Interview by Dan Warburton Paris, January 30th 2010
Even if you're not a regular reader of this magazine (Paris Transatlantic)l, tenor and soprano saxophonist Evan Parker should need no introduction (if he does try this). Incontestably one of free improvised music's MVPs, he's arguably one of the most important and influential musicians of the late 20th century – not to mention the beginning of the 21st. His longstanding trio with bassist Barry Guy and percussionist Paul Lytton stopped off in Paris for a couple of nights recently to play and record for Gérard Terronès's Futura Marge label at the Sunset, one of the French capital's famous cellar jazz clubs. It was just round the corner, at Le Baltard, that this conversation took place a couple of hours before the trio's second gig. Parker had been giving other interviews during the day, so I tried to surprise him by starting off with a question I was sure hadn't been asked earlier.-DW
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Pierre Audi,Eric Belgum,Harrison Birtwistle, Pierre Boulez, Eugene Chadbourne, Gene Coleman, Alan Feinberg, Luc Ferrari (english), Luc Ferrari (français), Fred Frith, Heiner Goebbels, Peter Greenaway, David Grubbs, Ben Johnston, Betsy Jolas, Stanley Kwan, Paul Lansky, Radu Malfatti, Misha Mengelberg, Sunny Murray, Pamela Z
Paris Transatlantic interviews
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The Disciples of Lê Quan Ninh and Michel Doneda
WRITTEN BY: Victor Stutz / Bogdan Scoromide / Riccarda Kato
“Listening is the main discipline. It’s our discipline. To listen to everything and maybe to enjoy in a way, but not necessarily, it’s about appreciating. Just to have this presence of so many qualities of sounds, because there is always something happening. As soon as you pay attention, you start to realize that the world is so wide, it’s just amazing.
Evan Parker interviewed in his house by Martin Davidson - 1997 April.
This first appeared in Opprobrium 4, and is reproduced here with permission.
All rights remain with the interviewee, interviewer and magazine
Barry Guy - Graham Locke - Transfigured Bass
This link will take you to this interview / article and many other interviews with Mr Guy too
Eleven interviews with Barry Guy
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SIMON H. FELL Report On The Composition Of Improvised Music No. 2
First published in Rubberneck 17 (December 1994)
SIMON H. FELL Report On The Composition Of Improvised Music No. 1
First published in Rubberneck 15 (November 1993)
PORTAL Journal of Multidisciplinary International Studies
Clare M. Cooper
Department of Media Music Communication and Cultural Studies, Faculty of Arts, Macquarie University
John Stevens (1940-1994) was a key figure in the development of free jazz and free group improvisation in Britain. Originally a jazz drummer carving out a successful career for himself in clubs such as Ronnie Scott’s, he gave up jazz playing completely in the late 1960s order to commit himself entirely to free group improvisation. The group which he organised with Trevor Watts, the Spontaneous Music Ensemble, has since 1966 been an institution in which many of the key figures in the movement have being involved. The composition and improvisational ideas that Stevens originated for this group have developed into workshop pieces which he has used extensively with both trained and amateur or ‘non’-musicians. These were published in a book entitled Search and Reflect which forms the basis of a cooperative approach to music making and teaching. It is in these workshops that many young musicians got their first taste of collective improvisation, the present author included. His teaching and outgoing personality have been at least as important as his own playing. Throughout the 1970s and 1980s he played in a wide variety of contexts, amongst other things forming bands using improvisation along with aspects of rock, funk, jazz and folk. He is also involved in drama and visual art. At the time of the Interview his main musical activities are teaching, playing different forms of jazz and occasionally performing with S.M.E. I met him at his house in Ealing.
Born London 10 June 1940, died London 13 September 1994; drums, percussion, cornet.
The following essay was written in 1996 by Martin Davidson and it is reproduced with his kind permission.
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Musicians in Place and Space: The Impact of a Spatialized Model of Improvised Music Performance
Free improvisation is often explained as a non-hierarchical musical process that emerges out of the precise acoustic, emotional, environmental, psychological, and social conditions in existence at the time of the music’s creation. But given that free improvisers continue to perform in conditions that involve the static positioning and formal separation of the performer and the audience, the extent to which these claims can be realized is questioned by this chapter.
This article reports on a practice-based research project, ‘Musicians in Space’ (MiS), which aims to offer insights into how the free improviser, through the introduction of a spatialized approach to the music, can develop an all-encompassing and non-hierarchical musicking practice. An outline of the research process and the findings from the first stage of the research are offered, before the discussion is extended to look at the connection between spatialized free improvisation and deep ecology.
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The Free Improv Pod #1 John Russell
by The Free Improv Pod
Interview with John Russell
The Free Improv Pod brings you interviews, reviews and news from the UK's free improv scene, assembled by Peter Urpeth. Episode #1 - an interview with guitarist, organiser and teacher John Russell.
Links mentioned in this podcast can be found detailed at my blogsite 'Otherwords': peterurpeth.wordpress.com
The Guardian view on improvisation: in praise of imperfection
`Yet with the turn back towards discipline and predictability much has also been lost. At its best, collective musical improvisation does not just sweep up the musicians but the audience, too, into a greater whole. The improviser bears witness to the truth that art can always be done better, even if it will often be done worse. No matter how perfect the studio album, it is live music that truly gives life.`
NeuGuitars - Category Interviews
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My area of research has been free improvisation both as a method and a genre, as well as the use of improvisation in experimental music. This essay seeks to clarify why I believe that free improvisation is to be seen as both a method of music-making and a genre of its own. I will investigate this by discussing the relationship between free improvisation and experimental music and its origins, and the history of free improvisation will also be briefly discussed through examples of some of its practitioners. I will also use examples from my own experience during my research period. FOLLOW THE LINK TO READ MORE