De la classe. Et un enregistrement simple mais efficace. — Monsieur Délire, Québec
An almost hour-long solo recital may seem daunting, but New York bassist William Parker easily impresses as this bravura invention recorded at a local performance space attests. — The WholeNote, Canada
Somewhere There is a place for informal music. This may suggest the music isn’t serious but that’s not what I mean at all. For example, William Parker made this music for forty rapt listeners on a hot July night in Toronto. It’s a music where the form unfolded in the playing, literally a new music. His signature synaesthetic philosophy invites colour-drenched metaphors: Prismic refraction, gardens blooming, a harvest feast being prepared. This music is playful, as seriously playful as your life.
Likewise, the musicWitness®, Jeff Schlanger, the playful co-conspirator in this sightsound music, swirled a serious dance of paint, making the sounds tangible in colour. As a place for informal music, Somewhere There invited its forty guests to get inside the mysterious space where these men played. The experience was so enveloping for me that I could see the sounds William played, first in a billowing cloud and then shooting out like light-tendrils that circled my head. As this magic unfolded, though I was sitting in the back with only a wall behind me, I swear that from over my shoulder I could hear children laughing. Seriously. — Scott Thomson, July 2009
- Barnyard Records
- BR 0313 / 2009
- UPC/EAN 777320156327
- Durée totale: 57:31
At Somewhere There
CD 2.0BR 031316,95 CAD
La presse en parle
François Couture, Monsieur Délire, 13 juillet 2010De la classe. Et un enregistrement simple mais efficace.
Ken Waxman, The WholeNote, no 15:8, 1 mai 2010An almost hour-long solo recital may seem daunting, but New York bassist William Parker easily impresses as this bravura invention recorded at a local performance space attests.
Un concert solo enregistré en juillet 2008, à Toronto (au Somewhere There, incidemment). Une très belle prestation constituée d’une improvisation libre lumineuse de 48 minutes, typique d’un William Parker en pleine forme. Puis, une courte pièce plus jazz, avec mélodie, dédiée à Don Cherry. Et enfin une courte pièce à la flûte en guise de final. De la classe. Et un enregistrement simple mais efficace.