MULTIKULTI May 2012; Evan Parker + Zlatko Kaučič: Round About One O’Clock NotTwo MW 863-2

Prvi koncert Evan Parker je prišel ven - nisem mogel po przecudnym, solo predstava Wadada Leo Smith poslušati czterdziestominutowej improvizacijo na sopranistka (na krožno dihanje), poleg spremljavi treh turntablists. Torej za to predstavo - kljub temu, da je kar nekaj njegovih CD-jev mi je všeč - sem se približal z veliko previdnostjo.

V Ljubljani, vendar Evan Parker igral povsem drugače - skoraj lirična, intimna glasba je ustvaril duet s slovenskim bobnar Zlatko Kaučiciem govoril na izredni način. Tam je dejansko vse o najlepši zame improvizirane glasbe - fokus in pozornost, rutyniarstwo ne manifestira prezreti obliko ali poslušalca, ampak temeljito razumevanje partnerja in možnost svojega instrumenta. To je veliko samo-omejitev, temveč tudi zaveda, koliko napetosti lahko gradi tudi sam zvok. Pozornost naj oblikujejo individualno "sled", vendar krožnik - kot seznam skladb na albumu - urejen dosledno zgodbo, ki je posvečen pokojni saksofonist Mike Osborne. Izjemno pade Kaučiciem, igranje ni na standardnih sodov, toda množica porozkładanych na tla ali obesil na stojalo instrumentov, ki gradi napetost vsak najmanjši šum ali pipo.

Ta plošča mora za vse ljubitelje free jazza in improvizirane glasbe, in zame eden od najpomembnejših albumov sproščenih letos.

(Marek Zając)


WWW.POINTOFDEPARTURE.ORG May 2012; Evan Parker + Zlatko Kaučič: Round About One O’Clock NotTwo MW 863-2

The final disk under consideration pairs Parker and Slovenian percussionist Zlatko Kaučič. The duo captured during the 2009 50th Jubilee Jazz Festival in Ljubljana was the first-time meeting between the two, but there is nothing even remotely cautious in their playing. When the two got together the day before their performance, Kaučič talked about playing with Mike Osborne when he lived in Spain in 1978, and the two dedicated their performance and the resulting record to the memory of the great, troubled reed player. Kaučič is credited with playing “ground drums” and the photo inside the CD shows him sitting amidst an array of cymbals, gongs, frame drums, bells, and small percussion. Parker switches between tenor and soprano and his phrasing and trajectories are keenly fitted to the textural detail of his partner, often parsing his lines into shorter fragments, stringing ideas together across the tuned timbres and spattered detail of his partner. There are sections, though where he lets his snaking lines loose, wending his way through his partner’s animated field of sound. The percussionist structures his playing around shards of activity and gesture, full of rustling clangs, booming rumbles, resonant chimes, and sizzling metallic splashes, occasionally interjecting vocal inflections into the mix. The playing is quieter and a bit more reserved yet there is nothing restrained about their interactions. This is the sound of two improvisers tuning in to each other to carve out common ground. While not as essential a recording as the two releases covered above, there is still plenty to recommend here and provides plenty of impetus to search out more of Kaučič’s recordings.

(Michael Rosensteinn)


WWW.JAZZWORD.COM 27. 10. 2012; Evan Parker/Zlatko Kaučič: Round About One O’Clock NotTwo MW 863-2

British saxophonist Evan Parker’s musical plasticity is such that it’s often difficult to imagine in what context he’ll next appear. A consummately sympathetic improviser as well as a bandleader, Parker’s soloing can be equally intrepid in electronic as acoustic settings, as these CDs demonstrate.

British saxophonist Evan Parker’s musical plasticity is such that it’s often difficult to imagine in what context he’ll next appear. A consummately sympathetic improviser as well as a bandleader, Parker’s soloing can be equally intrepid in electronic as acoustic settings, as these CDs demonstrate.

Playing partner on Round About One o’clock is percussionist Zlatko Kaučič, arguably Slovenia’s most accomplished and well-travelled improviser, having spent years outside the country playing with senior stylists such as saxophonist Steve Lacy and Peter Brötzmann. This live set from the 50th Ljubljana Jazz Festival, find the two celebrating the memory of pioneering British freebop saxophonist Mike Osborne (1941-2007), spelling out his nickname in the six selections’ titles.

