer)
Diversity [5 CD BOX SET]
(Not Two)
Slovenian percussionist Zlatko Kaucic reinforces the title of his "Diversity" box set over 5 CDs in a variety of solo, duo, trio and quartet setting, including some of the UK & Europe's finest improvisers--Evan Parker, Agusti Fernandez, Lotte Anker, Artur Majewski, Rafal Mazur, Phil Minton, and Johannes Bauer--an excellent example of his wide-ranging work as an improviser.
Parker, Evan / George Lewis
From Saxophone & Trombone [VINYL]
(Otoroku)
The first vinyl re-issue of the 1980 duo between UK saxophonist Evan Parker and US trombonist George Lewis, captured live at the Art Workers Guild in London, using the natural resonance of the space and phenomenal technique in an intense set of dialogs showing the mastery of each player and the forceful voice each of them brings to free improvisation.
Parker, Evan / Matthew Wright Trance Map + Peter Evans / Mark Nauseef
Etching the Ether
(Intakt)
Evan Parker and Matthew Wright are the core of Trance Map, the soprano saxophonist and live electronics duo expanding on their original 2011 concept with Trance Map+, adding guest musicians to their unique approach to electroacoustic improvisation, here in an exceptional quartet configuration with Peter Evans on trumpet & piccolo trumpet, and Mark Nauseff on percussion.
Sjostrom, Harri / Erhard Hirt / Philipp Wachsman / Paul Lytton
Especially For You
(Bead)
A concert recording on the occasion of the 10th anniversary of Einstein Kultur in Munich from the quartet of Erhard Hirt on guitar & computer and Paul Lytton on drums, percussion & objects (half of the Quartet XPACT) plus Harri Sjostrom on soprano & sopranino saxophones and Philipp Wachsmann on violin & electronics, presenting a remarkable set of collective ea-improvisations.
King Ubu Orchestru 2021
Roi
(FMR)
Originally formed in 1985, this free improv ensemble continues in a new rendition of the Örchestrü, with original members Mark Charig (cornet), Paul Lytton (percussion), Alfred Zimmerlin (cello) and Phillipp Wachsmann (violin) joined by new members including Axel Dorner (trumpet), Phil Minton (voice), and Melvyn Poore (tuba), for two exceptional examples of advanced collective and cooperative improvisation.
Guy, Barry and Friends
Krakow 2018 [5 CD BOX SET]
(Not Two)
Two days of concerts in 2018 at Alchemia Club, in Krakow, Poland and a recording at Radio Krakow the next day from English composer, band leader and a bass player Barry Guy, in varying configurations at Alchemia of duos & trios with some of Europe & The UK's leading improvisers, culminating in an 11-piece ensemble at Radio Krakow performing the large work "For To End Yet Again".
Dagg, Henry / Evan Parker
Then Through Now
(False Walls)
Dublin sound inventor Henry Dagg joins soprano saxophonist Evan Parker for a live concert in Canterbury: fourteen vignettes of electro-acoustic interaction using Dagg's "Stage Cage"--valve test-oscillators, ring modulators, frequency shifter, chromatic zither, and a variable tape delay system--to both generate sound and to transform Parker's improvisations in incredible ways.
Transmap+ (Evan Parker / Matt Wright / Robert Jarvis)
Grounded Abstraction
(FMR)
A 2022 concert of acoustic and electroacoustic interaction at The Jazz Centre UK from the Trans Map duo of Evan Parker on soprano saxophone and Matthew Wright on laptop processing, the "+" in Transmap+ being trombonist Robert Jarvis, a versatile collaborator since London Improvisers Orchestra and here a 3rd voice expanding their spectacular open collective free improv.
McPhee, Joe / Evan Parker
Sweet Nothings (For Milford Graves)
(Corbett vs. Dempsey)
A confluence of masterful playing through two soprano & two tenor saxophones plus one pocket cornet, as Evan Parker and Joe McPhee perform live in 2003 at the Chicago Cultural Center as part of the Empty Bottle Festival of Jazz & Improvised Music, weaving lines with intricately relaxed confidence and coming together for beautiful moments of lyrical connection.
