Straight Horning: Evan Parker & Spontaneous Music Ensemble

Spontaneous Music Ensemble: Summer 1967 (Emanem)

I’ve been meaning to write about this album for a while now. Some months ago I wrote some notes but who knows where they ended up, so I’m starting from scratch today.

Some of you may know I’m a fan of checking out early recordings by players who interest me. There are earlier recordings of Parker on Withdrawal, but on those recordings he has a pretty minor role in proceedings. Summer 1967 is a different story, as here he shares the front line with drummer John Stevens (drums/perc) and bassist Peter Kowald (on the two longer tracks). Even at this early stage it sounds like Evan Parker to me. The tone is not as full (the fidelity of the recording may not help) and there is not much in the way extended techniques but the playing still points to Evan Parker. I think it’s the series of short bursts and a staccato/jagged approach to his phrasing

The album comes from three separate sessions in August and September 1967:

- 5 improvised duets (4 on soprano and 1 tenor) that are, at times, quite minimal and in which space is well utilized.

- 2 longer improvised trio pieces (1 each on soprano and tenor) Clocking in at 14 and 11 minutes, I liked the pacing of these longer works - the phrases have space to breathe.

- 3 improvised duets (all soprano) the title “Echo Chamber Music” is apt and the echo on the recording adds a bit of fullness to the sax sound (but it’s still a bit over the top). These don’t seem as jagged as the first 5 duets (but maybe it’s just the echo mellowing things out a little).

Even as the density rises the music tends to stay on the quiet side (reflecting John Stevens’ ethos at the time), and I find this quiet intensity appealing. At times the music is quietly urgent and off the top of my head I can’t think of many similar examples that come to mind. In some ways there is bit of sameness throughout each of the three sessions, but I actually don’t mind it all that much.

This is Evan Parker's first major statement on record, and as such, if you're a fan of his work you'll want to pick this up.

For those interested in the pint…. it’s Dame Errant from Pipeworks, an English style IPA that had bit of a shake up on the way home but still tasted good.

Spontaneous Music Ensemble: Challenge

Spontaneous Music Ensemble: Challenge (Emanem)

Having heard a smattering of their recordings, I’m finally getting around to listening to Spontaneous Music Ensemble a bit more carefully. I figured starting at the beginning is probably a sound move. Challenge, recorded in March 1966, is a fascinating album as it captures SME in its formative stages. In fact, had this been a blindfold test I may not have been able to pin point it.

This incarnation of SME features Kenny Wheeler (trpt) Paul Rutherford (trb) Trevor Watts (as/ss) John Stevens (d) and Bruce Cale and Jeff Clyne (splitting the bass duties).

There are moments that hint at the freer approach that was to come (the collective playing on “End to a Beginning”) but for me the music still fits comfortably into the “Free Jazz” mode with composed pieces by Watts, Rutherford and Stevens, soloists with accompaniment, some collective improvising and a rhythm section swinging - nothing particularly unconventional for the time. And that’s not a criticism, the music remains engaging throughout and I feel they create a solid ensemble sound. It’s thoughtful and dynamic music. 

“E.D’s Message” opens the album and it doesn’t hold back with plenty of high-energy output from Trevor Watts - perhaps the boldest solo voice on the album, although Rutherford has some nice moments too such as on “After Listening.” The rhythm section comfortably moves between time and a more textural approach. At times things get pretty busy but Stevens sounds assured throughout and is a very responsive accompanist. There are a few nice arco spots from Cale too. It’s funny how something pricks up your ears. For me, it was Stevens’ cymbal work on “Travelling Together” - a whispering shimmer that moves to a bell pattern just as the piece seemly comes to an end before the drum solo takes flight. Wheeler still seems to be finding his feet in this setting and is somewhat more tentative than the others with maybe just the occasional hint at his mature style. He gets a bit of room to move on “After Listening,” which features solos from the each of the horns. A standout from this track is the superb accompaniment of Stevens and Cale. They manage to lock in with each soloist, creating music informed by the soloist rather than relying on rote accompaniment.

There is something familiar about some of the pieces and I struggled to put my finger on what it was. As I continued to listen throughout the week I was reminded, on more than one occasion, of the Bobby Bradford/John Carter Quartet. I guess there are some similarities…. bass and drums with horns (in this case three rather than two) and a post-Ornette vibe that is present at times - but I’m still not sure that’s what it is. [Side Note: I’m not overly familiar with the Bradford/Carter group, eventually I might get to a more in depth listen to them as well.]