An entirely different jolt of electrical energy, Together in Zero Space was recorded in the Slovakian capital Bratislava exactly five months later as part of the 10th Next Festival of Advanced Music. Here Parker, only playing soprano, is a special guest of the British Grutronic ensemble, most of whose members use processing and transduction to improvise, and do so operating such electronic implements as the wigi, buchla lightning blippoo box and drosscillator. Parker, who was experimenting with electronics 30 years ago and leads his own Electrocacoustic Ensemble is unfazed.

He must be, because outside of the occasional plinks and jabs or processed glissandi from the piano of Stephen Grew, who elsewhere improvises acoustically with folks like reedist Mick Beck, it’s Parker’s idiosyncratic overblowing, trilling vibrations and circular breathing that bring the acoustic to the two electro-acoustic improvisations here. Never cowed, Parker oftentimes mixes lip burbles, growly split tones and inhaled breaths among the voltage interface. There’s even a point during “Filigree and Circuitry” that gravelly kinetic sound loops are pushed aside for some straightforward, linear timbres from the saxophonist, seconded by staccato keyboard cascades.

On the other hand, isolating which textures emanates from which implement wielded by Richard Scott, David Ross or Nick Grew is next to impossible. Considering that each has experienced with soundscapes, installations, and the production of asymmetrical and aleatoric forms, the rubbery pumps and wave-form drones that modulate and splinter the tracks are anonymous enough yet often rely on Parker’s flutter tonguing to create a satisfactory shape. With pit bull-like yelps, jew’s harp-like resonations, polyphonic shuffles and distorted circuitry clashing throughout “Mesomerism in Rhythm”, it’s Grew and Parker produce more recognizable improv tropes among the processed sound loops. Ironically, at one point Grew’s controlled rumbles and tremolo patterning wouldn’t sound out of place on an acoustic club gig. As for Parker, not only are there instances of continuous tongue fluttering, but when he distorts his lines with staccato reed bites and continuous lip pressure, his output references unfettered Free Jazz more than electronic-pushed drones.

Any ancillary bounces, crackles, reverberations, raps, clicks and pings that are heard on the other CD are strictly the province of percussionist Kaučič. Responding by playing both his horns – only soprano saxophone is used on Together in Zero Space – Parker come up with a more upfront reed strategy. For instance the third track “Link to... Z”, features the percussionist shouting as he rattles Tibetan-styled bell trees, whaps aluminum vibraharp bars and eventually alternates percussion clatter with what sounds like the tearing of foolscap. In response, Parker’s narrowed split tones become more mercurial with reed biting plus key percussion eventually create Trane-like inflections with high-pitched slurs.

Clarion cries from the top range of Parker’s horn(s) and discursive tongue flutters characterize some of the other duets, with Kaučič methodically rubbing, shaking and vibrating unique timbres with intense concentration, frequently prompting the saxophonist to reply with snorting air ejaculations. Paradoxically, since his soloing is both more abstract and more chromatic than it is with Grutronic, the saxophonist’s hocketing slurps and staccato reed vibrations doesn’t prevent broken-octave parallel improvising to cement the duets.

Eventually with the final “Dear Mike”, the parallel improving moves into a new phase of thicker strongly constricted lines. Reaching a climax of triple-tongued smears which expose multiphonic partials as well as the initial narrative, Parker’s glissandi is broken into individual honks as Kaučič’s rattles and bumps dampen as they reach a finale.

Two more high class example of Parker’s pliable art, the choice between the CDs depends on preference for an electro-acoustic or a rhythmically acoustic exhibition.

