William Parker Sound Unity CD

William Parker (Bass): William Parker (bass guitar); Rob Brown (alto saxophone); Hamid Drake, Lewis Barnes.
Personnel: Lewis Barnes (trumpet); Hamid Drake (drums).
Liner Note Author: William Parker .
Recording information: La Sala Rossa, Montreal, Quebec, Canada (06/27/2004/07/02/2004); Vancouver East Cultural Centre, Vancouver, British Colu (06/27/2004/07/02/2004).
SOUND UNITY (2005) is one of William Parker's finest recordings in a discography full of them. Flanked by exceptional musicians, including drummer Hamid Drake, trumpeter Lewis Barnes, and saxophonist Rob Brown, Parker delivers an album that demonstrates a great intensity of feeling and depth of lyricism. The lack of a piano creates an intriguing sonic dynamic, and the group interaction in and around that silence is uncanny. The tunes, all Parker originals, blend folk, Middle Eastern flavors, and classic free jazz gestures (the music is influenced by the free jazz of the late 1960s, but not slavishly so). In short, SOUND UNITY is a superb album, and comes highly recommended not only to Parker enthusiasts, but to jazz fans in general.
Recorded at two live dates in Canada in July and July of 2004, Sound Unity is the most beautifully wrought of William Parker's ensemble recordings. Certainly it doesn't break as much ground as some, and it acknowledges his debts to composers like Ornette Coleman, Don Cherry, and Eric Dolphy, and that's fine; in Parker's able hands as a leader, this band with saxophonist Rob Brown, drummer Hamid Drake (are he and Parker the best rhythm section in jazz or what?), and trumpeter Lewis Barnes understands that both listening and silence are as important as what notes to play. The interaction between the horn players feels like they've been playing together for a very long time -- check out the 18-plus-minute title track. What's also important to note here is the fluidity that the rhythm section engages the horns with, such as on "Wood Flute Song," or the crazy, funky joy on "Hawaii." The bandmembers nearly lift off; they're having so much fun. The music on this set is one of those bridges -- across tradition, subgenre, nuance, and harmony. Parker's lyricism is profound, and has never been heard quite like this before. Brown is a more subtle player than some Parker has worked with before, and Barnes is a natural singer on the trumpet. The gap that's provided in the absence of a piano allows for a less strident interaction harmonically and dialogically. The music here flows, reaches, steps back, and reaches further, with Parker's guidance allowing for the horns to push one another as they do on "Groove," not so much for what they know, but for what they bring to a tune emotionally. "Harlem"'s folk song melody and lyric are among the most beautiful Parker has yet written; it's a place where blues and the Middle Eastern musics of Morocco come together. This is a stellar offering from one of the music's greatest lights. ~ Thom JurekDown Beat (p.85) - 4 stars out of 5 - "The title track is a standout, long and ambitious, but simple grooves like 'Harlem' suit this group just as well. Nimble and innately listenable..."
JazzTimes (p.100) - "Barnes and Brown make an engaging frontline pair, proficient in impromptu tandem movements as well as witty call and response."
Mojo (Publisher) (p.96) - 4 stars out of 5 - "[T]his increasingly celebrated group led by bassist Parker have an authentic, deep, rambunctious feel."