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a r t i s t : Evan Parker
t i t l e : Waterloo
d a t e : 1999
l a b e l : EmanemCD4030
g e n r e : Jazz
r l s. d a t e : October/2005
t r a c k s : 01
b i t r a t e : VBRkbps
s i z e : 83,2 MB
_______________________________________________________________________
Evan Parker: Waterloo, 1985
( Emanem : 4030 )
Evan Parker (saxophones), Paul Rutherford (trombone), Hans
Schneider (bass), Paul Lytton (percussion, electronics)
A single, hour-long improvisation from players who will be
familiar to many readers, in a setting which is similar in
sound to Parker's celebrated trio with Paul Lytton and Barry
Guy. Rutherford's presence adds an extra element of
rough-and-tumble into the mix, and the group's occasional
references to more recognisable forms of jazz are swept up in
a tightly ensemble-based sound.
What is it, exactly, that Parker's groups play when they play
this kind of stuff? It's free jazz, in a sense, but not the
same sense that Charles Gayle plays free jazz. The rhythm
drifts rather than swings (even when it drifts hard, if such a
thing is possible) and the bluesy feel of much free music is
replaced with a convoluted linearity more reminiscent of early
Coltrane than the later incarnation. The fact that Parker and
Rutherford have been playing together a long time shows in
their interveaving of melodic lines and their ability to let
different combinations of players come to the fore at
different moments.
Parker and Rutherford spend much of their time presenting
extended soloistic statements accompanied by the others,
alongside the full-blown quartet music. Parker, in particular,
lets fly a ferocious bout of circular breathing late on in the
piece, strongly recalling his solo performances, with which
the others interact in a way this writer has not heard on disc
before. Rutherford's status as one of the two or three most
important improvising trombonists in the world will be only
bolstered by this disc, too; he gets plenty of space, and he
uses it to stunning effect.
The close relationship both horn players have with Lytton is
evident in the trust they place in him. He moves the pulse
extremely slowly, marking it out with his ride cymbal but
allowing it to float in time between the very spaced-out
beats. At the same time, his drums are often attacked with
extremely frantic movement. A musician unaccustomed to his
playing might find this duality, this tendency to contain
frenetic action within a slow-moving and flexible envelope,
off-putting at first. Yet Parker and Rutherford know exactly
what he's doing: he's working at the quick-moving details in
the music while keeping a watchful drumstick on the larger
picture. This prevents the group from scrabbling about just as
it gives them plenty to play with in the moment, and the
result is masterful music.
Schneider is less well-known in the UK, of course, and his
contribution here is a little muted. Occasionally he lets rip
and gets himself heard, as he does in duet with Lytton's
electronics about halfway through the set, creating a complex,
layered sound including pizzicati, arco notes and percussion.
Mostly, though, he adds occasional touches to the group sound,
and it would be good to hear him in a more intimate setting
where his voice can be heard more clearly.
Virtually anything involving Parker tends to be essential, but
because he releases so frequently it's impossible for any but
the most fanatical collectors to keep up. This is a set which
has plenty to recommend it. Although a single, hour-long take
doesn't tempt you to dip in, it does show these players
working out their ideas over an extended period, which is
always revealing and which is unusual for Parker, on disc if
not on stage. It's the sound of four musicians playing hard
but not over-cooking the music, serving up some serious
brain-food in the process.
Richard Cochrane
_______________________________________________________________________
01-Dark Interior [60:50]
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60:50 min