A one night only event: Tuesday, November 14, 2006 7:30PM.
New York, October 17, 2006 — William Parker will present a workshop that will seek to identify and interpret what he considers to be the fundamental concepts of improvisational playing for the modern bassist. William will investigate the role of the musician and the human being within what he describes as “a larger society of sound.” He will trace the development of bass playing from traditional jazz to music from across the globe, focusing on the work of bassist Henry Grimes, Alan Silva, Malachi Favors, and others. This workshop will be comprised mostly of lecture, but there will be an audio presentation and demonstrations. Those attending are asked NOT to bring instruments. David Gage will provide the basses for the evening.
From Chris Kelsey, All Music Guide:
As a bassist, Parker is possessed of a formidable technique, albeit an unconventional one. Unlike a great many jazz bassists, Parker was not formally trained as a classical player, though he did study with three of the finest jazz players of the “60s, Jimmy Garrison, Richard Davis, and Wilbur Ware. Consequently, Parker’s style is based on a tradition of self-expression and experimentation. His arco work is possibly the most fascinating aspect of his idiom; Parker excels at the creation of dense, hyperactive streaks of color, gleaned from the inherent harmonic properties of the instrument. At bottom, he is a textural player. Lyricism plays a secondary role in his work, with or without the bow. Parker’s pizzicato style is overwhelmingly percussive, in intent and effect. Though he does, to an extent, serve as a harmonic anchor in his groups, his more important role is as a source of energy. Parker drives a band like few other bassists; in combination with a powerful drummer, a Parker-led rhythm section is an inexorable force.
Parker grew up in New York City. Very early in his career he formed an association with Cecil Taylor; Parker played Carnegie Hall with the pianist in the early “70s. Parker released his first album as a leader in 1979. Through the Acceptance of the Mystery Peace (on Parker’s own Centering Records) featured saxophonists Charles Brackeen and Jemeel Moondoc and violinist Billy Bang. Parker became Taylor’s regular bassist in the “80s. He played on several of the pianist’s European records, and on Taylor’s most recent domestic major-label release, 1989’s In Florescence, on A&M. Parker left Taylor in the early “90s and began working more often as a leader. He recorded a big-band record for his own label, then began releasing a series of CDs for other companies, significantly Black Saint. Besides his activities as a leader and community organizer, Parker would continue to work as a sideman through the mid-’90s; he remained the bassist of choice for downtown free players like David S. Ware, Matthew Shipp, and Rob Brown.
William Parker will present “Fundamentals and Aesthetics of Creative Music” one night only at David Gage String Instruments, 36 Walker Street, New York, NY.
Tickets are now on sale and are priced at $20.00, $15.00 for students and seniors.
Tickets for the David Gage Workshop Series are available from davidgage.com or by calling the store at 212-274-1322 or by emailing email@example.com.
The official web site for William Parker is at www.williamparker.net