Parker, Evan / John Edwards / Tony Marsh
Medway Blues
(FMR)
A superb 2009 concert at Command House, in Chatham, UK from the trio of saxophonist Evan Parker, double bassist John Edwards, and late drummer/percussionist Tony Marsh, a single 36 minute improvisation of cohesive and energetic free jazz where all three pull together as a nearly telepathic unit, plus two extended duo sections between Edwards and Marsh and a Marsh solo.
Keune, Stefan / Paul Lytton / Hans Schneider / Erhard Hirt
XPACT II
(FMR)
The XPACT quarter of late saxophonist Wolfgang Fuchs, percussionist/electronics artist Paul Lytton, bassist Hans Schneider and electric guitarist Erhard Hirt came together in the mid-80s from members of M.A.I. Orchestra and Übü Örchestrü, disbanding after 4 years and now reunited 34 years later as a quartet with Stefan Keuene replacing Fuchs, releasing this album of masterful free improv.
Parker, Evan ElectroAcoustic Ensemble (w/ Sainkho Namtchylak)
Fixing the Fluctuating Idea
(Les Disques Victo)
Evan Parker's Electroacoustic Ensemble, merging reeds, strings and percussion with live signal processing to create something indescribably transformative is further amplified with the addition of free improvising vocalist and Tuvan throat singer Sainkho Namtchylak, adding an unearthly layer of interaction and transmogrification to this incredible 1996 FIMAV performance.
Shipp, Matthew / Evan Parker
Leonine Aspects
(RogueArt)
Meeting in France in 2017 for the Festival Météo de Mulhouse, Evan Parker alternating between soprano and tenor saxophones and Matthew Shipp on acoustic piano, present an epic extended improvisation that naturally evolves through several sections, followed by a brief post-script, each musician attentively focused as they support the clarity of each other's playing.
Jubileum Quartet (Leandre / Parker / Fermandez / Kaucic)
A UIS ?
(Not Two)
Celebrating 40 years of Zlatko Kaucic's professional career as a musician, the quartet of Joelle Leandre on acoustic bass, Evan Parker on tenor saxophone, Agusti Fernandez on piano, and Zlatko Kaucic on drums & objects are heard live at the 23th Cerkno Jazz Festival in 2018 for an extended and stunning set, from the most active to the most introspective of moments.
London Jazz Composers Orchestra
That Time
(Not Two)
Released for their 50th anniversary, The LJCO, in configurations of up to 21 musicians including Derek Bailey, Trevor Watts, Evan Parker, Peter Brotzmann, &c., perform works by Kenny Wheeler, Barry Guy, Paul Rutherford and Howard Riley, captured live at the Berliner Jazztage in 1972; at Donaueschingen Musiktage in 1972; in the studio in 1980; and London's Round House in 1980.
Company
Trios [VINYL 2 LPs]
(Honest Jons Records)
Nine improvisers--Joelle Leandre, J.D.Parran, Ernst Reyseger, Hugh Davies, Jamie Muir, Peter Brotzmann, Evan Parker, Vinko Globokar, & John Corbett--joined Derek Bailey for this 1983 Company week, recording at the I.C.A. in London over 4 days in 1983, mostly performing in trio configurations, with one duo between Bailey & Reijseger, and a final ensemble with all 9 players.
Parker, Evan / Kinetics (Anderskove / Melbye / Vestergaard)
Chiasm
(Clean Feed)
Performing live at The Vortex in London and live at the DKDM studio in Copenhagen, legendary UK saxophonist Evan Parker joins Swedish pianist Jacob Anderskov's trio Kinetics with Adam Pultz Melbye on bass and Anders Vestergaard on drums, recording these four masterful improvisations of full-force momentum, concentration, exploration and exultation.
Parker / Trzaska / Edwards / Sanders
City Fall [2 CDs]
(Listen! Foundation (Fundacja Sluchaj!))
