#williamparker

[projazznet]

William Parker Keeps Refining His Approach to the Bass—and Music

JazzTimes’  2021 Critics’ Poll winner for Artist of the Year sits down with fellow bassist Melvin Gibbs for an in-depth interview

[matwalerian]

Tokyo, Japan - JazzTokyo - Okuden | Walerian Shipp Parker Drake

"His latest work is so fulfilling that I want to list it as the best album of the year … researcher of Indian and Japanese culture ... an understanding of Japanese artworks that value the beauty of blank space… Walerian composes songs filled with respect and deep understanding of Asian culture, especially Japanese paintings, films and music…"

"Walerian's saxophone and bass clarinet drift in the dark, with a hint of blues… wood-based sound like the sound effects used in kabuki and old Japanese movies."

"Shipp, Drake, Parker are familiar with his aesthetic sense, and the good compatibility and mutual trust of the four people have led to the success of this work…"

Mat Walerian's "Okuden" series 4th (ESP). This is an album by the Okuden Quartet, led by Mat Walerian, a lead player from Poland born in 1984, and his fourth leader work released on the US ESP label. I was at a loss as to which one to pick first among the albums from Poland, a country that boasts a particularly prominent jazz culture in Central Europe. His latest work is so fulfilling that I want to list it as the best album of the year, so I decided to choose his album regardless of its name recognition.

Walerian's co-stars include three influential figures who have made their names in the history of American free jazz. Those who know them well may be surprised to find that the three former David S. Ware co-stars are now playing with an almost unknown Polish lead player. Articles about Mat Walerian's albums often mention David S. Ware as the name of his co-star. They may have similarities, but they are almost a different type of lead player.

Mat is a researcher of Indian and Japanese culture, an understanding of Japanese artworks that value the beauty of blank space, and can be imagined as a person who tries to reflect that beauty in his own work. Matthew Shipp (p), Hamid Drake (ds), William Parker (b), are familiar with his aesthetic sense, and the good compatibility and mutual trust of the four people have led to the success of this work. Walerian's saxophone and bass clarinet drift in the dark, with a hint of blues. There may be a lot of heavy songs, but it's an album that I want you to listen to carefully.

The first song, "The Forest Council," which lasts more than 18 minutes, begins with a wood-based sound like the sound effects used in kabuki and old Japanese movies, followed by a heavy, roaring bass clang sound that reminds me of it. It was the old Western castles and forests shrouded in darkness. The sound of plucking the strings inside the piano and the bass sound of the biwa strumming lively. The next track, Thelonious Forever, despite its title, at first reminds us of the interaction between George Adams (ts) and Don Pullen (p). The trilogy that follows, Magic World, alternates between heaviness and lightness. The terrifying sounds of the bass clad are used humorously, and in Part 3 of the suite, you can feel the best groove of this work, but before long, the dimness that this quartet is good at sweeps over.

Even in the second half of Sir Denis, the atmosphere does not change, and although the four members' attitude is thorough, Hamid Drake's cymbals and Matthew Shipp's piano that can be heard as if the sun is shining through the clouds are beautiful and easy-going. The contrast with the soprano clarinet is interesting. Where William Parker's intense but poetic performance stands out even more in Business With William, the structure leading to the final song Lesson II, which solemnly begins, is splendid. Parker's shakuhachi and Walerian's flute clash violently before Parker reappears with his bass, strumming wildly.

As with the first song of this work, the four of them are not just playing a vaguely Japanese sound on this final song. Walerian composes songs filled with respect and deep understanding of Asian culture, especially Japanese paintings, films and music. I was surprised by the wonderful sense of using this for the opening and closing of the album, and I was impressed by the appearance of the other three performing improvisational performances as if they were close to Walerian's thoughts and challenged.

Well, how did Mat Walerian, who was active in Poland, get to know the important figures of the American avant-garde jazz world and come to sign with the ESP label in 2015? I'm curious about the reason, but anyway, according to information on the internet, he basically learned his current playing ability by self-study. He also seems to have studied Japanese music somewhere in Poland. The influence of Asian culture, including that of Japan, is strong in any of the four albums he has released, confirming this information.

He took lessons from Hamid Drake in 2008 and developed a relationship with him before meeting Matthew Shipp and getting the chance to work with them. Two people began to appear in regular concerts of the music project "Okuden Music" that he launched in the city of Torun. It was also released as a second album.

