"A portion of sales will benefit Fendika Cultural Center and Catalytic Sound. At Fendika Cultural Center, we celebrate and renew Ethiopia’s rich cultural heritage. We welcome all creative souls; through exchange of music, dance, art, and poetry, we meditate on humanity’s one-ness, and pray for a peaceful world."
Collective Calls (Revisited) (Jubilee)
Evan Paker & Paul Lytton
""This recording from Paul Lytton and Evan Parker marks their golden jubilee as musical collaborators and good friends, the title serving as a tip-of-the-hat to their first duo record Collective Calls (Urban) (Two Microphones) which was originally released on Incus in 1972 after they'd already played together for a couple of years. I've spent a good deal of time the last few weeks enjoying both albums and noting similarities and differences, and so it follows that this review is colored by the lense of that exercise. Gone are the electronics and prickly intensity of the 72' sessions, interchanged here with distinctively refined technique and a confederation secured through the blood-and-guts of a half century of collaboration." -Nick Metzger, Free Jazz Blog"
At the Unity Theatre
Evan Parker & Paul Lytton
"Three years after Evan Parker and Paul Lytton's recording debut as a duo (Collective Calls, originally released by Incus), At the Unity Theatre captures them in a live setting. The studio album saw them foray into microscopic sounds. This time around the music is overall more feverish and loud, but it loses nothing in subtlety and intelligence. "In the Midst of Laughter and Glee," at 18 minutes long, stands as one of their best improvisations from that period. We are greeted by a low growl, like a long string being scratched; it may be the enigmatic lyttonophone but, in any case, it immediately tells you how unconventional this sax/drums duet was. Closer to the end, Parker squeezes out of his soprano sax the whiny sounds of an oboe or shenai, unfolding a sinuous mourning song that is simply stunning. He also plays a raspier tenor and uses a bullroarer and cassettes of prior performances -- but these are discernible only on very close listen. Lytton spends little time playing thedrum kit in a conventional way. Instead he focuses on objects and scrap metal, but still makes quite a racket. The CD reissue of this album (on Parker's Psi imprint) adds over 22 minutes of previously unissued material in the form of two extra improvisations from the same concert. At 18 minutes,"Through Consensus" was too long to make it on the original LP without sacrificing "In the Midst of Laughter and Glee," which is simply better. Despite some captivating activity, the two musicians drift apart, Parker trying to force the piece into a more powerful direction while Lytton instead moves deeper within his pile of scrap metal. It makes a nice bonus though." -Francois Couture, All Music "
Free Zone Appleby 2004
Evan Parker / Barry Guy / Paul Lytton / Philipp Wachsmann / Joel Ryan
""In 2004, the Free Zone feature of the Appleby Jazz Festival presented a sequence of duo and trio combinations featuring bassist Barry Guy, percussionist Paul Lytton, saxophonist Evan Parker, violinist Philipp Wachsmann, and Joel Ryan on live computer processing. Every set was twofold, starting with a duo between Ryan and one of the acoustic players, followed by a trio between the three other musicians. Ryan's work with free improvisers never ceases to amaze; his approach is much more complementary than the usual fragmentation processes of other computer artists working in live situations. His duo with Wachsmann ranks among the best material he has recorded yet. The two of them are literally fused together, each one reinventing the language of the other." - François Couture, AllMusic"
Hook, Drift & Shuffle
Evan Parker with George Lewis, Barry Guy & Paul Lytton
""Huge washes of semi-static transparent sound permeate, while transient peaks also abound; the opening moments of "Shuffle find a descending honk from Parker resonating with the electronics employed by Lytton and trombonist George Lewis, making his tenor sound bigger than life." -Marc Medwin, All About Jazz"
Music For David Mossman - Live at Vortex London
Evan Parker, Barry Guy & Paul Lytton
"Evan Parker, Barry Guy and Paul Lytton – three legendary figures in the field of improvisation – have each developed their own epochal styles. These long-time friends and collaborators now present the latest of their Trio recordings – part of an ongoing series that began in 1980 with the now out-of-print LP 'Tracks'. Their powerful improvisations reveal them as a trio of unyielding innovation, both conserving and constantly renewing a rich heritage of achievement in free jazz."
Fred Van Hove, Paul Dunmall , Paul Rogers & Paul Lytton
""An attentive and responsive quartet of experts in the genre." -John Fordham, The Guardian"
""This 1981 recording collects tapes from the Evan Parker-directed Improvisors' (sic) Symposium at the international jazz festival held in Pisa, Italy, in 1980. Side one is made up of duets. There are two wind duets and one for strings. The first wind duet is a series of elongated tones that becomes circular motions and striated microtonal meditations between Evan Parker on soprano saxophone and George Lewis on trombone. The first is a slow, almost imperceptibly evolving piece of exchanged lines and intersected tonal integration. The second is a circular, oddly angled work in which the two performers create arpeggiated spaces of microphonic textures and then exchange them no less than three times in nine minutes, adding to the expansion of the circle. The string duet between bassist Maarten Altena and guitarist Derek Bailey is a remarkably focused quest for fire in which strings are regarded purely and practically as surfaces first and elements for musical improvisation second. Two quintet pieces make up the second side, and the piece performed by an ensemble with two bassists (Altena and Barry Guy) and three trombonists (Lewis, Paul Rutherford, and Giancarlo Schiaffini) works best. Deeper tonal studies that involve almost ritualistic triangulation and counterpoint are very rare in improvisers' groups these days. The counterpoint shifts here are arbitrary (they can consist of two basses, two trombones, a bass and a trombone, etc.), with the microtonal invention that contains a triad being equally random and ever-changing. For nearly 12 minutes, the piece is a breathtaking end to a very satisfying collection." -Thom Jurek, All Music"