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William Parker
Requiem

jazz/impro
Splasc(h), 2006

total time: 65:46

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no. title play mp3
1 Four Strings Inside A Tree
2 When All Is Sad
3 For Wilber Morris
4 The Little Smile
5 Sky Came
6 Heaven
7 Blues In The Hour Glass
8 Shores Of Kansas
9 Spirits Inside The Bright House
10 Bermuda Atlanta Philadelphia Bronx
11 The Last Song


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muzycy:
William Parker: double bass
Henry Grimes: double bass
Alan Silva: double bass
Sirone: double bass
Charles Gayle: alto sax

opisy: All About Jazz; October 8, 2006
'...When William Parker convened his Bass Quartet to close out the Ninth Vision Festival in 2004, the environment was a giddy one. Henry Grimes was back to playing regularly, Alan Silva was in town and a few days earlier, the Revolutionary Ensemble had reformed and Sirone’s playing was dynamic. The group’s significance stemmed from the stylistic lineage evident from Grimes to Silva to Sirone to Parker and the addition of guest saxophonist Charles Gayle added a wrinkle, an uncommon hierarchy with a horn playing over four bassists. This reviewer’s notes from the concert indicate not much listening onstage and an impression of the four basses as one thick instrument matched against Gayle’s alto. But unusually for this kind of improvised scenario, the recording is more satisfying than the performance. In the comfort of home, with that all-important good stereo (and excellent recording quality), more of the subtleties come through. Gayle, originally the odd man out, makes

opisy: All About Jazz; October 8, 2006
'...When William Parker convened his Bass Quartet to close out the Ninth Vision Festival in 2004, the environment was a giddy one. Henry Grimes was back to playing regularly, Alan Silva was in town and a few days earlier, the Revolutionary Ensemble had reformed and Sirone’s playing was dynamic. The group’s significance stemmed from the stylistic lineage evident from Grimes to Silva to Sirone to Parker and the addition of guest saxophonist Charles Gayle added a wrinkle, an uncommon hierarchy with a horn playing over four bassists. This reviewer’s notes from the concert indicate not much listening onstage and an impression of the four basses as one thick instrument matched against Gayle’s alto. But unusually for this kind of improvised scenario, the recording is more satisfying than the performance. In the comfort of home, with that all-important good stereo (and excellent recording quality), more of the subtleties come through. Gayle, originally the odd man out, makes

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