Memory/Vision

Occupation

• Evan Parker: soprano saxophone, tapes and samples
• Philipp Wachsmann violin, Electronics
• Agustí Fernández: piano,
• Barry Guy: double bass
• Paul Lytton: percussion, Electronics
• Lawrence Casserley: Signal Processing Instrument
• Joel Ryan: computer sound processing
• Walter Prati: Electronics, Sound processing
• Marco Vecchi: Electronics, Sound processing

Memory / Vision is the third album by Evan Parker Electro- Acoustic Ensemble, which was added to the Norges musikkhøgskole in Oslo on October 2002. It was released in 2003 on ECM.

The album

After Parker's Electro- Acoustic Ensemble had initially acts as a free jazz group, " whose players were provided with electronic shade ," said Thom Jurek, this model is developed further in both composition as well as in execution, " into one on improvisation based context, the acoustic instrument sounds with those live serviced electronic devices and computers to connect ". The ensemble consisted in the performance in Oslo from nine participants, only five were musicians - Evan Parker, Philipp Wachsmann, Agustí Fernández, Barry Guy and Paul Lytton. Six members of recorded electronic instruments (Parker, Security Guard, Lytton and Joel Ryan, Walter Prati, Marco Vecchio and Lawrence Casserley ).

Parker had worked in the early 1990s with the live electronics engineers Walter Prati and Marco Vecchi, when he Process and Reality (1991 ) grossed in which he related multitrack and overdubbing effects, with the goal of " a music which is linear on the dimensions and the vertical harmonies of a solo performance continued development. " At the concert in Oslo, the electronic manipulation (processing, looping and warping ) took place during the ongoing musical performance. Tom O'Neil notes:

Memory / Vision was ordered, which was written by Evan Parker for the Huddersfield Contemporary Music Festival and the Oslo Ultima Festival; on the latter, the ECM recording emerged in the Oslo School of Music. In the liner notes devoted Evan Parker recording Charles Arthur Muses (1919-2000), whose complex mathematical concepts of Chronotopology had been the inspiration for this show.

Parker continued to work with the Electro- Acoustic Ensemble in the 2000s on; In November 2004, the album The Eleventh Hour was recorded, was commissioned by the Glasgow Centre for Contemporary Arts.

Title list

• Evan Parker Electro- Acoustic Ensemble: Memory / Vision (ECM 1852 - 0381172)

• Memory / Vision is a continuous performance. The Index is intended only for selectability for the CD users.

Reception

The album contained with its appearance in 2003 consistently favorable reviews; Stuart Nicholson pointed out in the Observer that this was " not a spontaneous improvisation, before one had to fear ." Rather Memory / Vision was removed from his profound work and " an elegantly sprawling statement in album length that appeals to anyone who interested in experimental music " was. John Fordham described it in The Guardian as Parker so far most ambitious project ever, " with episodes of dramatic intensity and quiet reflection. " This band staff and the structured approach would give this abstract music a rich vibrancy, the very different or of the stereotypical Geschwirre, Geblubbere, beeping Furniture Re noises other electronic Improvationsmusik was, and the generally prevailing sound have a surrounding tranquility itself.

Richard Cook and Brian Morton draw the concert recordings in their Penguin Guide to Jazz on CD from the highest rating of four stars; according to the authors is Memory / Vision " a dramatic utopia, a real-time analysis of sound. " the continuous performance a few weeks after the first performance had " both a monumental quality as well as a convincing sense of process and flow, like a sculpture from plasma. instead of marble or bronze, " the authors wrote in their exuberant résumé:

Thom Jurek wrote in Allmusic: What memory / vision so remarkable make that four members of the ensemble played music by transformed sounds and phrases in real time the musicians individually interpreted and official Bankrupts new as improvisational material. Would arise resonances at something Headed. This sword in the result as a dialogue that came from the outside is not isolated; Rather, it would seem ultimately as an ensemble sound. The was at times " amazing, wondrous, bewildering and beautiful. It is always overwhelming, engaging and interesting for every listener with an open mind. Ultimately, it is one of the most emotional lingering works Parkers. "

According to Tim O'Neil defining the album " a new platonic ideal electronic fusion ". [ ... ] Parker it would be possible to combine the spontaneity of real-time interaction with both the electronic and the acoustic parts of the composition. Already with the first violins sequence Philipp Wachsmann who remember the Author of noise collages of the Einstürzende Neubauten, will it clear that

The album eludes the author of a quick perception of the opinion; this is not music that was created to Schaffun a relaxed mood. Rather, this is. " Aggressively intellectual music, Intended for furious contemplation. This is the sound of barriers being scraped and prodded, the process of the questing spirit seeking to Constantly redefine the new and unknown. "

Chris Kelsey notes in Jazz Times that Evan Parker would have developed even further away with this album of free jazz towards a noise - stressed "traditional Ambient hybrids ". Kelsey Parker's recording compares with a European post- John Cage music or George Crumb electric string quartet " Black Angels ." At the most recognizable are Philipp Wachsmann violin and Agusti Fernandez ' piano, even if their contributions were manipulated and transformed. Although Memory / Vision was originally a composition that serves " but mostly as different structured framework for improvisation, which works well. Textures from ebb and swell, slow and frugal turn into quick and airtight. " The musicians of the ensemble are very sensitive reagiernde improvisers, as well as usually the crew on sound processing.

Jerry D' Souza described the album in All About Jazz as "Man and machine manipulate music"; " A man thinks and the machine follows him." In this form the Evan Parker Electro- Acoustic Ensemble have moved since its inception in 1992. The process of successful excellent here: