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a r t i s t : Evan Parker Electro-Acoustic Ensemble
t i t l e : The Eleventh Hour
d a t e : 2005
l a b e l : n/a
g e n r e : Avantgarde
r l s. d a t e : Sep-22-2005
t r a c k s : 06
b i t r a t e : VBRkbps
s i z e : 99,5 MB
_______________________________________________________________________
Evan Parker Electro-Acoustic Ensemble: Evan Parker (vocals,
soprano saxophone); Lawrence Casserley (vocals, percussion);
Philipp Wachsmann (violin, electronics); Agusti Fernandez
(piano, prepared piano); Richard Barrett (keyboard,
electronics, sampler); Adam Linson (double bass); Paul Lytton
(percussion, electronics); Paul Obermayer (electronics,
sampler); Walter Prati (computer); Joel Ryan (sampler); Marco
Vecchi (sound projection). Recording information: Glasgow,
Scotland (11/2004)
--------------------------------------------------------------
"...Over the course of three albums for ECM, Parker's ensemble
has grown in literal size and scope, developing one of the
most forward-looking examinations of modern technology's
potential. In Parker's eyes, the artists who take the acoustic
signals provided by the ensemble's "real" instrumentalists and
interpret them to broaden the ensemble's sonic scope are equal
players in the processùan innovative philosophy in and of
itself.
For the ensemble's fourth outing, The Eleventh Hour, Parker
expanded the nonet from 2003's Memory/Vision to an
eleven-piece group. Interestingly enough, the added members
are sound processors, leaving Marco Vecchi free to do what
Parker terms "sound projection"-improvisationally creating a
three-dimensional image of the acoustic and electronic sounds,
an increasingly complex and challenging task.
The five-part title suite, which takes up 55 of the albumÆs 72
minutes, is a live recording from the first night of the
ensemble's residency at Glasgow's Centre for Contemporary
Arts' 2004 Free RadlCCAls concert and workshop series. It's as
challenging as anything the ensemble has done, owing aesthetic
debts to contemporary classical compositionùdespite its keenly
improvisational natureùmaking it difficult to assess by
conventional musical standards. The suite ebbs and flows, with
more spacious smaller groupings of the ensemble emerging, only
to again become periodically swallowed up in the full group's
greater density. While it is possible at times to distinguish
specific instruments, the recording is more about creating
texture and collective aural landscapes than working within
established musical traditions.
The opening "Shadow Play" is the best piece to demonstrate on
a smaller scale what the larger ensemble is about. With only
Parker playing soprano, sound sculptors Lawrence Casserley,
Joel Ryan, and Walter Prati demonstrate just how far Parker's
endless variations can be taken, massaging and enhancing them
to create sonically richer terrain.
While The Eleventh Hour is not an album for listeners tied to
conventional musical approaches, it remains striking and
strangely compelling, if for no other reason than it
demonstrates just how far the creative mind can expand even
well-established concepts into completely new territory."
_______________________________________________________________________
01-Shadow Play [17:29]
02-The Eleventh Hour Part 1 [12:52]
03-The Eleventh Hour Part 2 [09:33]
04-The Eleventh Hour Part 3 [12:03]
05-The Eleventh Hour Part 4 [15:33]
06-The Eleventh Hour Part 5 [05:28]
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72:58 min