For the final track on the disc, Chris Cambridge (b) and Evan Parker (ss) join John Stevens and Trevor Watts. Recorded in April, 1967, “Distant Little Soul,” is moving towards what I hear in my mind’s ear when I think of SME - exploratory (rather than experimental) group improvisation at the quieter end of the spectrum.   

So far, this is the earliest recording of Parker’s I have heard and the distinctive voice he developed is still in its infancy. It’s fascinating hearing players early in their career (Bird with Jay McShann, Lee Konitz with Claude Thornhill etc.) so for fans of Evan Parker this track is worth the price of admission. Withdrawn contains some Parker from around the same time… I’ll be getting to that album next.

Recent Listening: Clayton/Granelli & Spontaneous Music Ensemble

Jay Clayton & Jerry Granelli Sound Songs (Winter & Winter)
This album has been on the "to get" list for a little while after being highly recommended by my friend Cheryl. Vocal and Drum/Percussion duets are fairly rare and that alone makes it worth checking out. But I won't stop there - the music is superb.

The majority of the album is made up of what I safely assume are free improvisations. There is an improvised(?) setting of Emily Dickenson's "I'm Nobody" and the duo's take on "Goodbye Porkpie Hat" is one of the best I can recall hearing.

Initially, I was struck by the use space and dynamics from both players and this remained on repeated listens. There is an unhurried feel to the album and the dialogue between the two throughout the album is top shelf. They keep things interesting with changes in timbre, textures, feeling etc. Fascinating listening and one of the best vocal albums I've heard for a while.

This is a straight reissue of the material found on the LP release by JMT Productions from 1985 and the 43 minute length sits well with me. It's a nice length for focussed listening. A highly recommended album that I'm already adding to my 2015 Round-Up.


Spontaneous Music Ensemble Oliv & Familie (Emanem)
Reissued last year, this release features a couple of sessions from 1968 and 1969. Three of the four pieces are by 9 & 11 piece groups and one by a quartet. There are plenty of familiar names - John Stevens (d) Evan Parker (ss) Norma Winstone (v) Trevor Watts (as/piccolo) Dave Holland (b) Derek  Bailey (g) and Kenny Wheeler (flugel horn). I was pleasantly surprised to see New Zealander Brian Smith on flute - I had no idea he was involved with this group of players (from SME to Moonlight Sax..... quite a leap).

I've gave this disc a few spins before jotting down some notes during one of the listens. Here they are.... slightly edited so they make some kind of sense.

"Familie" Opens up with a droning pedal tone (which underpins most of the piece). I enjoy the blend and there is a haunting, floating quality with the piano, guitar and drums gradually becoming more prominent. The sustained notes remain as players interject with runs, stabs and flurries of notes.  There is no "soloist" as such - it's a collective effort and a unified one at that. By the middle of the piece the sustained notes have all but disappeared, the improvising is more line orientated with the bass and drums up tempo - the overall feel is busier/denser. Things settle down for the final few minutes and the sustained notes return.

The second version is 8mins shorter (sounds like there could be a fade-in at the start). Things seem to move faster with the density rising quicker and remains for the majority of the track before the droning sound returns to takes things out.

"Oliv" first take features a 9 piece ensemble
Kicks off with vocals, percussion and saxophone. Wheeler has a soloist roll with drone from the three vocalists and Watts with accompaniment from Bailey. Eventually the bass kicks in and is joined by piano and drums with the time feel broken up (before settling into a mid tempo swing). Wheeler blows before the piano takes over and the drone continues beneath. Three quarters of the way through things are quite dense and energy levels high with Wheeler, Bailey and Peter Lever collectively improvising before things drop up down as the end fairly sparsely.

The second take is stripped back to the quartet of Maggie Nichols (v) Trevor Watts (as) Johnny Dyani (b) and John Stevens (d). As you would expect the sound is less dense and I find there is more clarity for the listener - Watts and Nichols work around the drone - shaping, breaking and rejoining it while Dyani plays rich pizzicato lines and Stevens' toms keep the piece driving. Again there is not really a soloist and accompaniment - the quartet collectively improvises (by the middle of the piece the drone has been left behind altogether) and the playing in general is busier. The drone comes back in around the11 minute mark and now this is a more soloistic approach from the bass. The ending is a treat (I won't spoil it for you).

A few things stood out to me on this disc - the composed structures, the presence of the vocalists and hearing Parker and Bailey very much in the background on both takes of "Familie." Another enjoyable disc that is well worth giving a listen or three. I'm looking forward to checking out more early recordings from SME.