(Ken Waxman)


WWW.MLADINA.SI 23. 3. 2012; Evan Parker & Zlatko Kaučič: Round About One O’Clock

Ko sta se na 50. ljubljanskem Jazz festivalu srečala dva velikana evropske svobodnjaške improvizacije, je bil to dogodek, ki ga ni smel zamuditi noben resen privrženec spontanega ustvarjanja glasbe. To se je še enkrat potrdilo lani, ko je posnetek koncerta izdala cenjena poljska založba NotTwo. Uro dolg dialog med domačim tolkalcem in britanskim pihalcem v najlepši luči razpre vse atribute glasbenega ustvarjanja, ki temelji le na medsebojnem poslušanju in odzivanju. Kot se spodobi za glasbenika, ki takšen izraz prevprašujeta že desetletja, se v muziciranje podasta suvereno, brez vsakršnih opornih potuh. Dinamičen set pa skozi členjene strukture zvoka svobodnjaško glasbo predstavi v njeni najlepši podobi.

(Goran Kompoš)


WWW.SQUIDSEAR.COM 2012-03-19; Round About One O'Clock (dedicated to Mike Osbourne & Ozzie)

Mike "Ozzie" Osbourne is best remembered as a cultish reed player who won favor with Melody Maker (first place "Best Altoist" from 1969-1973) and as a member of several notable bands such as the short-lived sax trio S.O.S (with John Surman and Alan Skidmore) and the South African ex-pat-formed, Mingus-meets-Sun-Ra Brotherhood of Breath — but that's just the tip, as his one-off contributions rival Jimmy Page's pre Led Zeppelin session work. From critics to peers, he is referred to as "gifted", "prolific", "highly charged", "powerful" and "individual". In 1982, he suffered from schizophrenia exacerbated by the "touring life" and spent the last 25 years of his life in retirement.

Remembering Osbourne's life, chance meetings and performances (Evan Parker was also a member of Brotherhood of Breath), this duo shared a connection and dedicated their 2009 Jubilee Festival show to the man.

Now that we have this out of the way, on to the music.

Slovenian-born drummer Zlatko Kaučič (another obscure figure whose name you have to spell several ways to get his works to scrobble in iTunes) on "floor drums" (a collection of literal bells and whistles, frame drums, myriad cymbals and a converted percussion stand littered with objects) and Parker on tenor and soprano sax, spinning an intimate memorial that jumps from fragmented to fiery, taking time in the cracks between. "Link to...O" begins with whispers, Kaučič gently scraping and rubbing drum heads as Parker calls and answers with wide spaces in the interim. They proceed into a staccato series of muted clangs and clacks before, despite Kaučič on his knees, taking off into a smoking wash that echoes the stark-and-maximum thrust of Insterstellar Space (you know, the transcendence of Coltrane and Ali where just a sax and drums imply harmonic movement and fill in for an otherwise entire band?) It's this shift of gears that makes the arc of this musical paint-by-numbers so attractive: at times, they chug forward and stay representational to help you see the form; quite often, however, the élan from dot to dot, the shape of the smudges and the brush strokes of brilliant color are the focus — and neither man ever empties his palette. (These are not accolades or descriptive scenarios new to Master Parker's critiques, but Kaučič's toe-for-toe contribution with someone he met the day before the show should be noted.)

The free-form is exploited on "Link to...I" with yelps of "Heyyyy!", Kaučič shaking a nut in a can, the percussionist giving attention to each piece of his wooden and metal accoutrement as Parker takes flight into circular breaths and subtle microtonality. Pairing down yet just as entrancing, the encore "Dear Mike" is Parker back to his hushed tones and Kaučič knocking on a single cymbal, coaxing a generous amount of bent pitches and rhythmic durations from knocking on a single cymbal. Parker returns to hushed tones, turns to a muted growl and finishes unaccompanied in the most delicate, reverent punctuation one could will for a memorial.

Are there deeper meanings and insights into Osbourne's life and career throughout the selected notes of Round About One O'Clock? Probably — I'm currently not well enough versed in his music to pick them out. But regardless of the post-humus sentiment, this remarkable music stands (alone) as proof that death is not the end. RIP.

(Dave Madden)


MUSICA JAZZ 3.12.2012; PARKER & KAUCIC «Round About One O'Clock» Not Two MW 863, distr. nottwo.com

Link To... Ozzie (5 vers.) / Dear Mike! Evan Parker (sop.. ten.), Zlatko Kaucic tbatt.). Lubiana, 4-7-0,9.

