Seymour Wright with Evan Parker & Rie Nakajima

Two duos - one new and one perhaps having always existed - each at opposite ends of contemporary improvisation. 

On the first night, Wright’s alto weaves through Parker’s dizzying melodies, unravelling the lyrical with textural shadow play. Wright maps Parker's circular breathing, triple-tonguing, false fingering with physicality - gasps, dry-lipped blasts.

Recorded just a week later, amidst the seabed of Nakajima’s ticking and clicking objects, Wright uses motors too, scrapes the windows, sucks a single reed, spits down steel tubing, and pushes feedback to awkward thresholds. In the mp3 version of a very visual show, individual sounds lose their identity to fill and measure the dimensions of OTO.

Somewhere between chance, the inanimate and extraordinary technical ability, Wright's approach prods at the limits of control and command, and physicality and presence. Fresh and radical - a double whammy.



Seymour Wright / alto saxophone

Evan Parker / tenor saxophone

Recorded on Tuesday 23rd February 2016 by James Dunn. Mixed and mastered by James Dunn. 



Seymour Wright / alto saxophone

Rie Nakajima / objects

Recorded on Monday 1st March 2016 by Shaun Crook. Mixed and mastered by James Dunn. 


Available as a 320k MP3 or 24bit FLAC download. 

Seymour Wright / Evan Parker - 23.2.16

1. 23:48

2. 6:52

3. 7:42


Seymour Wright / Rie Nakajima - 1.3.16

1. 33:32

Seymour Wright

Seymour Wright’s work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique ­– actual and potential.

His solo work is documented on three widely-acclaimed collections - Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).

Current projects include: abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; @xcrswx with Crystabel Riley; GUO with Daniel Blumberg; The Experimental Library with Evie Ward; XT with Paul Abbott; a trans-atlantic duet with Anne Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.

His writing has been published in C//A, Sound American and The Wire.


Rie Nakajima

Rie Nakajima is a Japanese artist working with installations and performances that produce sound, often using a combination of kinetic devices and found objects. She has exhibited and performed widely both in the UK and overseas and has produced ‘Sculpture’ with David Toop since 2013. She also has a collaborative project ‘Dead Plants/Living Objects’ with Pierre Berthet, and recently released the CD ‘Dethick’ with Angharad Davies and Alice Purton.

Evan Parker

"If you've ever been tempted by free improvisation, Parker is your gateway drug." - Stewart Lee 

Evan Parker has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO). 

Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time.