The London Concert | ||||
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Live album by | ||||
Released | 1975 | |||
Recorded | February 14, 1975 | |||
Venue | Wigmore Hall, London | |||
Genre | Free improvisation | |||
Length | 1:08:31 | |||
Label | Incus 16 | |||
Derek Bailey chronology | ||||
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Evan Parker chronology | ||||
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The London Concert is a live album by guitarist Derek Bailey and saxophonist Evan Parker. It was recorded on February 14, 1975, at Wigmore Hall in London, and was initially released on vinyl later that year by Incus Records. In 2005, it was reissued on CD by Parker's Psi label with additional tracks, and in 2018, it was reissued on vinyl in remastered form but with the original four track format by Cafe Oto's Otoroku label. [1] [2] [3] [4] [5] [6] [7]
Review scores | |
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Source | Rating |
All About Jazz | [8] |
AllMusic | [1] |
The Encyclopedia of Popular Music | [9] |
The Penguin Guide to Jazz | [10] |
Regarding the Psi reissue, the authors of The Penguin Guide to Jazz Recordings wrote: "There are solo spots, but it is in the interplay between two of the five defining figures of British improvisation... that the real value of the set lies... this still seems fresh and inventive, for all its standing as a memorial to lost friendship." [10]
John Eyles of All About Jazz stated: "close listening reveals [Bailey's] usual trademarks, not least his total avoidance of clichés, licks, or anything smacking of pre-preparation... Parker is instantly recognisable as the precursor to his modern day self... it is the chance to hear the two masters interacting and bouncing ideas off each other that makes this release historic." [8] Another AAJ reviewer commented: "what is noticeable in this context is how each of the eight tracks seems to be moderate and unhurried... this duo performance is invested with the novelty and excitement of musical discovery, and it should attract anyone who desires a deeper insight into the musical currents of those times." [11]
Reviewing the reissue for One Final Note, Michael Rosenstein remarked: "Listening to this it's hard to imagine how radical it must have sounded three decades ago. In the intervening years, Bailey's desiccated shards and Parker's serpentine lines and shattered multiphonics have virtually defined the vocabulary of countless musicians. And their spitfire spontaneous interactions have become as much a strategy for improvising as bop's harmonic refractions of standards. But listening to these two as they push at the edges of discovery still sends shivers of excitement." [12]
In The Wire Primers , Philip Clark noted that "the performance touched on perfection," and wrote: "In the opening moments, Parker circumnavigates Bailey's sexily elastic microtonal lines before he can spot a convincing way in. As the improvisation evolves, Parker's chirping portamentos both fuse and ricochet against Bailey's microtonal webs to create a broken but holistic two-part counterpoint. The guitar abruptly stops and Parker transforms what were nanosecond sonic flecks into sustained honks. Time elongates. The structure buckles." [13]
Paris Transatlantic's Dan Warburton stated: "The London Concert still stands as perhaps the most impressive collaboration between these two towering figures of European Improvised Music... it's all too easy to forget how utterly unprecedented and dangerous this music must have sounded when it burst forth 30 years ago into the hallowed auditorium of London's Wigmore Hall... The London Concert is quite simply indispensable." [14]
Ken Waxman of JazzWord singled out "Part 3" for praise, commenting: "Spectacularly, shredded split tones and irregularly pitched vibrations... explode all over the aural space, causing Bailey to turn to harder plectrum interface, as node response swells into unique counter patterns. Soon you start to feel like a spectator at a particularly frenetic tennis game, with the ball constantly in motion, jumping, soaring and bouncing from one to another. Each man is concentrating on an individual strategy, but as polyphony emerges, so does the shape of the cooperative contest." [15]
Free improvisation or free music is improvised music without any general rules, instead following the intuition of its performers. The term can refer to both a technique—employed by any musician in any genre—and as a recognizable genre of experimental music in its own right.