Dedicato a Mike Osborne, to sfortunato sassofonista (scomparso poco meno di due anni prima) il cui nomignolo si compone nel succedersi dei primi cinque brani (O-Z-Z-l-E), il cd vede interagire due delle figure piu eminenti dell'improvvisazione europea. Di musica nata del tutto all'impronta infatti si tratta, con un senso della forma che trae linfa dall'ampia consuetudine dei due con tale prassi. Parker si conferma non di rado ben piu leggibile di quanto ami dipingerlo un'ormai trita iconografia che gli rimane cucita addosso (ma certe sue sequenze circolari mozzafiato non mancano, come nel secondo e quarto episodio, entrambi al soprano, colpendo per contrasto ancor piu nel segno); Kaucic e ovunque quell'infaticabile inventore di suoni spesso inauditi che lo fanno apparire come una delle presenze chiave del percussionismo contemporaneo (e non da oggi, del resto).

La temperatura e ora fitta, densa, increspata (di rado congestionata), ora piu aerea, preziosa, impalpabile. E se qua e la non manca di aleggiare l'ombra dei duetti coltraniani (con Parker al tenore, ovviamente), il deambulare sghembo, felicemente irregolare, in particolare del batterista (molto orizzontale, come la deposizione dei suoi attrezzi, a terra), sprigiona ovunque una forza identitaria spiccatissima.

(Bazzum)


MEMBERS.JAZZJOURNALISTS.ORG 19 Dec 2011; 2011 'Best of' Lists

Joe McPhee and Ingebrigt Haker Flaten, "Blue Chicago Blue" (NotTwo)
Fred Hersch, "Alone at the Vanguard" (Palmetto)
Satoko Fujii Min-Yoh Ensemble, "Watershed" (Libra)
Bill Dixon, "Envoi" (Victo)
David S. Ware/Cooper More/William Parker/Muhammad Ali, "Planetary Unknown" (AUM-Fidelity)
Okkyung Lee, "Noisy Love Songs (for George Dyer)" (Tzadik)
AGOGIC, "Agogic" (T&C - Table and Chairs Music)
Farmers by Nature, "Out of This World's Distortions" (AUM-Fidelity)
Uri Caine Trio, "Siren" (Winter&Winter)
Ken Vandermark Resonance, "Kafka in Flight" (NotTwo)
Steve Coleman & Five Elements, "The Mancy of Sound" (Pi Recordings)
Trio 3 + Geri Allen, "Celebrating Mary Lou Williams" (Intakt)
Taylor Ho Bynum Sextet, "Apparent Distance" (Firehouse12)
Evan Parker - Zlatko Kaucic, "Round About One O'Clock" (NotTwo)
Aki Takase + Han Bennink, "Two for Two" (Intakt)
FAB Trio, "History of Jazz in Reverse" (TUM)
Javier Girotto - Luciano Biondini, "Iguazu" (Note Sonanti)
BAAP!, "Sweet Dreams, Baby" (Monk)
Stefano Battaglia Trio, "The River of Anyder" (ECM)
Joëlle Léandre / Nicole Mitchell / Dylan van der Schyff, "Before After" (Rogueart)
Jason Kao Hwang Edge, "Crossroads Unseen" (Euonymus Rec.)
Side A (Ken Vandermark/Chad Taylor/Havard Wilk), "A New Margin" (Cleanfeed)
Klang, "Other Doors" (Allos Documents)
Fire! with Jim O'Rourke, "Unreleased?" (Runegrammofon)

(Antonio Terzo)


FREEJAZZ-STEF.BLOGSPOT.COM December 21, 2011; Evan Parker & Zlatko Kaucic - Round About One O'clock (Not Two, 2011) ****

What if, in 2012, Evan Parker released 500 totally excellent recordings--each and every one of them a stirring exposition of the furthest reaches of improvisation and saxophone playing?

Could a super abundance of Parker's music result in a devaluation of it? Could someone of Parker's musicality become normalized and taken for granted the same way as John Phillip Sousa? What if in 2012 Parker released 0 albums, but instead began working on one to be released in 2019. Would that make Parker's music any more valuable than it is now?

