Search - William Parker :: O'Neal's Porch

Magnificent meeting of musicians and music

Ian Muldoon | Coffs Harbour, NSW Australia | 08/30/2002

(5 out of 5 stars)

"Although this fine work has the stamp of Mr William Parker's leadership all over it - he produced it, issued it originally in an edition of 1000; he composed the eight pieces featured on it; his photo along with cousin Pamela and brother Thomas graces the front cover; and of course the Quartet is the William Parker Quartet- but the heart of the enterprise, the music itself, is clearly a conjunction of equals and intended to be so. Even more so I believe than the famed Ornette Coleman Quartet to which it has been compared. The music has moved on since, and thanks to, Mr Coleman and his great Quartet, and interestingly closer to, in some ways, the original democracy of collective improvisation that prevailed before Louis Armstrong and Sidney Bechet et al established the primacy of the soloist. For a distiguishing feature of O'NEAL'S PORCH is the sense of equality between the players and this is especially noticeable in the drumming of Mr Drake. His presence is manifest in every way - melodically, harmonically, and rhythmically - without being dominant. THe talking drums of Africa no less evident than the rhythmic complexities of bebop's Mr Max Roach or the late great Mr Ed Blackwell or Mr Shelley Manne, both once of the Ornette Coleman Quartet.
A second distinguishing feature is the tone - the titles such as SUN, MOON, LEAF, RISE, indicate a focus or search for a purity of expression similar to that of an innocence child's, cleaned of the layers of pretence or of guardedness that we perforce adopt as coping mechanisms as we age. The music seems free of the licks, and preconceptions, evoking feelings untrammelled. It succeeds in this even though it has structure and is purported to be one of the more "accessible" of Mr Parker's works. I found myself humming PURPLE after Id heard it. Is this a mark against the "avant garde"? Is it a musical crime for "free music" to be melodically capable of whistlin? I don't think so. This programme of music is a magnificent achievement.
Although there are some tracks that are more conventional in structure but swing like mad (PURPLE) or that are exultant with joy and intricately performed (LEAF)there is not one that does not have an individual life and interest different to each of the others. The ballad SONG FOR JESUS, set in the heart of the programme, but a 3/4 version performed on the penultimate track, is a ballad mainly for a wonderful conversation like, prayer like solo by Mr Rob Brown on Alto Sax, with Mr Barnes on muted trumpet and a latticework of percussionistic effects created by master drummer Mr Drake - all the while Mr Parker, urgent and persistent, provides solid ground for his partners three whilst being part of the dialogue. In conclusion : do yourself a considerable favour, buy two of these CD's and give one to a friend. Now that would express your love better than anything I know."

Great inside/outside quartet date!

R. Hutchinson | a world ruled by fossil fuels and fossil minds | 04/27/2002

(5 out of 5 stars)

"William Parker has made perhaps his most accessible record yet! Ironically, it was originally released by his own Centering Records last year, and was available only at his live shows. As he didn't get to Utah, the Aum Fidelity release is my first chance to hear a recording that won all sorts of honors among jazz critics (most of whom are in NYC and can see William Parker live!). This is one of my favorite jazz formats -- quartet with sax and trumpet. You'll love this record if you like the great Ornette Coleman Quartet with Don Cherry, Charlie Haden and Ed Blackwell/Billy Higgins, or John Zorn's Masada. Drake, in fact, has that Blackwell/New Orleans polyrhythm! Parker and Drake have been playing together for several years now (in Brotz's "Die Like a Dog Quartet," Roy Campbell's "Pyramid Trio," and other sessions), and are a magnificent rhythm section. Like Old and New Dreams, they create a pan-African context. I haven't heard of Lewis Barnes before, but he is solid on trumpet. Rob Brown is one of my favorite sax players, and he has been with Parker for years now, originally in the "In Order to Survive" Quartet. Brown's sessions as a leader are not well-known or easy to find, but are well worth checking out! ("Jumping Off the Page" is awesome...) The collective improvisation of Parker, Drake, Brown and Barnes is phenomenal -- this is what jazz is all about! William Parker is at the center of the Free Jazz scene in NYC, with events such as the annual VisionFest. This record, with its exhilarating combination of standard heads and grooves with challenging outside passages, should cement that role, while simultaneously reaching the mainstream jazz audience."

Parkers Finest Hour

Thano J. Lomiento | poughkeepsie, ny United States | 03/03/2003

(5 out of 5 stars)

"I own almost every disc that William Parker has performed on and of the albums on which he the leader and primary composer this is the finest. Nice heads and song developement, strong soloing throughout and a spirituality that we do not often find in creative / free music. This is life affirming music that will surely make you think and appreciate what we as a collective share in this human experience. Parker is strong, his playing muscular yet graceful. Honest music presented without pretention. Highly recommended"