.: interlúdio :. Evan Parker & Transatlantic Art Ensemble – Boustrophedon (2008)

Evan Parker- soprano saxophone
Roscoe Mitchell- soprano and alto sax
Anders Svanoe- alto sax
John Rangecroft- clarinet
Neil Metcalfe- flute
Corey Wilkes- trumpet, fluegelhorn
Nils Bultmann- viola
Phillip Wachsmann- violin
Marcio Mattos- cello
Craig Taborn- piano
Jaribu Shahid, Barry Guy- double bass
Tani Tabbal, Paul Lytton- drums and percussion.

I want to offer some basic info about the structure of Parker’s piece and then a few comments on the music. My remarks on the structure of the piece are based on Steve Lake’s excellent liner notes.

Boutrophedon is from Greek and means “turning like an ox while ploughing”.

This sort of left to right then right to left movement seems to have suggested to Parker a grouping of musical analogies including that of the improvisor emerging from the written score and then returning to it.

Structurally, the music has eight parts. The very brief Overture is followed by six ‘Furrows’ each of which is structured around a pair of musicians, one from each side of the Transatlantic Art Ensemble. The Finale is then centered around a sequence of individual cadenzas.

The first Furrow features flute and piano, the second viola and violin, the third cello and the alto sax of Svanoe, the fourth clarinet and trumpet, the fifth Furrow is for both bassists and the sixth Furrow features first Parker on soprano and then Mitchell tearing it up on alto.

After that last furrow, the Finale’s cadenzas seem relatively calm until the final orchestral chords.
A couple of remarks. Apparently, Parker conducts throughout but Mitchell also conducts from the Furrow 4 on (if I understand the liner notes correctly). This was to add another level of unpredictability to the way the musicians contributed to the piece. I am not sure I can hear any difference but I would be interested to hear from others if they do.

Some of the musicians on this recording simply leave you no choice but to be awed. Taborn is outstanding both supporting soloists and as an individual voice. Wilkes on Furrow 4 is a delight. His feature is played largely muted (I think) and he is a master of the trumpeter’s craft of tone manipulation. I need to see if I can find some CDs where he is the leader. Furrow 6 featuring Parker and Mitchell is the most typically jazzy part of the recording. They are both fierce but the way Mitchell charges in about ten seconds after Parker fades to silence is a superb moment crafted by both men.