Listening to Round About One O'clock by Evan Parker and Zlatko Kaucic makes me wonder if Parker has fallen into a rut of totally predictable excellence and invention. Parker is a full fledged, heir to Coltrane's aesthetic line, as much as Archie Shepp, Albert Ayler, Charles Gayle or Michael Brecker for that matter. Can Parker do anything but kick ass? Can we record him then? It's hard to imagine an uninspired sound or a dull phrase coming from Parker's horn.

With Parker's eminently high functionality as a constant, his collaborators become the focus. On the one hand, why Kaucic? Of all the drummers in the world, why him? On the other hand, at this point in Parker's discography, why not? Kaucic keeps pace, playing what the facebook page calls “ground drums.” Kaucic kit has a warm, “organic” sound (for wont of a better term), tonally to similar to Milford Graves. It is in those moments where Kaucic approach owes more rather than less to Graves when Kaucic is at his most exciting and compelling.

Once all the compelling excitement is over, however, we are still left wishing the Parker/Graves performance in 2009 at the Stone in NYC (what little there was of it) was also part of either Parker's or Graves' recorded output. Graves has a way of putting horn players pull up their socks unlike anyone else. (Paul Lovens is no slouch either.)

Of all the horn players ready for significant musical demands, Parker is at the top of the list. If Parker isn't going to make any horrible recordings, then only the remarkably super human (like a duet with Graves) can add counterpoint to the vast bulk of Parker's output, which has flat lined at merely fantastic, Round About One O'clock included.

(Stanley Zappa)


IMPROV-SPHERE.BLOGSPOT.COM 14 janvier 2012; Evan Parker/Zlatko Kaucic - Round about one o'clock (Not Two, 2011)

Dédicacé au saxophoniste anglais Mike "Ozzie" Osborne (rien ŕ voir avec Black Sabbath, Osborne est plus connu pour ses collaborations avec Mike Westbrook ou John Surman), Round about one o'clock est l'enregistrement d'une premičre collaboration d'Evan Parker et du percussionniste slovčne Zlatko Kaucic. Six improvisations capturées lors du cinquantičme anniversaire du Jubilee Jazz Festival ŕ Ljubljana. Evan Parker n'évolue pas par rupture, il emploie les męmes techniques instrumentales et les męmes formes d'improvisations depuis plusieurs décennies, les changements opérant surtout par apport aux formations instrumentales et aux collaborateurs. Je ne dis pas cela de maničre négative, car ŕ chaque nouvelle production d'Evan, je ne suis pas surpris par la technique, mais par une précision qu'il a fini par peaufiner, précision de l'écoute et des réponses ŕ chaque contexte musical, que ce soit au sein du trio classique Parker/Guy/Lytton, en solo ou avec de nouveaux musiciens avec qui il n'a pas l'habitude de collaborer, comme le percussionniste nantais Toma Gouband ou Zlatko Kaucic ici męme.

Au cours de ces improvisations libres et spontanées, le duo Parker/Kaucic parvient ŕ produire un dialogue original envers et contre la longue tradition d'une forme déjŕ largement entamée dans le free jazz autant que dans le jazz, le duo saxophone/batterie. Le couple anglo-slovčne ne s'évertue pas ici ŕ abolir les fonctions traditionnelles des instruments utilisés, ŕ anéantir les fonctions rythmiques et mélodiques de maničre purement négative. Il n'y pas de séparation ni de hiérarchie, mais le geste du duo est plus positif et constructif que destructeur et revendicateur. Ensemble, les musiciens ne se distinguent que par le timbre, mais se réunissent parfaitement dans des lignes énergétiques spécifiques. Véritables symbioses énergiques et dynamiques, les motifs et les idées suivies au long de ce concert sont caractérisées par leurs valeurs et leurs aspects intensifs, dynamiques et énergiques, et c'est par ces propriétés que les timbres pourtant aux antipodes peuvent fusionner en un motif au-delŕ des propriétés traditionnelles du son et de la musique. Avec un matériau assez réduit, Parker n'utilise pas énormément de techniques étendues, tandis que Kaucic, hormis quelques idiophones, n'utilise qu'un tom et diverses cymbales, le duo parvient ŕ composer une musique multiple et diverse, non selon le timbre ou la structure qui est la plupart du temps linéaire, mais grâce aux différentes énergies déployées au long de ce dialogue puissant et créatif. Le son d'Evan, on le sait, est unique, et Kaucic parvient parfaitement ŕ dialoguer avec cette énergie inépuisable du saxophoniste légendaire en frappant peaux et cymbales de maničre ŕ déployer les intensions énergiques et intensives du duo, que ce soit par le biais d'un jeu pointilliste ou linéaire, rarement pulsé mais toujours expressif.

