05 aprile 2014

Evan Parker compie oggi settant'anni, e li festeggia con uno speciale concerto al Kings Place londinese in compagnia di Phil Wachsmann, Alison Blunt, Sylvia Hallett, Dylan Bates, Aleksander Kolkowski, Benedict Taylor, Hannah Marshall, Alice Eldridge, Marcio Mattos, John Russell, John Edwards, David Leahy, Adam Linson, Django Bates, Percy Pursglove, John Rangecroft e Neil Metcalfe. Così immagina la serata: "The idea for the evening started, as always, with the choice of fellow musicians: seventeen so far, all diverse geniuses, and stalwarts of the London free improvising scene. I've worked in smaller and larger combinations with almost all of them over the years. There are existing playing relationships in smaller groups, but also the potential for completely new subgroupings, some solid ground and some outer space. Perhaps the most long-standing colleague is violinist Phil Wachsmann. We worked with Derek Bailey in the final concerts by the Music Improvisation Company. And guitarist John Russell, who I first knew at the Little Theatre Club as a young man with very adventurous taste in music - a long time ago! There's an array of small group possibilities for the first half. The regular trio I have with John Edwards and John Russell, the trio of string players Alison Blunt, Benedict Taylor and David Leahy would be obvious choices, but there are many more possibilities. The second half will be for the full group. I am working on a sequence of events to underpin that". Auguri!

Evan Parker has been playing sax since he was 14. Over his long, innovative and sometimes controversial career, he has collaborated and formed long-term associations with many jazz greats, explored the use of 'noise', experimented with home-made instruments, co-founded the ground-breaking and hugely influential Incus label, and embraced sound processing and electronica.
He is perhaps most recognized as the creator of a new solo saxophone language, extending the techniques and experiments started by John Coltrane and Albert Ayler, taking them into the realm of abstraction. His use of circular breathing techniques to create extended, complex, overlapping, repetitive and beautiful soundscapes is generally seen as the apex of saxophone virtuosity.