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Evan Parker and Paul G. Smyth on Weekertoft
ByEvan Parker / Paul G. Smyth
Calenture and Light Leaks
Weekertoft
2019 This CD/digital album was recorded in March, 2015 at the Kevin Barry Room, National Concert Hall, in Smyth's home town of Dublin. (See YouTube below for concert footage.) On both its tracks, which total about forty-two minutes, Parker is featured on tenor saxophone with Smyth on piano. Piano-saxophone duos are not commonplace, but Parker has quite a few in his discography, with an impressive array of pianists, including John Tilbury, Stan Tracey, Matthew Shipp and Misha Mengelberg, to name just a fewan impressive lineage for Smyth to be joining...
The opener and title track is the longer of the tracks at thirty-three minutes. It opens gently with a series of sustained low-frequency notes from Parker which establish the early atmosphere of the piece, with Smyth adding contrasting high-end arpeggios underneath. Gradually, Parker accelerates and is drawn closer to what the piano is playing, all the time sounding fully in control. Some three minutes into the piece, the two are already engaged in a brisk but free-flowing dialogue with phrases and ideas being batted back and forth between them. Each of them plays continuously, without pausing to allow the other space for a conventional solo; in effect, they are soloing simultaneously with each being aware of the other's playing and responsive to it. Even when Parker gets locked into one of his protracted, circular-breathing solos, Smyth is still there with him, responding with an impressively gargantuan solo of his own. The two obviously understand and complement each other well.
Evan Parker / Paul G. Smyth
The Dogs of Nile
Weekertoft
2019 Given the success of the partnership on Calenture and Light Leaks, it is no surprise that this digital-only release (which early purchasers of the above recording could get free} was recorded two years to the month afterwards, at the intriguingly-named Opium Rooms in Dublin. The personnel is unchanged, but Parker sticks to soprano saxophone instead of tenor. Its two tracks each clock-in at around the sixteen-minute mark, meaning the combined duration of the two albums just tops seventy-four minutes. Although all their music could have fitted onto one CD, the distinct nature of the two dates means that there is an aesthetic logic to separating them. Fittingly, given the Anglo-Irish nature of the duo, the album title and both track titles are quotes from Dublin-born Anglo-Irish satirist Jonathan Swift's 1721 poem The South Sea Project.
"Mariner with Rapture" opens the album and immediately the soprano sax means we are in a soundscape which is a complete contrast with that above; not only is the smaller sax's pitch higher, but Parker also plays it quicker, producing shorter notes and more of them. However, the net effect differs from Parker's tumultuous solo soprano outings such as The Snake Decides (Incus 1987, Psi 2003). Maybe as a result of Smyth's playing, Parker occasionally slow things right down to produce passages that are far more contemplative and atmospheric than that brisker, bravura solo style. As on Calenture and Light Leaks Parker and Smyth work well together as a sympathetic duo. Yes, these two albums are very different, and display the pairing in contrasting lights. The albums are a complementary twosome that should be heard together... just like Parker and Smyth, in fact.
Tracks and Personnel
Calenture and Light Leaks
Tracks: Calenture and Light Leaks; Baffled, Standing in the Air.
Personnel: Evan Parker, tenor saxophone; Paul G. Smyth, piano.
The Dogs of Nile
Tracks: Mariner with Rapture; The Dogs of Nile.
Personnel: Evan Parker, soprano saxophone; Paul G. Smyth, piano.
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About Evan Parker
Instrument: Saxophone, soprano
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