Derek Bailey was an English avant-garde guitarist and an important figure in the free improvisation movement. Bailey abandoned conventional performance techniques found in jazz, exploring atonality, noise, and whatever unusual sounds he could produce with the guitar. Much of his work was released on his own label Incus Records. In addition to solo work, Bailey collaborated frequently with other musicians and recorded with collectives such as Spontaneous Music Ensemble and Company.
The Spontaneous Music Ensemble (SME) was a loose collection of free improvising musicians, convened in 1965 by the now late South London-based jazz drummer/trumpeter John Stevens and alto and soprano saxophonist Trevor Watts. SME performances and recordings could range from Stevens–Watts duos to gatherings of more than a dozen players.
Incus Records is a British record company and label founded by Derek Bailey, Tony Oxley, Evan Parker and Michael Walters that specializes in free jazz and improvised music.
Evan Shaw Parker is a British tenor and soprano saxophone player who plays free improvisation.
Saxophone Solos is a solo soprano saxophone album by Evan Parker. Three of the tracks were recorded live on June 17, 1975, at the Unity Theatre in London, and the remaining music was recorded on September 9, 1975 at the FMP Studio in Berlin. The album was initially released on LP in 1976 by Incus Records, and was reissued on CD in 1995 by Chronoscope records with nine additional tracks bearing subtitles from Samuel Beckett, again on CD in 2009 by Psi Records, and again on LP in 2021 by Otoroku Records. The contents of the album, plus a previously-missing track from the studio session, were also included in a 1989 limited-edition box set compilation titled Collected Solos, issued by Cadillac Distribution.
The Snake Decides is a studio album by British jazz saxophonist Evan Parker. It was released in 1988 on Parker and Derek Bailey's Incus Records label, re-released on Parker's Psi label in 2003, and reissued again in remastered form with new liner notes by Brian Morton on the Otoroku label in 2018.
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.
Paul William Rutherford was an English free improvising trombonist.
The Topography of the Lungs is an album by saxophonist Evan Parker, guitarist Derek Bailey and percussionist Han Bennink recorded in London on 13 July, 1970 and became the first release on the Incus label. It is considered a milestone of the free improvisation genre.
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.
John Russell was an acoustic guitarist who worked in free improvisation beginning in the 1970s. He promoted concerts and appeared on more than 50 recordings.
Rhodri Davies is a harp player working within the field of free improvisation. He was one of the most prominent members of the London reductionist school of improvised music that was active in the late 1990s and early 2000s and which has been described as being "extremely influential over the last decade".
Song for Someone is the second album led by trumpeter and composer Kenny Wheeler which was recorded in 1973 and released on the Incus label. The album was rereleased on CD on Psi Records in 2004.
At the Unity Theatre is a live album by saxophonist Evan Parker and drummer Paul Lytton. It was recorded in January 1975 at the Unity Theatre in London, and was released later that year by Incus Records. The album was reissued on CD, with three extra tracks, by Psi Records in 2003.
Psi Records is an independent record label that was founded by saxophonist Evan Parker, and that focuses on free improvisation.
Six of One is a live solo soprano saxophone album by Evan Parker. It was recorded on June 18, 1980, at St Jude-on-the-Hill in London, and was initially released on vinyl in 1982 by Incus Records. In 2002, it was reissued on CD by Parker's Psi label with an additional track from the same session, and in 2021, it was reissued on vinyl in remastered form but with the original six track format by Cafe Oto's Otoroku label.
From Saxophone & Trombone is a live album by saxophonist Evan Parker and trombonist George Lewis. It was recorded on May 18, 1980, at the Art Workers' Guild in London, and was initially released on vinyl later that year by Incus Records. In 2002, it was reissued on CD by Parker's Psi label, and in 2023, it was reissued on vinyl in remastered form by Cafe Oto's Otoroku label.
The Bleeding Edge is a live album by saxophonist Evan Parker, cellist Okkyung Lee, and trumpeter Peter Evans, three musicians from different continents, playing instruments of different families. Featuring five improvised duos and six trios, it was recorded on May 4, 2010, at St. Peter's Church in Whitstable, England, and was released on CD in 2011 by Psi Records.