Quote

Of course I knew the work of Roland Kirk and Harry Carney and the specific uses they would make of circular breathing, so I knew it was physically possible.

Evan Parker

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Evan Parker
Age: 80
Born: 1944
Born: April 5
Composer
Jazz Musician
Musician
Saxophone Player
Saxophonist
Bristol
Gloucestershire
Use
Uses
Work
Physically
Make
Specific
Would
Breathing
Carney
Knew
Roland
Courses
Circular
Course
Kirk
Possible
Harry

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So in the sense that we were all dealing with that freer approach, yes, it was certainly one of the first contacts, perhaps the first contact, when Peter came that summer. So it's a very pivotal moment that is documented there.
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To speak about notation as the only way that you can guarantee structure of course is already very suspect.
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I'd met Roscoe in Europe quite a few times over the years, and we'd say hi and so on, but this was the first time we'd actually played together.
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There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.
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Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!
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A kind of synthesis, but with some elements that perhaps you wouldn't have expected in advance. I always like that when that happens, when something comes that is more than the sum of the parts.
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I think the voice does that perfectly adequately without being imitated by other instruments.
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When you add a period of 25 years between the playing and the listening, then the whole question of meaning gets very complicated.
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In my mind these two instruments speak to me in different ways, and the solo stuff seems to be easier to do on the soprano.
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We all listened to a lot of recorded music, especially American jazz, modern jazz, and that's where our studies were and our inspiration came from.
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You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.
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