William Parker

[Thinkofone]

А как его альбом сделанный под влиянием Годаровского Альфавиля?

Мне лично очень нравится. Работа монументальная и изысканная. Да и "дух первоисточника" музыка передаёт превосходно.

[Владислав «vvb5p»]

Thinkofone
первоисточника это Элюара?

[Thinkofone]

Владислав «vvb5p»
Нет, всё же фильма Годара, ибо для Паркера первоисточником явился именно он, о чём он сам, собственно, и говорит в liner notes к альбому. Книгу Элюара "La Capitale de la Douleur", частично послужившую основой для сценария Годара, Паркер вряд ли читал, хотя как знать.

[Владислав «vvb5p»]

Хочу попробовать сделать первое сообщение резюмирующим тему про этого артиста, потому попрошу владельцев структурированной информации не стесняясь её выкладывать. Полагаю это будет дискография, биография, фото, различные ссылки, и проекты (что ещё?).

[AlexMachen]

хорошо было бы еще информацию о концертах по местам, не очень отдаленным

[Владислав «vvb5p»]

ну, давайте ваши замечания по этому сырому тексту, что я вставил.

[AlexMachen]

а еще говорят, что он подешевке продал Граймсу контрабас.

[Владислав «vvb5p»]

а еще говорят, что он подешевке продал Граймсу контрабас.

ага, сейчас добавлю в биографию

[Sh]

William Parker
"Music is..."
(стихотворение, отрывок)
Music is the abysmal rainbow that bridges endless galaxies. It is the waterfall flowing through the desert, the mother, the offspring, the ointment, the foot and hand of the wind. All of nature is music: the many colored skies, space and planets.
Music is every wondrous canyon in a miracle’s dream. Music is evolution, the seed of change. Music existed and exists with or without human beings.
No race invented music...

[AlexMachen]

...No race invented music...

политкорректно

[Владислав «vvb5p»]

Может быть попробуем собрать информацию по сайд-проектам Паркера и нет ли у вас претензии по дискографии?

[Владислав «vvb5p»]

Инструменты Паркера:
басс, я думаю все видели:


shakuhachi:


double reed:


tuba:


donso ngoni:


gembri:

[Владислав «vvb5p»]

На сайте прочел что он хилер и мистик...чорт, не знаю как с этим быть.

[Владислав «vvb5p»]

и еще ему в заслугу ставят то, что он наладил связи с европейской импро-сценой.

[Sh]

не могли бы выложить его этнический summer snow 2 (в мп3 или как удобно)

[nbasova]

[nbasova]

ПАРКЕРОВСКАЯ КОНЦЕПЦИЯ БАСА

W.Parker (Liners notes from his CD Lifting The Sanctions)

The role of the bass in a traditional Jazz group is to support the lead voice which is usually the horn (sax, trumpet, etc.) keyboard or mallet instruments. This support in the classical jazz sense requires that the bass does two things:

1. Keep time (along with the drums) in a set time measurement.
2. Play harmonic notes underneath the horns or keyboard.

For years, these were the functions of the bass. In the 60´s with the emergence of the Avant Garde, the role of the bass changed along with the new free forms of music construction. Time was the continuum that existed or with or without us. The bass and drums could (now) play rhythm, pulse, texture, density, speed, color, melody time or just play sound. These ideas were pioneered by the great bassists Henry Grimes, Alan Silva, Lewis Worell, Gary Peacock, Reggie Workman, Ronnie Boykins and Jimmy Garrison.

The inspiration for what I hear on the bass comes from Native American, Asian, African, Indian, and Blues. In my playing I utilize many different concepts and techniques:
1. No Note Technique: Playing the bass without using stops of the left hand. This is also called harp technique (African kora…Gambia, West Africa).

2. Drum Technique: A percussive technique where I relate the bass to a trap drum set. G – string is a ride cymbal, D – string is a snare drum or kalungu (African talking drum), A – string is a tom tom, and the E – string is a gong or bass drum. In playing this style, the emphasis is on rhythm and sound.

3. Note Concept: The traditional approach to the bass tuning so-re-la-me (G-D-A-E). Press position stops on the bass correspond with the diatonic tuning of the piano.

4. Sound Concept: Using sound instead of notes, this concept can be bowed or plucked.

Within these basic techniques, there are over 10 ways to bow the bass in order to evoke a full spectrum of sound:
1. Middle bow position: the bow is placed in the middle between the bridge and the end of the fingerboard.

2. Low bow position: Bowing closer to the bridge to get a more voluminous sound.

3. High bow position: the bow is placed closer to he fingerboard to achieve a softer sound.

4. Vertical bowing: A texturing sound can be achieved by bowing the string vertically up and down.

5. Circular bowing: Bowing in a circular motion produces a continuous sound.

6. Harmonic bowing: Touching the bow very lightly on the strings to get harmonics or light colors. This technique can be used in the middle, low, and high bow positions.