I can't find any materials that explain in detail why Walerian named the word Okuden to his music projects and quartets, but it means "to be taught a secret (from a teacher to a student)." He may have tried to connect this word with concept sharing in free improvisation. Some US jazz critics describe Okuden as 'inner teaching'. Reminiscent of the world of martial arts, this solemn-sounding word may well fit the atmosphere of the first and last songs of this album.

Finally, I would like to add about the bassist of this work, William Parker. Probably because he seems to be a great understanding of the Walerians.

The Okuden concert was being held in the city of Torun, which is less than three hours away from Warsaw, the capital of Poland. William Parker, an ally of the two, also admired Wallerian. Parker has written the liner notes for two albums, and they exude extraordinary excitement. It's a bit of a paraphrasing, but the words "Walerian's play is reminiscent of Sesshu's brilliant brushstrokes in Japanese paintings. There is a haiku-like narrative and a mysterious charm." will be represented in.

After that, William Parker, who co-starred with Walerian, drew a world full of Japanese emotions, sometimes adding to Walerian's paintings, and listened to his intense play, which can be felt as his true value. Praises abound for the other three, but when the bassist comes on board, you can't help but be overwhelmed by his playing. And this work is not his leader work, but I think it is memorable as an important work.

(William Parker appeared on Wallerian's third album as a member of the trio Toxic with Matthew Shipp before joining the quartet.)

Okuden Quartet / Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter JazzTokyo review available here :

https://jazztokyo.org/reviews/cd-dvd-review/post-58230/

[brinton1704]

Registration is closing soon for The Christiana Resistance with Historical Society President, Darlene Colon on 11/12 at 3pm EST! Don’t miss your chance to attend! #theundergroundrailroad #thechristianaresistance #abolitionist #williamparker #brinton #brinton1704house #localhistory #civilwar #westchesterpa #lancastercountypa #lecture https://www.instagram.com/p/CkwPYUtpUPQ/?igshid=NGJjMDIxMWI=

[omanxl1]

(via William Parker - If There's a Hell Below )

#AfternoonJazz, #LeenaConquest, #CurtisMayfield, #DaveBurrell, #HamidDrake, #SabirMateen, #souljazz, #williamparker, #ThrowbackThursday

[alanlicht]

Complete Q&A for Other Music documentary Blu-ray

Rob-Hatch Miller sent me some questions about Other Music to be included in an oral history of the store in the booklet for the blu-ray release of the documentary he made about it with Puloma Basu. It’s out now (available here) with some edited quotes from me in the booklet--but here’s the whole exchange:

What’s your most vivid memory of Other Music?

Probably the times I played there. I think Loren Connors and I were actually the first people to play an in-store at Other Music--which was later released on our CD Two Nights. I also remember playing there with Run On, and with Lee Ranaldo and the Dust--that's almost a 20-year span right there. Title TK also did a performance at Other where the three of us just walked around and shopped while talking into our mics, and the audience watched--that was pretty special. One of the employees said to me afterwards that he heard customers having conversations like ours in the store all the time, but never as a performance, so I think that was a brain-twister for the people working there as well.

One other in-store I remember going to, as an audience member, was Alan Silva and William Parker. They played some music but they also talked for quite a while, and one thing Alan Silva said really struck me-- "You know, I could never play a tune." Meaning, after all his years as an improvisor and composer, he could now never play a jazz standard or something like that, even though he was more than capable of doing so. That's something I totally admire.

Of course I also worked at Tonic from 2000 to 2007 and I was always bringing tickets over to the store, as Other Music was the only place you could buy advance tickets for concerts there besides our box office--so I had a lot of dealings there on that level too.

What’s an album or two you associate with Other Music?

I remember buying two albums there that Other Music was way ahead of the curve on: OM got a box of sealed copies of Arthur Russell's World of Echo in, certainly before it got reissued, and before he was generally rediscovered (I had actually bought his Another Thought CD used at Other Music a while before that), and Belle & Sebastian's If You're Feeling Sinister--the store was really touting that album, again before anyone had any idea who there were.

What do you think made Other Music special?

Besides the obvious cliche of it being a kind of community center, a role that no other record store in NY really plays anymore, I liked the names they gave to the different sections, rather than the usual genre classifications like rock, jazz, etc--"In," meaning regular indie rock, "Out" meaning avant garde, "Then" meaning reissues, "La Decadanse" meaning dance music, et. al. Those were really hip!

Anything else you want to share about Other Music or records and record stores generally?

I've spent way too much time and money in record stores over the years, and Other Music was no exception, hahaha!

