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EVAN PARKER ELECTRO-ACOUSTIC ENSEMBLE
Warszawa 2019

jazz/impro
Fundacja Słuchaj, 2021

total time: 58:35

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CD:11,96€
availability:
a week
cat. no: FSR06/2021
format : CD
number of discs : 1
packaging : ecopack


no. title play mp3
1 Warszaw 2019 58:37


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https://sluchaj.bandcamp.com/album/warszawa-2019

Evan Parker - soprano
Matt Wright - laptop and turntable
Paul Lytton - percussion and analogue electronics
Richard Barrett - sampling keyboard
Paul Obermayer - sampling keyboard
Percy Pursglove - trumpet
Peter van Bergen - bass and Ab clarinets
Mark Nauseef - percussion
Sten Sandell - piano and synthesiser
Adam Linson - bass and electronics

Recorded live on 12 of October 2019 at 14th Ad Libitum Festival, Laboratorium, U-Jazdowski, Wojciech Krukowski Hall, Warsaw by Kuba Sosulski

The ElectroAcoustic Ensemble was formed in 1990 as a sextet to explore the possibilities of real-time signal processing in an improvising context. and shortly became an opus magnum ensemble in the whole of Evan Parker's musical biography. Most of the CDs documenting the development of this exciting large ensemble were released by the legendary ECM label. The last time when EAE brought us its new CD titled Hasselt was nine years ago (PSI).
Now, after this very long period, we proudly announce the brand new Evan Parker Electro-Acoustic Ensemble is coming! Beautifully recorded two years ago on the Warsaw-based festival Ad Libitum by Kuba Sosulski and beautifully mixed by Fil Gomez and Evan Parker himself in the middle of 2020 at Arcobarco, Ramsgate, UK.
So let's listen and enjoying the ten pieces ensemble led by one of the greatest musicians in the world. Here comes WARSZAWA 2019

From the opening strike of metallic percussion, the oscillator-like wave of soprano saxophone, the burble of electronics, a resonant piano bass string, the shimmering decay of a gong and the broad-toned brilliance of the trumpeter’s brief melody-then-feint-to-intermittent-oscillation, we are in the special ‒ spectral and material ‒ world of Evan Parker’s ElectroAcoustic Ensemble (EAE), a band over 50 years in the making, its official existence 30 years. It is, in an era-defining way, both a great moment in the history of late-20th century music and the early-21st century’s, a unique response to the notion of large-scale free improvisation that, rather than the cultish practice of a disaffected elite, is a signifying laboratory for human interaction, social, meditative, meaning-defining and edge-blurring, a forward probe in the necessity for calm that sees atheists going on pilgrimage, the tone-deaf joining choirs and an explosion in sales of fashions for fitness in which to sit around and drink coffee, no qualitative judgement here, al
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