LIFTING
THE SANCTIONS
William Parker Solo |
Preis
/ Price :
15.08 €
Bestell-Nr.
/ P/O No. : No
More Rec. No.6 |
|
 |
| |
 |
| |
|
|
William
Parker |
double bass |
| |
|
|
01.
|
Emory (dedicated to the Bassist James Emory Garrison) |
24:41
|
|
02.
|
Rainbow Escaping |
04:15
|
|
03.
|
As
A Flower 8:42 |
07:15
|
|
04.
|
Mary Waiting (written for my mother, Mary Louise Jefferson) |
17:05
|
|
05.
|
Macchu
Picchu |
09:54
|
|
06.
|
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
|
|
|