| Drawn Inward | ||||
|---|---|---|---|---|
 | ||||
| Studio album by Evan Parker Electro-Acoustic Ensemble | ||||
| Released | 1999 | |||
| Recorded | December 1998 | |||
| Studio | Gateway Studios Kingston, England | |||
| Genre | Jazz | |||
| Length | 65:16 | |||
| Label | ECM ECM 1693 | |||
| Producer | Steve Lake | |||
| Evan Parker chronology | ||||
| ||||
Drawn Inward is an album by the Evan Parker Electro-Acoustic Ensemble recorded in December 1998 and released on ECM the following year. [1]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [2] |
| The Penguin Guide to Jazz Recordings |  [3] |
| All About Jazz | [4] |
The authors of the Penguin Guide to Jazz Recordings wrote: "this is very much a collaborative project and not just an Evan Parker project. Wachsmann and Guy are absolutely central to the multi-dimensional harmonic language, while Lytton's percussion is ever more subtly dramatic." [3] The AllMusic review by Steve Loewy awarded the album 4 stars stating:
Evan Parker has performed in so many contexts, but he seems to have hit a particular stride with his Electro-Acoustic Ensemble, a strange combination of saxophones, strings, and electronics. What makes this so exceedingly attractive is the continuous wonder that permeates throughout... Parker fans that have not heard this group before may be surprised at the results. Although the saxophonist embraces his now well-known advanced techniques, they are clearly subordinate to the project. At times there is a busy intensity to it all, at others a serene quality. Highly complex strokes for an increasingly intricate society, perhaps, where moods change and so do their contexts. Don't file under easy listening. [2]
Writing for All About Jazz, Glenn Astarita commented: "On many occasions, the musicians invoke the sensation of performing on some sort of imaginary plane as the music stretches outward or conveys a truly expansive landscape that seems infinite or unending... here are no preordained ground rules as the exhaustive intercommunication, inexplicable themes and unique phraseology should supply enough data or stimulus to keep us pondering for a good 65 minutes or so." [4]
Evan Shaw Parker is a British tenor and soprano saxophone player who plays free improvisation.
Barry John Guy is an English composer and double bass player. His range of interests encompasses early music, contemporary composition, jazz and improvisation, and he has worked with a wide variety of orchestras in the UK and Europe. He studied at the Guildhall School of Music under Buxton Orr, and later taught there.
Philipp John Paul Wachsmann is an African avant-garde jazz/jazz fusion violinist born in Kampala, Uganda, probably better known for having founded his own group Chamberpot. He has worked with many musicians in the free jazz idiom, including Tony Oxley, Fred van Hove, Barry Guy, Derek Bailey and Paul Rutherford, among many others. Wachsmann is especially known for playing within the electronica idiom.
Paul Lytton is an English free jazz and free improvising percussionist.
Melancholy is a live album by Cecil Taylor's Workshop Ensemble featuring Evan Parker, Barry Guy and Tony Oxley recorded on September 30, 1990, at the Bechstein Concert Hall in Berlin and released on the FMP label.
Lawrence Casserley is a composer, conductor and performer, to real time electro-acoustic music. Lawrence Casserley was professor of electro-acoustic music at the Royal College of Music in London
Toward the Margins is an album by the Evan Parker Electro-Acoustic Ensemble, recorded in 1996 and released on the ECM New Series the following year.
Composition/Improvisation Nos. 1, 2 & 3 is a live album by jazz saxophonist and composer Roscoe Mitchell recorded in Germany in September 2004 and released on ECM in 2007.
Boustrophedon is a live album by free jazz saxophonist and composer Evan Parker and the Transatlantic Art Ensemble, featuring Roscoe Mitchell, recorded in Germany in September 2004 and released on ECM in 2008.
Memory/Vision is a live album by the Evan Parker Electro-Acoustic Ensemble recorded at the Norwegian Academy of Music in Oslo in October 2002 and released on ECM the following year.
The Eleventh Hour is an album by British saxophonist and improvisor Evan Parker's Electro-Acoustic Ensemble recorded in November 2004 and released on ECM the following year.
The Moment's Energy is an live album by the Evan Parker Electro-Acoustic Ensemble recorded at the Lawrence Batley Theatre in November 2007 and released on ECM in 2009.
Rocket Science is the eponymous debut album by the collaborative quartet assembled by trumpeter Peter Evans and featuring British saxophonist Evan Parker, pianist Craig Taborn and computer musician Sam Pluta. It was recorded live at the Vortex in London, at the start of the quartet's first tour which then visited the Bimhuis in Amsterdam and the Moers Festival in Germany. Evans recorded Scenes in the House of Music with the Parker-Guy-Lytton trio, and is a member of Parker's Electro-Acoustic Ensemble. Taborn played piano in Parker's Transatlantic Art Ensemble which recorded Boustrophedon. Pluta is a member of the Peter Evans Quintet that recorded Ghosts.
Composition No. 94 for Three Instrumentalists is a live album by composer and saxophonist Anthony Braxton featuring two variations of the title piece recorded in Italy in 1980 and first released on the Golden Years of New Jazz label in 1999.
50th Birthday Concert is a double CD live album by British saxophonist and improviser Evan Parker recorded at Dingwalls in 1993 and released on the English Leo label.
Inscape–Tableaux is an album by bassist Barry Guy. It was recorded on May 18 and 19, 2000, at Rote Fabrik in Zürich, Switzerland, and was released in 2001 by Intakt Records. On the album, which features a seven-part composition by Guy, he plays bass and directs members of his New Orchestra: Evan Parker and Mats Gustafsson on saxophone, Hans Koch on saxophone and clarinet, Herb Robertson on trumpet, Johannes Bauer on trombone, Per Åke Holmlander on tuba, Marilyn Crispell on piano, and Paul Lytton and Raymond Strid on percussion.
After Appleby is a double-CD album by the members of the Evan Parker Trio, with guest pianist Marilyn Crispell. One CD was recorded on June 28, 1999, at Gateway Studio in London, while the other was recorded live the following day at the Vortex Jazz Club in London. The recordings took place immediately after the Appleby Jazz Festival, where the musicians performed in a variety of combinations. The album was released in 2000 by Leo Records.
Oort–Entropy is an album by bassist Barry Guy. It was recorded in May and July, 2004, at SWR Studio in Baden-Baden, Germany, and was released in 2005 by Intakt Records. On the album, which features a three-part composition by Guy, he plays bass and conducts members of his New Orchestra: Evan Parker and Mats Gustafsson on saxophone, Hans Koch on bass clarinet, Herb Robertson on trumpet, Johannes Bauer on trombone, Per Åke Holmlander on tuba, Agustí Fernández on piano, and Paul Lytton and Raymond Strid on percussion. Oort–Entropy is the group's second recording, following 2001's Inscape–Tableaux.
Harmos is an album by Barry Guy and the London Jazz Composers' Orchestra that features a recording of a large-scale, 44-minute composition by Guy. It was recorded in April 1989, just before the LJCO's 20th anniversary, in Zürich, Switzerland, and was released later that year by Intakt Records. Guy interpreted the Greek title in its original meaning of "coming together," and the work attempts to find solutions to the challenges surrounding the coexistence of improvisation and composition.
Double Trouble Two is an album by Barry Guy and the London Jazz Composers' Orchestra with guest artists Irène Schweizer (piano), Marilyn Crispell (piano), and Pierre Favre (drums). Documenting a large-scale, 47-minute composition by Guy, it was recorded in December 1995 in Zürich, Switzerland, and was released in 1998 by Intakt Records.
