|interview mit evan parker||
|In seinen charakteristischen Soloimprovisationen schafft der englische Saxophonist Evan Parker oftmals abstrakte, sehr komplexe Tonstrukturen und extrem dichte, gewebeartige Klangflächen. Dabei verschwinden unweigerlich die stilistischen Grenzen zwischern Jazz und zeitgenössischer "E"-Musik. Durch die Verwendung von zahlreichen instrumentalspezifischen zeitgenössischen Spieltechniken (wie Zirkularatmung, Spezialzunge, slap, growl, Mehrklänge, Mikrointervalle, Klangfarbenvariation, Höhenregister etc.) und durch seine ihm typische Klangsprache entsteht beim Zuhörer nicht mehr der Eindruck, einem Jazzmusiker oder einem zeitgenössischem "E"-Musiker zuzuhören,||sondern man vernimmt einen
einen Musiker, der abseits jeglicher Kategorien mit und durch dieses
spricht und sich mitteilt.
Im Rahmen des von der "Gesellschaft für Neue Musik" in Zusammenarbeit mit u.a. dem "Ensemble Modern" veranstalteten "Nachwuchsforums" für junge Komponisten, Interpreten und Musikologen, das im März 2000 in Frankfurt am Main stattfand, gab Evan Parker ein Solokonzert und am Folgetag eine lecture über das Thema Improvisation.
Nach seinem Konzert hatte ich Gelegenheit, ihm einige Fragen zu stellen:
S.W.: Was what you played tonight “Jazz“ or was it contemporary music ?
E.P.: It‘s really not my problem [laughing].
Would You call yourself a freejazz musician?
If we talk at length I can explain where I came from, who I listened to -
I listened to a lot of great Jazz saxophone players - I didn‘t listened to
Sigurd Rascher - I studied Sigurd Rascher‘s books - I don‘t listen to
classical saxophone players with a view to taking material - I used the
study materials from that tradition - I even used the Londeix material -
both as a teacher and as a student.
In general You are positioned in the Free Jazz area and you are mostly
invited by Jazz festivals...
My only concern is practice and being ready to play something if I get
invited. I don‘t care who invites me. I‘m not looking for an invitation
anywhere. I don‘t want to sound arrogant about that, it‘s just how it is.
I work hard at the things that interest me. Looking for work doesn‘t
interest me. Playing the saxophone interests me, so I work at that. If the
other things come, they come: if they don‘t come, they don‘t come.
Over the last fifteen years academic students have also been working at the
techniques you use, like multiphonics, circular breathing, playing with
harmonics, high notes, special effects. Do You think there is a special,
specific “language“ of the saxophone?
All of my language comes from an investigation of the saxophone. Of
course the saxophone is built on the one hand to play chromatic scales and
it can do other things as well. And it‘s just a question of allowing the
voice of the instrument to speak to you - your specific musical
imagination. And I have a great feeling that the saxophone is more flexible
in response to the imagination of the particular player than some other
instruments. Each instrument is wonderfully interesting and full of
possibilities but some instruments are more narrow in their scope. The
saxophone is very wide, very open to take on the voice of the individual
player. That‘s a cliche from the jazz tradition, you know, the sound has
some of the qualities of a voice - the individual sound of the player. But
it‘s true - each player can find their own particular sound with the
saxophone and I think that‘s the challenge. Maybe even more of a
challenge inside the conservatory tradition of saxophone where there are
still those possibilities.......
For myself the Top-tones book of Rascher has been like a bible - just in
the sense that it indicates possibilities and gives very practical methods for
approaching those possibilities and learning to control those possibilities.
And from then on the challenge is to have the saxophone speak with
your voice. But before you can have the saxophone speak with your voice
you have to know what the saxophone‘s voice is and that must include a
study of the overtones and the way of overblowing the instrument and
crossfingerings and all of that which is implicit in Rascher‘s approach
especially in the „top-tones“.
|Tonight you played a whole solo recital improvised. How do
for such a concert? Do you have a prior conception, or do you work on
anything in advance? Or do you just go on stage and play?
Your head is full of memories and your body is full of routines and I
don‘t try to use the head to fight the body in that way but allow the
routines to lead the head to some new place. Whether that always works
or not - I don‘t know. But I have a feeling that where my music becomes
most interesting is where I‘m not thinking any more and I‘m not in
analytical control of what is happening. However controlled it feels and
sounds and however rational the organisation of the material the best stuff
comes when I‘m not thinking or at least not thinking analytically.
Do you think that it makes sense to teach improvisation at conservatories?
Do you think that it is possible to teach improvisation?
I think it is possible to give people the confidence to improvise and give
people the feeling that it‘s not intellectually inferior or suspect which is
the problem at the moment having elevated the class of “composer“
musicians above the rank and file. The ordinary musician is separated
from his impulse to play by a notion of “what should I be doing“ and
“what can I get paid for doing“ very often, rather than “what do I feel like
doing“. In order to put musicians more in touch with there own feelings
you probably have to go right back to their earliest experiences with the
instrument and that is a big programme.
Do you still practice for yourself ? What do you practice then?
Well, I‘m trying to memorize these kinds of additive patterns - they are
somewhere between Slonimsky [Nicolas] and Steve Lacy. So just take a
thing like a flattened fifth and separate it by semi-tones [E. Parker playing]
They don‘t fall under the fingers naturally. They‘re not arpeggios, they‘re
not scales but they are patterns. I use them like armatures in a sculpture
- I think we call it an armature - sometimes under the clay there are some
steel pieces that makes it possible to support the clay in a position that the
clay wouldn‘t hold by itself. Very often I‘m working with harmonically
neutral material - harmonically neutral intervals. It takes a little while to
memorize all the messy scales and it takes a little while to think which of
these patterns I would like to work with
© by simon