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Evan Parker / Barry Guy / Paul Lytton - At Les Instants Chavirés
Recorded 1997
Released a few years back on Parker’s PSI label
Evan Parker: tenor and soprano saxophones
Barry Guy: double bass
Paul Lytton: drums/percussion
When I bought this when it was released, I was on the way out of my mind – and my patience was wearing thin for all things everywhere – and it seemed that this was simply more of the same – maybe like the “50th Birthday Concert” (1994) set with the trio, or a newer version of “Atlanta” (1986) – but not on the level of the incredible “At The Vortex” (1996)
My initial impressions were something on the order of why they (he) would release this. Then again, I couldn’t really gather the patience for anything musical by the time I bought it.
First off what is the a purpose for Parker-Guy-Lytton trio today 25 or so years into the partnership?
And this recording is from 1997, not today. I saw a similar trio (with von Schlippenbach in place of Guy – in NYC ) on their North American Tour in 2003 – of which there is a 2 CD set that I havn’t heard. Thye were pretty damn great, I think, but I wasn’t in as involved with music as I once was – so maybe the arguably formulaic nature of the music was more in my head than it was in the music.
Or maybe the formula isn’t important. I know some people here *used* to love this music – and now have moved on to more “cutting edge” or newer forms of music – mostly not jazz
And for some, is this jazz?
I think it is – in fact, it is – but for those who don’t think so – from the laft or the right – so be it – not that important.
So what happens on this disc?
An opening 12 minute tenor-bass-drum improvisation – similar to what has been heard before – but some internal snarling intensity – especially from Parker and Guy has me revisiting my past musical experiences – the 10 minute (almost obligatory?) feature with Parker on the soprano – which always seems to feature some sort of circular breathing exposition – ok – some nice things – but the most moving aspects are when he plays the soprano in a manner close to his incendiary tenor stylings.
The centerpiece follows – a 38 minute (maybe a whole set? – this stuff is usually played in shorter than normal sets – it is pretty damn intense – especially for the unitiated – well I’ve had the thing up loud, and here no different - the Guy/Lytton dialogue about 15-20 minutes is is crunchy, gripping and has me soaring in my head – Parker returns – some oraganically played circular stuff on the tenor – and some of the most intense, squirrelly and beyond fucking possible FREE jazz playing ensues over the last half of the piece.
Well if this is rote, some people can get jaded to true greatness. I understand why – this is the same stuff they have played and will play – but I argue against the bailey thesis that after a while – what is the point of playing with the same guys in a free improve settings – I say it does still qualify as a surprise – maybe only on the margins – but maybe that is not why they exist and play in this format to this day…
A little 5 minute snippet follows – seems to pick up the playing in progress and leaves unnaturally – but listening to it loud and intently one hears the reason for music of this sort – when this trio hits this type of pinnacle, there is no band that comes near this balls out intensity – doesn’t exist – and it exists in the margins of what is music of this sort. Parker plays some runs and lines on the tenor that simply come nowhere near existing on anyone else’s horn.
The 7 minute closing track starts with Parker out – and builds to a seeming conclusion until Parker plays the closing 30-40 seconds into an ending that defies logic – it can’t exist.
But it does
Still my guy – like nothing else in this world
And this new guy needs to see him with this trio – just once in this life
The Ayes Have It, baby
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