William Parker Solo
Preis / Price : 15.08 €
Bestell-Nr. / P/O No. : No More Rec. No.6
William Parker double bass
Emory (dedicated to the Bassist James Emory Garrison) 24:41
Rainbow Escaping 04:15
As A Flower 8:42 07:15
Mary Waiting (written for my mother, Mary Louise Jefferson) 17:05
Macchu Picchu 09:54
Lifting The Sanctions 06:33
Total time:  71:10

Produced by Alan Schneider
© + ® 1998 No More Records Recorded @ studio Spirale on November 29, 1997 by Alen Hadzi Stefanov
Mastered by Chris Flam @ Mindswerve Studio, NYC
Cover art: © Jeff Schlanger, music Witness® 1998
Original painting 27,5 x 200” ( 70 x 500 cm) made during live recording of this music
Photograph by John Begansky Jeffoto
Design by studio Spirale Scans by Jared Kane
Special thanks to James McLean for use of his microphone. There are no overdubs on this recording, everything is exactly as it was originally performed.

This is William’s second solo CD (his first is long out of print). Recorded with 6 microphones to the bass and mixed for power playback, if you don’t think that William is in the room with you, maybe you need a new stereo. Full colour artwork made during the recording sessions and detailed notes from William about different bass playing techniques. This is required listening for any fan of William’s music and a cornerstone of his recorded output.
Producer´s note
Excerpt from the booklet
The role of the bass in a traditional Jazz group is to support the lead voice which is usually the horn (sax, trumpet, etc.) keyboard or mallet instruments. This support in the classical jazz sense requires that the bass does two things:
1) Keep time (along with the drums) in a set time measurement.
2) Play harmonic notes underneath the horns or keyboard.
For years, these were the functions of the bass. In the 60´s with the emergence of the Avant Garde, the role of the bass changed along with the new free forms of music construction. (…) The bass and drums could (now) play rhythm, pulse, texture, density, speed, color, melody time or just play sound. These ideas were pioneered by the great bassists Henry Grimes, Alan Silva, Lewis Worell, Gary Peacock, Reggie Workman, Ronnie Boykins and Jimmy Garrison.
The inspiration for what I hear on the bass comes from Native American, Asian, African, Indian, and Blues. In my playing I utilize many different concepts and techniques:
1. No Note Technique: Playing the bass without using stops of the left hand. This is also called harp technique (African kora…Gambia, West Africa).
2. Drum Technique: A percussive technique where I relate the bass to a trap drum set. (…)
3. Note Concept: The traditional approach to the bass tuning so-re-la-me (G-D-A-E). Press position stops on the bass correspond with the diatonic tuning of the piano.
4. Sound Concept: Using sound instead of notes, this concept can be bowed or plucked.
Within these basic techniques, there are over 10 ways to bow the bass in order to evoke a full spectrum of sound (…) In addition there are numerous ways to strum, pluck or pull the bass strings. (…)
The politics of strings is about feeling, seeing and hearing (in that order).
This CD contains 6 pieces. ´Emory´ is dedicated to the Bassist James Emory Garrison. ´Rainbow Escaping´ tells the story of a rainbow that fell to earth, is taken prisoner and escapes back to the Tone World. ´As A Flower´ (originally called Mud Forrest) is about light as it bounces off of a memory. ´Mary Waiting´ is written for my mother, Mary Louise Jefferson. Her contribution speaks for itself. ´Macchu Picchu´ was written in 1974 for the Incan city. ´Lifting The sanctions´ is a dance of hope for arco bass.
William Parker

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