Evan Parker

All Music Guide:

Among Europe's most innovative and intriguing saxophonists, Evan Parker's solos and playing style are distinguished by his creative use of circular breathing and false fingering. Parker can generate furious bursts, screeches, bleats, honks, and spiraling lines and phrases and his solo sax work isn't for the squeamish. He's one of the few players not only willing but eager to demonstrate his affinity for late-period John Coltrane. Parker worked with a Coltrane-influenced quartet in Birmingham in the early '60s. Upon resettling in London in 1965, Parker began playing with the Spontaneous Music Ensemble. He joined them in 1967 and remained until 1969. Parker met guitarist Derek Bailey while in the group, and the duo formed the Music Improvisation Company in 1968. Parker played with them until 1971, and also began working with the Tony Oxley Sextet in the late '60s. Parker started playing extensively with other European free music groups in the '70s, notably the Globe Unity Orchestra, as well as its founder Alexander von Schlippenbach's trio and quartet. Parker, Bailey, and Oxley co-formed Incus Records in 1970 and continued operating it through the '80s. Parker also played with Chris McGregor's Brotherhood of Breath and other groups with Bailey, and did duet sessions with John Stevens and Paul Lytton, as well as giving several solo concerts. Parker's albums as a leader and his collaborations are all for various foreign labels; they can be obtained through diligent effort and mail-order catalogs. Among his many releases are Process and Reality (1991), Breaths and Heartbeats (1995), Obliquities (1995), Bush Fire (1997), Here Now (1998), Drawn Inward (1999), Monkey Puzzle (2000), Two Seasons (2000), Alder Brook (2003), and After Appleby (2004). Eleventh Hour, officially credited to the Evan Parker Electo-Acoustic Ensemble, appeared from ECM in 2005. Parker released Time Lapses, his debut on John Zorn’s Tzadik in 2006, along with Crossing The River, and Topography Of The Lungs on his own PSI imprint. 2007 was equally prolific with three albums on three different labels including A Glancing Blow on Cleanfeed; the label also issued Belle Ville in 2008. Parker self-released Free Zone Appelby 2007 on PSI to round the year out. He made his debut on the Smalltown Superjazz imprint with Brewery Tap in 2009, as well as A Moment’s Energy with his Electro-Acoustic Ensemble on ECM and his Tzadik followup, House Full Of Floors, a trio recording with John Edwards on bass and John Russell on acoustic guitar, and help from Aleks Kolkowski on a couple of tracks utilizing a wax cylinder recorder, and playing the saw.

Wikipedia:

Evan Shaw Parker (born 5 April 1944 in Bristol) is a British free-improvising saxophone player from the European free jazz scene.

Recording and performing prolifically with many collaborators, Parker was a pivotal figure in the development of European free jazz and free improvisation, and has pioneered or substantially expanded an array of extended techniques. Critic Ron Wynn describes Parker as "[a]mong Europe's most innovative and intriguing saxophonists ... his solo sax work isn't for the squeamish."

Early influences

His original inspiration was Paul Desmond, and in recent years the influence of cool jazz saxophone players has again become apparent in his music — there are tributes to Warne Marsh and Lee Konitz on Time Will Tell (ECM, 1993) and Chicago Solo (Okkadisk, 1997).

Later work

Parker is better known, however, for his later work, which rapidly assimilated the American avantgarde — John Coltrane, Pharoah Sanders, Albert Ayler and others — and forged his own, instantly identifiable style. His music of the 1960s and 1970s is harsh, raw and unsettling, involving fluttering, swirling lines that have shape rather than tangible melodic content; sometimes he makes use of pure sound in a manner that recalls Steve Lacy's more radical 1970s recordings or the work of some AACM members. He began to develop methods of rapidly layering harmonics and false notes to create dense contrapuntal weaves; these involved experiments with plastic reeds, circular breathing and rapid tonguing which initially were so intense that he would find blood dripping onto the floor from the saxophone. He also became a member of the important big band, The Brotherhood of Breath.

Later recordings are equally impressive but rather less thorny, and more consistent in style, as Parker's style became less open to change; but an Evan Parker recording is still always something to contend with, and some of his recent discs, such as America 2003, are as gripping and satisfying as any of his earlier recordings.

Parker has also increasingly become interested in electronics, usually through inviting collaborators such as Phil Wachsmann, Walter Prati, Joel Ryan, Lawrence Casserley or Matthew Wright to electronically process his playing in real time, creating a musical feedback loop or constantly shifting soundscape.

Recordings

Parker has recorded a large number of albums both solo or as a group leader, and has recorded or performed with Peter Brötzmann (including Brötzmann's epochal Machine Gun in 1968 and Michael Nyman's "Waltz in F" (1981)), John Stevens, Derek Bailey, Keith Rowe, Joe McPhee, Anthony Braxton, Cecil Taylor, John Zorn, Fred Frith, Bill Laswell, Ikue Mori, Cyro Baptista, Milford Graves, George Lewis, Tim Berne, Mark Dresser, Dave Holland, Sylvie Courvoisier, and many others. Two key associations have been pianist Alexander von Schlippenbach's trio with Parker and drummer Paul Lovens (documented on recordings such as Pakistani Pomade and Elf Bagatellen) and a trio with bassist Barry Guy and drummer Paul Lytton. On Parker's 50th birthday, these two bands played a set apiece at a London concert; the results were issued by Leo Records as 50th Birthday Concert.

Parker is one of the few saxophone players for whom unaccompanied solo performance is a major part of his work.

Parker, Bailey and the drummer Tony Oxley founded the Incus record label in 1970. The label continued under Bailey's sole control, after a falling-out between the two men in the early 1980s. Currently Parker curates the Psi record label, which is issued through Martin Davidson's Emanem records. He also performs monthly at London's Vortex Jazz Club.

Though Parker's central focus is free improvisation, he has also occasionally appeared in more conventional jazz contexts, such as Charlie Watts's big band and Kenny Wheeler's ensembles, and participated in Gavin Bryars's recording After the Requiem, performing the composition "Alaric I or II" as part of a saxophone quartet.

Parker has recently contributed to David Sylvian's release Manafon.

Pop music

He also has appeared in pop-music contexts: on Scott Walker's Climate of Hunter, and on dubesque albums with Jah Wobble, the adventurous drum n bass duo Spring Heel Jack and rock group Spiritualized. He appeared on the b-side to Vic Reeves and The Wonderstuff's UK 1991 number one hit "Dizzy", performing saxophone on "Oh, Mr Songwriter" (based around "Vic Reeves Big Night Out" TV show end theme song). At one point during a sax solo, Vic can be heard shouting "Pack it in, Parker!".

Parker has also made notable appearances on record with Robert Wyatt.