Puissantes, profondes et expressives, ces six pičces ne laissent pas de marbre et marquent par leur intensité et par la puissance de l'écoute. Mort en 2007 suite ŕ un cancer du poumon, Osborne n'aurait pu ręver un plus bel hommage que ces six improvisations créatives et constructives, beaucoup plus lyriques qu'abstraites, sans que ne soit jamais utilisé aucun cliché stylistique et technique propre ŕ véhiculer des émotions. Car si une chose est véritablement digne d'admiration chez Evan, c'est cette faculté de produire des émotions aussi fortes avec un langage technique aussi original, un langage sans précédent et que peu de personnes semble vouloir reprendre, comme par peur de sa puissance. Recommandé!

(Julien Héraud)


JAZZCOLOURS Gennaio 2012; Evan Parker-Zlatko Kaučič around about one o'clock

"Ozzie" era il soprannome — o meglio, il vezzeggiativo — dell'altosassofonista inglese Mike Osborne (1941-2007). Osborne si distinse sulla scena britannica negli anni Sessanta e Settanta, particolarmente con Mike Westbrook, con la Brotherhood of Breath di Chris McGregor e nel trio SOS, insieme ad Alan Skidmore e John Surman. Malato di schizofrenia, dovette ritirarsi dall'attivita gia nel 1982, affrontando un lungo calvario fino alla morte per un tumore ai polmoni. Alla sua memoria Parker e Kaucic (che con Osborne aveva suonato in Spagna nel 1978) hanno dedicato quest'incisione, tratta da un concerto tenuto al festival di Lubiana nel luglio 2009. Come gli capita sempre piu spesso negli ultimi anni e come confermano quattro delle sei tracce in programma, Parker manifesta una particolare predilezione per il tenore. Su questo strumento il sassofonista inglese da una parte applica i tratti distintivi della sua poetica: respirazione circolare, suoni parassiti, suoni stoppati, sovracuti lancinanti, fraseggi ricchi di armonici, segmentati ed acuminati. Dall'altra, come dimostrano ampiamente il primo e il quinto brano della sequenza Link to... E, ne approfitta per riallacciarsi a un certo tenorismo afroamericano: senz'altro all'ultimo Coltrane (e la presenza di Kaucic rimanda in qualche misura ad "Interstellar Space"); in misura minore a Shepp ed Ayler. Peraltro, nei primi 4' 30'' di Link to ... E si assiste ad una dialettica scarna, giocata su timbriche e dinamiche sommesse, preludio al serrato crescendo successivo. Ovviamente, come testimonia lo sviluppo di Link to ... O, non mancano i paralleli con il sodalizio tra Parker e Paul Lytton, soprattutto quando il fraseggio si fa piu contorto e crepitante, e il suono piu abrasivo. In questo contesto Kaucic attinge da par suo alle risorse del suo set, producendo una gamma ampia di colori e figurazioni, con un andamento circolare che — quasi senza soluzione di continuita — sembra accostare il succitato Lytton e Tony Oxley a Milford Graves e Sunny Murray. La terza e la quarta traccia vedono protagonista il soprano, che riafferma la poetica rigorosa e spartana fino all'intransigenza di Parker. Sonorita che evocano strumenti ad ancia nordafricani, balcanici e mediorientali, e fraseggi ora elaborati in forma di spirali e volute, ora spezzettati in frammenti aguzzi, vengono disseminati su punteggiature metalliche prodotte da piattini e gong. Talvolta, scarne cellule si accumulano lentamente su richiami vagamente etnici accennati da campanacci, sonagli e vocalizzi. Il tutto da un lato configura una materia sonora "concreta", affine alla scultura; dall'altro, suggerisce associazioni con l'astrattismo di Jackson Pollock e con gli squarci nella tela di Lucio Fontana. Musica tosta, onesta e senza pudori di due "duri e puri"..