7. Turn bowing: The concept of running the wrist outward, flicking the bow in a forward motion on a down-bow.

8. Stick technique (col legno): Tapping the strings with the wood part of the bow.

9. Stick arco: Bowing the strings with the wood part of the bow.

10. Stick/Hair Technique: Bowing the strings with the stick and hair of the bow simultaneously.

There are also double and triple bow techniques and as many others have invented. In addition there are numerous ways to strum, pluck or pull the bass strings.

It is initially about strings. 1 string, 2 strings, 3 strings or 4. Strung over a bridge connected to the gourds, shell or carved boxes made of maple, spruce, pine, cherry wood oak. The gift is music which comes in many forms wrapped and unwrapped. Sometimes covered in silk, other times covered in ashes. It is not about jazz, it is about sound as revealed through the mysteries of life. About those who have said yes to the whisper of a flower and the shout of a blue hurricane. The politics of strings is about feeling, seeing and hearing (in that order).

W.Parker

взято из официального сайта У.Паркера

официальный сайт

[Владислав «vvb5p»]

nbasova
спасибо, но, конечно, лучше в переводе всё это дать, ведь у нас русскоязычный форум. Или уж ссылкой тогда

[Roman]

Австрийские коллеги рассказали забавную историю. Чарли Хейдену как-то дали послушать игру Уильяма Паркера в некоем блайндфолд-тесте. Прослушав, Хейден сказал, что басист очень слабый, плохо владеет контрабасом и не имеет никакого понятия о звуке и интонации.

[AlexMachen]

Roman
незаконченая история выходит.

[Владислав «vvb5p»]

[DWord]

Владислав «vvb5p»
Как он вам, кстати? Знаю, что у вас уже есть, наверное уже ознакомились...

П.С. 20 сентября вышел вот такой, пока не попадался - I Plan To Stay A Believer: The Inside Songs of Curtis Mayfield

[kvinto]

а что за альбом этот Organ quartet и какая фирма выпустила?

[Nikolai Shienok]

а что за альбом этот Organ quartet и какая фирма выпустила?

William Parker Organ Quartet
Uncle Joe’s Spirit House
Centering Records 1004

At times, Uncle Joe’s Spirit House feels more like a personal anniversary present to Parker’s relatives than anything else. And yet it’s very modesty and loving purpose calls into question what exactly “avant-garde” means and what role it can play in our lives. It’s not art for art’s sake but a life-affirming gift given in admiration to a couple that lived exemplary lives. It is avant-garde music with a meaningful social function as well as artistic integrity.

Riding on drummer Gerald Cleaver’s grooves, kicked along by Cooper-Moore’s organ accents, born aloft by Parker’s continuous flow of vamps and lines, with a warm layer of melody provided by saxophonist Foster, it’s a particularly joyful album. It’s post-Larry Young organ music, in the sense that it doesn’t lean on the bop-blues-and-ballads formula of earlier organ combos, but its looser, street feel and angularity separate it from Young as well. As is the case on the Mayfield songs disc, different popular forms are alluded to, but not strictly adhered to. “Ennio’s Tag” is based on a bossa nova rhythm, but the band treats it as a malleable foundation, grooving on the relaxed atmosphere it creates, but not playing it like Brazil ‘66 either. “Let’s Go Down to the River” has a gospel feel to it. Compositions such as “Jacques Groove” and the title track have pronounced beats, but the band puts them through many transformations in performance. Foster has a strong, but not at all macho sound and a keen sense of melody when he solos. He manages to be both accessible and canny in his navigation of this deceptively mercurial music. He is gentle and soulful on “Document for LJ,” and ardent on “Let’s Go Down to the River.” Cooper-Moore is in many ways the heart of the band, as he was in Parker’s In Order to Survive ensemble. He uses Parker’s composition to guide his solo on the title track and picks up on the grooves and references in the music without ever being literal about anything. He seems to take special joy in the organ’s powerful sound when he comps, dropping accent chords that tip the beat this way and that, laying down thick layers of countermelody or deep harmonies to plump the music with extra sound and vitality. Parker has more unconventional ways to swing the music than any bassist alive. Uncle Joe’s Spirit House does not storm the gates of heaven the way some Parker discs do, but it fulfills its human-scaled purpose with warmth and verve and musical integrity.

One of the more persistent myths about free jazz since the 1960s is that it some how turned its back on “the people” because it doesn’t sound like popular music or jazz from a previous era. A foolish notion. Parker’s latest CDs tell us that the avant-garde can sometimes be grounded in a commonly experienced culture, and that it is always grounded in a common humanity.
–Ed Hazell

[DWord]

kvinto
К сказанному выше могу добавить что пластинка посвящается 65 летней годовщине свадьбы тети Кэрри Ли и дяди Джо, фотография которого на обложке. Тут подробней -http://www.aumfidelity.com/cent1004.html.

По повожу музыки пока сказать особо нечего, не было времени послушать полностью. Правда, мне показалось, что это не совсем характерная для Паркера запись - все строго в рамках традиции...