[lkornalijnslij2]

Posted @withregram • @trane_94 #williamparker https://www.instagram.com/p/CKy69VAArD0/?igshid=24t6s65vvkod

[budaallmusic]

Ensemble Muntu ‎– First Feeding #muntuRecords 1977 🇺🇸 US Bass, Cello – #WilliamParker Drums – #RashidBakr Layout [Back Cover] – #CLiebowitz, J. Moondoc Layout [Front Cover] – J. Moondoc Photography By [Back Cover] – #CPicco Photography By [Front Cover] – #TTashijan Piano – #MarkHennen Producer – #EnsembleMuntu, Piano Magic Saxophone, Composed By – #JemeelMoondoc Trumpet – #ArthurWilliams https://www.instagram.com/p/CAia0YxptLw/?igshid=gzarjj16oest

[cliggomusic]

Listen to William Parker for free: https://music.cliggo.com/artist/222600-William_Parker

[scentedpiekidpatrol-blog]

#DanielCarter #WilliamParker #FedericoUghi #NavajoSunrise #RudiRecords (presso Blutopia) https://www.instagram.com/p/Bsqg8RIAGMC/?utm_source=ig_tumblr_share&igshid=1ufhagiy7nmuu

[freelancerbijoy]

✅ Are you looking for a motion designer? ✅ Do you want to promote your Business/Services and increase your sales? Here I uploaded another work that has been done via Fiverr. I'm really happy to complete this project. Client Name: williamparks Location: Spain Feel Free to send me a message if you need this type of animation Follow me on Instagram to see more work: Freelancerbijoy

[projazznet]

William Parker & The Little Huey Creative Music Orchestra – Mayor of Punkville

Mayor of Punkville is a double live album by American jazz bassist William Parker and his Little Huey Creative Music Orchestra.

[paulsemel]

My fellow jazz fans: fear not, for "Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter," the new album by Mat Walerian, Matthew Shipp, William Parker, and Hamid Drake, is here and it is good. My review:

. . . . . . . . . . . . .

🎷🎹🥁🎻🎶

#Music #Jazz #FreeJazz #MatWalerian #MatthewShipp #HamidDrake #WilliamParker #OkudenQuartet  #OkudenQuartetEveryDogHasItsDay #OkudenQuartetEveryDogHasItsDayReview #MatWalerianEveryDogHasItsDay #MatWalerianEveryDogHasItsDayReview #MatthewShippEveryDogHasItsDay #MatthewShippEveryDogHasItsDayReview #HamidDrakeEveryDogHasItsDay #HamidDrakeEveryDogHasItsDayReview #WilliamParkerEveryDogHasItsDay #WilliamParkerEveryDogHasItsDayReview

[omanxl1]

(via David S Ware Quintet / Aquarian Sound.)

#AquariusSeason, #AquarianSound, #DavidSWare, #DavidSWareQuintet, #djmixes, #GuillermoBrown, #JazzFunk, #MatthewShipp, #poetry, #souljazz, #sundayjazz, #WilliamParker

[atypeekmusic]

Roy Campbell, Daniel Carter, William Parker, Hamid Drake - Suite For Mil...

[3fmeirinkanbldg-blog]

Godspelized David S .Ware Quartet #davidsware #davidswarequartet #matthewshipp #williamparker #susieibarra #diwrecords #diskunion #freejazz (明倫館ビル3階)

[thepacereport]

The Pace Report: "The Art of Freedom, Musically" The Ivo Perleman Interview

Saxophonist and artist Ivo Perelman has been a professional musician ever since he began playing classical guitar in his native Brazil since the early 1960's. As he got exposed to jazz he turned away from his deep classical roots and played instruments ranging from the cello to bass to clarinet.

It wasn't until he heard saxophonist Wayne Shorter's "Schizophrenia" that he wanted to play the saxophone. In fact, it wasn't until he was 16 when he found his voice and sound that he was searching for.

Ivo left for Boston where he attended Berklee School of Music where he continued to follow his musical pursuits. He then quit school and played in many bands before he moved to Los Angeles where he attended the Dick Grove School of Music where he earned a degree in composing. After composing and writing for years Ivo began playing and improvising. His decision musically led him to play free jazz where his composing began as a form of improvising.

Ivo has produced and released over 30 CDs in seven years including his latest recording "Heptagon" featuring longtime collaborator Matt Shipp on piano, William Parker on bass, and Bobby Kapp on drums.

I sat down with Ivo at ShapeShifter Lab in Brooklyn for his official record release to talk about free jazz, his collaboration with pianist Matt Shipp, and his what Albert Ayler means to him as a musical influence.

For more info on Ivo's upcoming club dates or to order his latest CD please visit him online at ivoperleman.com.