(_En.Bo.)


MULTIKULTIPROJECT.BLOGSPOT.COM 18 pazdziernika 2011; Evan Parker / Zlatko Kaucic "Round about one o'clock", Not Two 2011, MW8632

Z pierwszego w zyciu koncertu Evana Parkera wyszedlem - nie bylem w stanie po przecudnym, solowym wystepie Wadady Leo Smitha wysluchac czterdziestominutowej improwizacji na sopranie (na oddechu okreznym), w dodatku z towarzyszeniem trzech turntablistów. Totez do tego wystepu - mimo iz calkiem sporo plyt jego bardzo mi sie podoba - podchodzilem z duza rezerwa.

W Lubljanie jednak Evan Parker gral juz zupelnie inaczej - niemal liryczna, intymna muzyka jaka stworzyl w duecie ze slowenskim perkusista Zlatko Kauciciem przemówila w sposób niezwykly. Jest tu wlasciwie wszystko o najpiekniejsze dla mnie w muzyce improwizowanej - skupienie i uwaga, rutyniarstwo objawiajace sie nie lekcewazeniem formy czy sluchacza, ale doglebnym zrozumieniem partnera i mozliwosci jego instrumentu. Jest wielkie samoograniczenie, ale i swiadomosc jak wielkie napiecie mozna zbudowac chocby pojedynczym dzwiekiem. Jest dbalosc o forme poszczególnych "utworów", ale i plyta - niczym spis utworów na tej plycie - uklada sie w konsekwentna opowiesc, dedykowana niezyjacemu juz saksofoniscie Mike'owi Osborne'owi. Niezwykle wypada Kauciciem, grajacy nie na standardowej perkusji, ale na mnóstwie porozkladanych na podlodze lub po zawieszanych na stojaku instrumentów, budujacy napiecie kazdym najlzejszym szmerem czy stuknieciem. To plyta obowiazkowa dla kazdego milosnika free jazzu i muzyki improwizowanej, a dla mnie jeden z najwazniejszym albumów wydanych w tym roku.

(Marek Zajac)


WWW.RADIOSTUDENT.SI 29. 10. 2011; ZLATKO KAUČIČ & EVAN PARKER: Round About One O' Clock (Not Two, 2011)

Pod drobnosluh jemljemo prvo sodelovanje domačega tolkalca Zlatka Kaučiča s še enim velikanom evropske improvizirane godbe, pihalcem Evanom Parkerjem, s katerim sta tam okoli ene izvedla koncert na predlanskem jazz festivalu v Ljubljani in ga sedaj pri renomirani poljski novojazzovski založbi Not Two razsekanega ponudila našim ušesom kot posvetilo pihalcu Mikeu Osbornu- Ozzie-ju ... (v celoti!)

* Festivali, še posebej jubilejni s kakim primerno bogatejšim programom, so idealne priložnosti za srečanja med glasbeniki, ki se sicer morda ne bi nikoli zgodila oziroma bi morali na kreativno izmenjavo med različnimi glasbeniki čakati dlje časa. Eno takih enkratnih srečanj se je pripetilo leta 2009 na jubilejnem, 50. ljubljanskem jazz festivalu. Takrat sta na sklepni dan festivala ob enih popoldne stopila na oder Kluba Cankarjevega doma dva velikana slovenskega in britanskega jazza, tolkalec Zlatko Kaučič in pihalec Evan Parker.

Že po koncertu smo si ljubitelji jazzovskih in improviziranih glasb bili edini, da je šlo za enega boljših nastopov takratnega obletniškega festivala, kar pa dobi dodaten pomen, če vemo, da so bili izvajalci za 50. ljubljanski jazz festival skrbno izbrani med tako rekoč samimi vrhunskimi imeni in smo posledično takrat slišali praktično same odlične nastope.

