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
Seymour Wright / Rie Nakajima - 1.3.16
Seymour Wright – saxophonist, investigator, artist – lives in London. His practice is about the saxophone – music, history and technique – actual and potential; an on-going, rigorous and exhaustive exploration of the instrument. The energy of this learning is applied to various collaborations and contexts to access/share what he has called the ‘awkward wealth of investigation’. His work is documented on three widely acclaimed self-released collections Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
As well as XT, his current collaborations include lll人 (with Daichi Yoshikawa and Paul Abbott), abaria (with Ute Kanngiesser), [Ahmed] (with Antonin Gerbal, Joel Grip and Pat Thomas), GUO (with Daniel Blumberg), S.T.E.P.S. (with Evie Ward), an on-going ‘quartet’ collaboration with Paul Abbott, Cara Tolmie and Will Holder, and, a trans-atlantic collaboration with Anne Guthrie.
Rie Nakajima is a Japanese artist based in the UK. She has exhibited and performed all over the world charming audiences with her inventive works of mechanical bricolage. In 2014 she received the Arts Foundation prize for Experimental Music. She co-curates the event series 'Sculpture' with David Toop and has collaborated with Miki Yui, David Cunningham, Phill Niblock, Pierre Berthet and many others.
"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.