EVAN PARKER | KEITH ROWE | BARRY GUY | EDDIE PRÉVOST - Supersession (New Edition) (1984-2015) RM | FLAC (tracks+.cue), lossless

Recorded in 1984, a full 16 years after this quartet as individuals began their investigation into free improvisation, the results are in. Here are a group of four nearly peerless musicians who are standalone comfortable in this medium, the one that creates something out of nothing. Using the whatever elements are at their disposal, this group of mates take the silence and fill it with noises, beautiful notes, conical, breathless saxophone solos, electronic chaos, and thunderous, rhythmic densities it would take God to undo. That this music, such as it is as an unfolding process can happen in front of a live audience, as it is with no agenda, is of particular credit to the British musicians who flew in the face of the American free jazz of the late '60s. For one thing, all of these cats can play their instruments well enough to deconstruct them, and to discover new sounds in them -- check Evan Parker's soprano about ten or 11 minutes into this, or Barry Guy's bassing which brings in high-pitched electronic sounds to counter his own pizzicato in key. This is music that doesn't mess around, but goes straight for the heart of the beast: unquestioning conformity, academic avant-gardism, and soulless tunes called art. Now, in the 21st century, this music sounds as fresh as it did the day it was made. That is art. This is the way, so step inside.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Supersession 36:55
Barry Guy / Evan Parker / Eddie Prévost / Keith Rowe
Double Bass, Electronics – Barry Guy
Guitar, Electronics, Design – Keith Rowe
Percussion, Liner Notes, Design – Eddie Prévost
Soprano Saxophone, Tenor Saxophone – Evan Parker

EVAN PARKER & EDDIE PRÉVOST - Most Materiall (1997) 2CD | FLAC (tracks+.cue), lossless

This is matchless all right. There is almost nothing in the way of language a review of these astonishing recordings can say. It is easier to talk about them then to reveal what they are about musically or esthetically. Master percussionist Eddie Prevost -- who regards bowing strange things on metal objects percussion as well as drums, and right he is -- and saxophonist Evan Parker have recorded a double CD of duets that is so invigorating, confounding, and hysterically beautiful, no one could blame either man if he gave it up right now. There are nine selections between the two discs, ranging in time from nine and a half minutes to over half an hour. All of the titles are quotations from Francis Bacon, who would have been proud to have his spirit evoked during them. This isn't simply improvisation; this is investigation in the same way that Charles Olson's Maximus poems were investigations, in the same way that Pico Iyer and Bruce Chatwin's journeys were investigations, and in the same way that Stockhausen's Hymnen is an investigation. These pieces go after the rooted heart of sound itself, the veiled face of that magical echo that dwells inside and outside of everything, in order to find out how it spells its name and how it decides which hearty to beat. There are flurries and drones and conflicts and resolutions and downright mystical moments of pure Blakean illumination. This is music that's about so much more than music that it cannot be addressed in merely musical terms. This is the very case in point of Henry James' definition of art: this is the "thing that can never be repeated."
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
CD 'A'    1:16:18
1-1    Double Truth (Of Reason And Revelation)    19:51
1-2    Knowledge Is Power    13:36
1-3    Rejecting Simple Enumeration    13:46
1-4    That Might Have Beene Done, Or Sooner    29:00
CD 'B'    1:01:59
2-1    Nil Novum    12:01
2-2    Skill Gave Rise To Chance, And Chance To Skill    9:26
2-3    Not So Much For The Sake Of Arguing As For The Sake Of Living    12:24
2-4    Let Us Attend To Present Business    11:19
2-5    Chastise Me, But Listen    16:42
Credits :
Percussion – Eddie Prévost
Saxophone [Saxophones] – Evan Parker

JOHN TILBURY | EVAN PARKER - Two Chapters And An Epilogue (2000) FLAC (tracks+.cue), lossless

The pairing of improv heroes pianist John Tilbury and saxophonist Evan Parker seems a bit anticlimactic in its possibility. In actuality, however, the end result is anything but. This is a pairing made in the pact of restraint, where tonal studies would be catered to, coaxed, cajoled, and in some cases even begged out of the air between the two instrumentalists. Two half-hour improvisations and one under three minutes tease out the premise that time and space, or at least our perceptions of it, can indeed be stretched, warped, and even turned inside out. The advanced sense of microtonality and elastic harmonics that Parker and Tilbury manipulate and attempt to obliterate, however subtly, is remarkable. Parker is the most surprising, responding with longer lines, rounded tones, and less angles than he usually does, and with less obvious spatial breathing techniques. His lines chop at the ends rather than knot; they force his ideas into space rather than skittering them out, before ushering in the next in his response to Tilbury. For his part, Tilbury strides the higher register in search of another couple of keys. Oddly enough, he finds them along the way, in large part because of Parker's striations. This is music for the hunt, the chase, the game of hide and seek. It is elegant, brainy, and passionate in its own egghead way. Highly recommended.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Ch. 1: In Which The Listener Will Perceive That In Some Cases Madness Is Catching    32:10
2    Ch. 2: Which Shews That There Are More Ways To Kill A Dog Than Hanging    36:45
3    Perro Semihundido    2:42
Credits :
Piano, Composed By – John Tilbury
Tenor Saxophone, Soprano Saxophone, Composed By – Evan Parker