Takratno mnenje o koncertu Kaučiča in Parkerja sedaj lahko argumentiramo in z veseljem potrdimo, saj je butična poljska založba Not Two obelodanila posnetek s koncerta. Odličen, prostoren zvok, kakor ga je zabeležil snemalec Iztok Zupan, doda piko na i imenitni izkušnji podoživljanja špila, za katerega sedaj lahko dodamo, da je pri obeh muzičistih šlo za nastop, ki sodi v vrh vsega, kar smo od obeh doslej lahko slišali. Še posebej to ugotovitev lahko namenimo Parkerju, ki se je v zadnjih letih na slovenskih odrih pojavljal bolj poredko.

Album sta glasbenika posvetila pokojnemu angleškemu saksofonistu Mikeu Osborneu. Posvetilo razgrinja ne le kratko besedilo na lepo oblikovani cedejki, marveč tudi naslovi komadov, ki so, z izjemo zadnjega - dodatka oziroma bisa »Dear Mike!« - poimenovani po istem vzorcu: naslovi vseh preostalih komadov so namreč »Link To«, sledijo tri pike, ki pa jim nato sledijo posamične črke iz imena »Ozzie«, kakor so klicali Mika Osborna.

Osborne je bil med drugim, skupaj s Parkerjem, član legendarne zasedbe Brotherhood of Breath, ki je v času apartheida združevala britanske in takrat v Veliko Britanijo prispele južnoafriške glasbenike. In svojevrstno bratstvo je čutiti tudi v skupnem muziciranju Kaučiča in Parkerja, ki sta album nadvse lucidno naslovila »Round About One O'clock«. Naslov, ki kajpak meri na manj običajno uro koncerta, je seveda tudi aluzija na Monkov standard »Round About Midnight« in zabaven namig o tem, da je tudi ob uri kosila moč igrati in poslušati glasbo, ki ni le ozadje drugim opravilom.

Klub dejstvu, da je album posvečen spominu na preminulega glasbenika, iz glasbe ne veje kaka melanholija ali otožnost. Prav nasprotno, Kaučič in Parker slavita življenje in brstečo kreativnost; na albumu nas čaka kopica prebliskov, dinamičnih rešitev, sprotnih menjavanj toka glasbe, katere zgoščenost in odločnost izraza prevevata malone ves tok albuma. Parker poleg sunkovitih, vijugastih linij, ki jih naš tolkalec urno podpira in podčrtava z mnoštvom zvočil iz kompleta talnih bobnov, postreže s svojimi značilnimi krožnimi melodijami. Le-te so sestavljene iz repetitivnih obrazcev, ki ob vsakem novem zasuku pridobijo nov odtenek naboja. Slednjega še dodatno poudari Kaučič z odmevi gongov, s postanki ter razpršenimi melodičnimi ritmi.

Oba igrata odločno in z jasno vizijo, a hkrati nadvse blagohotno, dojemajoče do partnerja. Parker denimo velikokrat vodi skladbo, a se obenem podreja Kaučičevim presunljivim zamahom in premikom ter s saksofonom sledi spremenljivemu ritmičnemu vrvežu in se tokrat on pusti voditi. Album se, kljub temu, da je glasba nastajala med samim koncertom, prek sprotne interakcije in čuteče improvizacije odvija v premišljeni zvokovni logiki, od počasi razpirajoče se uvodne skladbe, ki jo slišite v ozadju, prek spretnega grajenja in opuščanja napetosti do enega viškov albuma z omenjenimi krožnimi skladbami, vse do spontanega utišanja in umirjanja. Zelo dinamičen in koncentriran potek glasbe ter domišljena dramaturgija nastopa sta le dve odliki tega albuma, ki je dokument uspešnega srečanja dveh zvočnih mislecev, katerih zmožnost sinergije in empatije je ustvarila navdihnjeno in navdihujočo glasbo, za katero je upati, da bo v svetal zgled podobnim projektom oziroma ustvarjalnim srečanjem.

(Mario Batelić)