Fascinating combination of two uncompromising saxophonists. Seymour Wright grew up listening to Evan Parker's radical reshaping of the saxophone and both develops and deconstructs it in his own playing. Together, the two interrupt and augment each other incessantly, creating tight spirals of difference and similarity that crackle with ideas and energy.
"Wright’s penetrating attack stands out throughout, providing an effective foil for Parker’s more serpentine phrasing. One thinks here of Parker’s duo outings with reed players like Steve Lacy, Anthony Braxton, Wolfgang Fuchs, or Lol Coxhill and Wright certainly holds his own." - Michael Rosenstein, Point of Departure
Evan Parker / soprano and tenor saxophones
Seymour Wright / alto saxophone
The title comes from the writing of Daniil Kharms. Thank you Ute, Evin, the Kernel Brewery, Geoff and Derby Jazz. Recorded by Sebastian Lexer on 5 October 2014 at the Kernel Brewery, London (1-2) and by David Reid on 12 October 2014 at The Studio, Derby (3-5). Mixed and mastered by Rupert Clervaux at Gray’s Inn Road. Artwork/Design by James Vickery. Music by Evan Parker and Seymour Wright. Produced by Trevor Brent
Available as 320kbp MP3 or 16bit FLAC
1. Wheel I - 17:55
2. Wheel II - 09:35
3. Stone I - 02:45
4. Stone II - 09:57
5. Stone III - 05:18
Seymour Wright – saxophonist, investigator, artist – lives in London. His practice is about the saxophone – music, history and technique – actual and potential; an on-going, rigorous and exhaustive exploration of the instrument. The energy of this learning is applied to various collaborations and contexts to access/share what he has called the ‘awkward wealth of investigation’. His work is documented on three widely acclaimed self-released collections Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
As well as XT, his current collaborations include lll人 (with Daichi Yoshikawa and Paul Abbott), abaria (with Ute Kanngiesser), [Ahmed] (with Antonin Gerbal, Joel Grip and Pat Thomas), GUO (with Daniel Blumberg), S.T.E.P.S. (with Evie Ward), an on-going ‘quartet’ collaboration with Paul Abbott, Cara Tolmie and Will Holder, and, a trans-atlantic collaboration with Anne Guthrie.
"If you've ever been tempted by free improvisation, Parker is your gateway drug." - Stewart Lee
Evan Parker has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO).
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.