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While happy to operate in all manner of ad hoc situations, Evan Parker has formed a number of long-term associations that have continued to allow him to grow musically.
The first one of these began in 1969 when the Evan Parker/Paul Lytton duo was formed.
In fact work with electronic projects has taken up more of Parker's time in the 1990s, beginning with a collaboration with Walter Prati in 1990 (Hall of mirrors) and finding a particularly satisfying focus (for this listener at least) in his work with Lawrence Casserley.
Other (acoustic) trios have played on different occasions, featuring, for example, Mark Sanders on drums and Paul Rogers (and latterly John Edwards) on bass.
The sources for these notes have come from various places, but in particular from Martin Davidson's notes to recent Emanem releases and Evan Parker's notes to 50th birthday concert.
Evan Parker started to play (alto) saxophone around the age of 14, being particularly interested in the music of Paul Desmond. Peterson, Lloyd (2006), Music and the creative spirit, Scarecrow Press, pp.
In spite of this major group activity, it is as the creator of a new solo saxophone language, extending the techniques and experiments started by John Coltrane and Albert Ayler, but taking them away from the rhythmically jazz-related areas and into the realm of abstraction, that Evan Parker is perhaps most recognised. An overview of recent and not-so-recent CD releases: Atlanta to Imaginary values. Ex Uno Plura, in Extended play: sounding off from John Cage to Dr.
He also worked in duo with John Stevens, the latest recording dating from 1993, just over a year before Stevens' death.
This extensive article discusses, among other things, the relationship between improvisation and composition, and various saxophone techniques, including Parker's introduction to circular breathing; it was referred to as a key document by Steve Lake in his notes for the re-issue in 1999 of Monoceros.
Articles about/interviews with Evan Parker The full text of an interview with Evan Parker by Martin Davidson for the New Zealand magazine Opprobrium can be viewed on this site.
From this time (after 1968) he started to work regularly with Derek Bailey, as a duo, documented on several recordings, and in the Music Improvisation Company with, in addition to Bailey, Hugh Davies, Jamie Muir and, for the last year of its life, Christine Jeffrey. During this period Parker also worked in various of Tony Oxley's groups and it was in 1970 when he formed Incus Records with Bailey and Oxley, the hugely influential label that was one of the few ways of getting the music outside of the capital.
Parker was also involved in many of Bailey's Company groupings but stopped working with Bailey in 1985 and left Incus at this time.