Part of Evan Parker's 70th birthday in 2014, this album captures the super-charged quartet of Evan Parker on tenor saxophone, Mikolaj Trzaska on alto sax, bass clarinet, John Edwards on double bass, and Mark Sanders on drums, in two sets for two extended improvisations of both power playing and powerful communication, along with one shorter final statement.
Parker, Evan / Eddie Prevost
Tools Of Imagination
(Listen! Foundation (Fundacja Sluchaj!))
An awe-inspiring concert between two of London's free improvisation legends, recording at Pardon To Tu [Teatr Nowy Clubroom] in Poland--percussionist Eddie Prevost and saxophonist Evan Parker on tenor sax--in an hour-long performance that starts with Prevost's reverberant bowed metal, as the two build and recede with profound concentration and masterful skill.
Frith, Fred
All Is Always Now (Live at the Stone) [3 CDs]
(Intakt)
Guitarist Fred Frith performed 80 concerts at NY's The Stone between 2006-2016, in diverse configurations of duos, trios, quartets and large ensembles with some of the planet's finest improvisers, of which 23 recordings, titled from NY Times headlines of each concert's day, are presented in this essential 3-CD package, which includes a 24 page booklet detailing the collection.
Kaucic, Zlatko (w/ Evan Parker, Agusti Fernandez, Rafal Mazur, Lotte Anger, Artun Majewski, Phil Minton, Johannes Bauer)
Diversity [5 CD BOX SET]
(Not Two)
Slovenian percussionist Zlatko Kaucic reinforces the title of his "Diversity" box set over 5 CDs in a variety of solo, duo, trio and quartet setting, including some of the UK & Europe's finest improvisers--Evan Parker, Agusti Fernandez, Lotte Anker, Artur Majewski, Rafal Mazur, Phil Minton, and Johannes Bauer--an excellent example of his wide-ranging work as an improviser.
Glasgow Improvisers Orchestra (feat. Marilyn Crispell / Evan Parker)
Parallel Moments Unbroken [2CDS]
(FMR)
Scottland's large improvising ensemble of around 20 musicians, merging backgrounds in free improvisation, jazz, classical, folk, pop, experimental musics and performance art, in a 2-CD release of a piece commissioned by the BBC and featuring pianist Marilyn Crispell and saxophist Evan Parker, written using graphic scores, through composition, photographs and artwork.
Holland, Dave Feat. Evan Parker / Craig Taborn / Ches Smith
Uncharted Territories [VINYL 3 LPS]
(Dare2 Records)
Reuniting bassist Dave Holland with saxophonist Evan Parker, a longtime friend from their early days in London, and joined by Craig Taborn on piano and electronics, and Ches Smith on percussion, as the group performs as a quartet and also in a variety of permutations of duo and trio configurations, in a set of rich and informed dialogs of masterful skill.
Leandre, Joelle
A Woman's Work [8 CD BOX SET]
(Not Two)
A thorough overview of bassist and vocalist Joelle Leandre's recent work in a boxed set of 8 CDs and a 16 page booklet of essays, photos and credits, each CD bringing a unique grouping from Les Diaboliques to duos with Mat Maneri, Fred Frith, Lauren Newton, & Jean-Luc Cappozzo, plus one solo disc and a quartet with Zlatko Kaucic, Evan Parker and Augusti Fernandez; magnificent.
Schiano, Mario (Schiano / Guy / Lovens / Parker / Tramontana)
Social Security
(Les Disques Victo)
Parker, Evan / John Russel / Ian Brighton / Phillip Wachsmann / Marcio Mattos / Trevor Taylor
Reunion: Live From Cafe Oto
(FMR)
London's Cafe Oto organized a reunion of String Thing, guitarist Ian Brighton's project with violinist Phillip Wachsmann, bassist Marcio Mattos, & Trevor Taylor on percussion and electronics, adding guitarist John Russell and saxophonist Evan Parker, here capturing an impressive night of improv, and Brighton's first public appearance in nearly 40 years.



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC