#william parker

[kieradumpzz081927]

Swan goddess in a different outfit <3 I forgot where i put her original outfit since im looking for it

based on legends of zelda: Ocarina of time bcuz itz funnnn

dont mind my periodic table-

Powered/God Forms of one of my ocs especially my sona which was the one with the golden star in their right eye

' Immortality is a terrible thing ' For me in my sona/oc has consequences of being immortal will give you the loss of your beloved ones but not only that it will give you endless pain that gives a shockwave and a aching nerve in a few areas on your body part

lazy ballpen sketch of Nathaniel lol Tagging @tea-the-not-understanding to check out since they wanna lmao

#kieraart #lmk oc #oc #lego monkie kid #fanon #traditional drawing #traditional art #Nathaniel the Fate #Kira #Zhian #Ella #The shooting star #Mychael's mother #Lors #William Parker #Unnamed character #Rehtaef the ArchAngel #Original Characters

[doomandgloomfromthetomb]

Don Cherry - The Five Spot, New York City, June 7, 1975

The Sandy Bull doc I shared with y'all a few weeks ago shared some sweet glimpses of Sandy's wedding — and apparently Don Cherry officiated? That is one cool wedding. The pics reminded me that I had heard tell of (but never heard) a live tape of Don and Sandy recorded sometime in the mid 70s. And lo & behold, the great Observations of Deviance had posted a snippet of it last year! Not only that, but OoD had linked over to the Deep Focus podcast, who not only had played the entire tape, but they'd also gotten that night's bassist, the legendary William Parker, to listen in and offer his valuable insights. Sometimes the world is ... good? I know, I can barely believe it either.

Anyhoo, what we've got here is a fairly lo-fi AUD, but nevertheless ... an amazing snapshot! The band is remarkable — not just Parker, Bull and Cherry, but also Frank Lowe, Selene Fung, Hakim Jami, Ed Blackwell and Roger Blank. It's typically eclectic stuff, positive vibrations all around, a true fusion of modes and moods, Cherry moving joyously from keys to trumpet to vocals. Occasionally, it's a mess! But it's a mess you're gonna love.

"Groove after groove after groove," Parker marvels, nearly 50 years later. Cook up some brown rice and get into it.

William Parker: There’s always someone bringing a tape recorder and sitting in the audience recording. I mean, they did it with Charlie Parker and John Coltrane and any musician that plays in a jazz club. There were people who came and they taped whether they had the tape recorder, you know, underneath their sleeve, hiding in their pants, the mics coming out of their hats, you know, all kinds of things. Because once you begin to listen to this music, you become obsessed with it. It really becomes a lifeline. The people that taped weren’t necessarily trying to start a record company, but they're taping it because it's really feeding them, and it keeps them balanced.

#don cherry #sandy bull #william parker #frank lowe #ed blackwell

[ardl0]

#tunes #matthew shipp #william parker #beans #hprizm #knives from heaven #beats #Youtube

[soundgrammar]

Listen to: Groove by William Parker Quartet

#William Parker #jazz #Bandcamp #music

[de-salva]

WILLIAM PARKER QUARTET - Malachi`s Mode

Live in Houston, Texas, 2007

Personnel:

William Parker - double bass, double-reed, shakuhachi Hamid Drake - drums Rob Brown - alto saxophone Lewis Barnes - trumpet

#William Parker #Hamid Drake #Rob Brown #Lewis Burnes #Malachi Favors

[thenewgothictwice]

Free Jazz legend William Parker Plays Original Composition for Sounds of Saving ❤️

#william parker

[dustedmagazine]

James Brandon Lewis/Red Lily Quartet — For Mahalia, with Love (Tao Forms)

Photo by Henri Selmer

For Mahalia, With Love by James Brandon Lewis / Red Lily Quintet

James Brandon Lewis reconvenes the Red Lily Quintet—with Kurt Knuffke on cornet, Chris Hoffman on cello, William Parker on bass, and Chad Taylor on drums—for a set inspired by songs associated with Mahalia Jackson, the towering figure in gospel music in the previous century. The group develops the brief melodies of these traditional devotional tunes into vehicles for improvisation and exploration, creating a joyful noise that celebrates Jackson and also recalls the exploration of themes associated with the Black church by Charles Mingus, Albert Ayler and Roland Kirk.

In some cases, such as “Swing Low” and “Wade in the Water,” the source material is readily apparent while in others it is less so. The set begins appropriately and gently with Lewis’s adaptation of one of Jackson’s signature songs, “His Eye Is on the Sparrow,” which provided the name for a radio show that she hosted in the 1950s and with which she wowed the 1958 Newport Jazz Festival. Lewis’s phrasing well captures Jackson’s meditation on a tune that, like the rest of those here, is beautiful in its simplicity rather than showy.

The quintet was rock-solid on its first outing, Jesup Wagon (2021), and is even more together this time around. Parker is, predictably, outstanding here, delving deep into the music whether soloing, as on “Go Down Moses” and the first minute of “Elijah Rock,” or providing bedrock support throughout. Hoffman’s cello often blends with Parker’s bass, somewhat like the dynamic between the two bassists in some of Coltrane’s bands. Knuffke once more serves as the perfect foil for Lewis as they alternately trade leads and blend their voices. His solo on “Deep River” well exemplifies his approach, building on the foundation established by Lewis before him, he ranges from flutters to searching cries consistent with the funereal theme of the song. Taylor, along with Parker, holds everything together, being equally effective in delivering frantic rolls, as on “Were You There,” and hand percussion, as on “Calvary,” and there are numerous satisfying moments when he and Parker lock in, such as the last couple minutes of “Elijah Rock”

Lewis’s ever-deepening mastery of the tenor is naturally on full display here. His playing, like this recording, delves into the history of jazz without ever sounding formulaic with a tone that is simultaneously ancient and cutting-edge. Here, his horn transforms into the voice of the great gospel singer, channeling as well the voices that she was influenced by and that influenced her.

Those who purchase the CD or vinyl versions can hear Lewis’s playing in a different context on a live recording of his composition for sax and strings with the Lutoslawski Quartet. Titled These Are Soulful Days, the piece interweaves themes from the spirituals and thus serves as a companion to the Red Lily Quartet recording. This fresh context for Lewis’s vision unfolds through the tranquil and plaintive “Prologue – Humility” and four movements to “Epilogue – Resilience.” The movements interweave more and less recognizable phrases from the gospel songs, particularly the dramatic eruption of “Wade in the Water” in Movement III, while “Epilogue” gets fairly noisy and atonal. An encore concludes the set in the form of a lyrical solo sax performance of “Take Me to the Water.”

For Mahalia, with Love, like Jesup Wagon and Lewis’s “Molecular” releases, is fairly high-concept, but the music is spunky and easy to enjoy, with plenty of groove and intensity. The bare nature of the source melodies is well-suited to jazz exploration (as successive generations of musicians have discovered). Lewis is still too young to be considered a jazz elder statesman (and national treasure), but he is steadily building a body of work and a perspective commensurate with that status.

Jim Marks

#james brandon lewis #red lily quartet #for mahalia with love #tao forms #jim marks #albumreview #dusted magazine #jazz #Kurt Knuffke #chad taylor #william parker #chris hoffman #mahalia jackson

[burlveneer-music]

Chad Fowler, Ivo Perelman, Zoh Amba, Matthew Shipp, William Parker, Steve Hirsh - Alien Skin - a one-off free-leaning set with THREE HORNS (Mahakala Music)

On the last afternoon of Arts for Arts’ iconic Vision Festival in 2021, I found myself standing next to pianist Matthew Shipp and drummer Andrew Cyrille as William Parker’s closing group took the stage. Matthew and I were casually chatting as the stage filled with what would ultimately be the largest group of the festival that year. The music started and the bandstand spouted fire from beneath as it lifted off toward the stars. Every person in the venue floated in space together through almost an hour of spiritual, emotional, cathartic joy. It was music so raw and frenetic that, had I had a horn with me, It would have been difficult to fight the urge to join them uninvited. Steve and I had already been planning a couple of studio dates later that year in Brooklyn at Jim Clouse’s Park West Studios. After hearing this music, I wanted to recreate the feeling I got from listening to it. The visceral experience. Not the sound. I can’t remember what it sounded like. That wasn’t the point. So as Steve and I started planning for our upcoming session, we set out to put together a group to generate that same kind of energy: The group: ZA (who had played on William’s Vision set), Ivo Perelman (who we asked at the last minute to come by for a day and he ended up on both days of the recording), Matthew Shipp, William, Steve, and me. This was the first and probably last time this group of musicians will have ever come together in this configuration. As is our custom, we didn’t discuss much about what the music would be before Jim Clouse started recording. This record documents our second full day together, presented in order. From soulful balladry to demented rock music to an otherworldly march, the musical tension is palpable throughout. As is, I think, the pure joy of creation that animated our time together. - Chad Fowler Chad Fowler - stritch, saxello ZA - tenor saxophone, flute Ivo Perelman - tenor saxophone Matthew Shipp - piano William Parker - bass Steve Hirsh - drums

#ivo perelman #chad fowler #zoh amba #matthew shipp #william parker #steve hirsh #jazz #improvised music #free jazz #2022 #mahakala music

[deadassdiaspore]

Don Cherry & William Parker (Hakim Jami in background), Five Spot, NYC, June 1975.

#Don Cherry #William Parker #Hakim Jami #Black musicians #New York #Black music history #Black archives

[culturedarm]

Improvisational icons and 577 Records mainstays Daniel Carter, Leo Genovese, William Parker, and Francisco Mela unite for the first time galvanised by the interminable motion of life in New York City, the Paralaxe Editions founder Dania uses vocal loops, modular synths, and collaged samples of Iraqi musicians in an effort to weave and unweave those ties that bind, and the visionary percussionist and veteran bandleader Kahil El’Zabar guides his Ethnic Heritage Ensemble and special guests on a rhythmic tour de force in celebration of the legendary jazz trumpeter Don Cherry, figured here as an urban shaman and spirit gatherer whose music continues to serve as a healing balm through troubled times. Peter Walker delves into the Costa Rican jungle for a site-specific study of the zompopa leafcutter, Laura Cannell as the Hunteress draws inspiration from the  destruction horizon left by the ancient Iceni queen Boudica, plus tracks by Bendik Giske, UCC Harlo, Jake Meginsky, Lil Gotit, and LaToya Kent and RA Washington as Me:You.

https://culturedarm.com/tracks-of-the-week-22-04-23/

#music #new music #best new music #tracks of the week #laura cannell #hunteress #william parker #francisco mela #daniel carter #leo genovese #kahil el'zabar #don cherry #ucc harlo #jake meginsky #lil gotit #rap #hip hop #jazz #experimental #synthpop #ambient #punk #latoya kent #ra washington #me:you #bendik giske #arthur king #field recordings #dania

[pillowmoney]

For Black History Month, here's a recording of jazz legend William Parker reading an excerpt from his 1995 self-published story/tone poem, Music and the Shadow People, with backing music produced by Andrew O'Connor. Transcription below the cut – the book is long out of print and copies are extremely rare, so paragraph/line breaks (and any mistakes!) are mine.

Full play adaptation with band here: https://www.youtube.com/watch?v=3_vpXgd85A4

Chapter 3: Intuitive Tomorrow

One tent of a three-ring circus remains standing

All the horses have run away

The ringmasters were strangled by their own hands

The countryside smells of a battle

That has taken place long before

A brown, light-footed charger

Leads the weary soldiers

Into the maple forest

They wear dirty grey uniforms

Trudging along like sharks

They smell blood

Their faces are masked with red anger

Still other faces overflow with despair

The trees seem to get stronger

You can almost feel yourself

Going up to the top of one

To kiss God on the forehead

This is the setting outside

Inside

This is a living spirit world

The place where babies live

Before they are born

It is the place they return to

After life

The language spoken here

Is a cosmic sound language

A word is a sound

A sound is a vision

The centre of the universe is the periphery

Sometimes for a half a second

We see a blur that contains all the stories

If we look inside while producing

Sound vibrations

We see the horizon

There are thousands upon thousands of orchestras

in the tone world

There is an orchestra of raindrops

And one made of snowflakes

There is an orchestra made of all kinds of light

There are tunnels that lead to the colour world

And the trance world

With continuous sound

And continuous silence

Existing at the same time

There is an orchestra of dolphins and whales

There really are no names

No categories

It is about the one big shape

And the trillion little shapes

That make up the shapeless

timeless space

The naked eye cannot see

The melody or harmony that is present

It constantly speaks about

The intuitive tomorrow

There is a huge silver disc in the sky

It is a message from the father

of sound

It is about vibration

The sky is a burnt blue wall

A curtain of water erupts

To the left of the disc is a fire-red

Planet, a rope ladder

Dangles from the moon

Stars fill the galaxy

A bridge of shells holds

Three hundred prophets

Riding on goats

They dismount and walk towards the sun

Their footprints turn into clouds

Someone is knocking on the yellow birth-door

The doorman who is both male

And female opens the door

A bluish-purple flame

Spirals and laces

The embryo still in the womb

Now droplets of stone

Pour from the opening

At the top of the world

The story is in the strong music

The thunder-drummers produce

I am a wholewheat dumpling

Sauteed in blood

The angel says it is time to go

Blue-white flames line the birth passage

I see no colour

I feel nothing

Grains of sand turn into ants

Why do I leave my eternity

To be with you?

A bolt of lightning

Stretches across the vast darkness

The sun resounds

Like a huge gong

The wind whistles through the holes

In the sky

Trees are strung with sinew

The earth is a soundbox

Of six million birds

Singing six million tones

Simultaneously

Spirit tones float in lava

Ice castles melt

Forming huge lakes

The seeds of oceans

Water tones begin to sing

The thunder-drummers take

Two steps forward

And spin

The earth opens up

And swallows the sound

Tear tones slide down

The bamboo stick

Silver peacocks

Place their hands

On the unwashed altars

In the rice fields

Bell tones of sound

The house of the creator is the body

The altar is the heart

It is also the creator's drum

The rhythm is a lifeforce

The vibration of temples

The green mountain

The worm digging in soil

Children collapse in the bushes

They use leaves as pillows

The pillows turn into light

Then to eternal happiness

Then to stars

Oak and maple harps are plucked

The long breath is held

The tail of the dragon is caught

In the lid of the upper lip

Stone fingers flap

Like skin

Peeled

And placed over gourds

Branches tremble from the corner of the eye

Shadows sparkle

In the golden wetness of visual

touchable dream zones

Every lie that has been told

Since creation

Is written in huge letters

Over the black-purple horizon

The drone begins

Thick rosin dust

Over a field of dandelions

Singular tones bounce

Over low ocean waves

The same song

God is the master of masters

The composer of life

And all that elevates

The instrument is all creation

The creator

Is the improvisor and the player

The spirit that causes all things to dance

Human beings create

Only through the grace

Of the creator

Sound exists

As a force of nature

That leads us

Back to the creator

The intuitive tomorrow

Does not last

It is not about that

It is about the signs that inform

It is about the senses that do not touch

It is about unearthly realities

That science does not understand

Nor chooses to accept

It is about the death of death

And the life of life

The taking away of fear

It is about filling souls with compassion

To sweep one's entire being

With hope

And belief in truth

Leaving this vessel

When we meditate

On peace

Finding the lost children

Who seek passage

On this ship, the ark,

The psalm, the last sunset

One day

The sun will be late setting

This will be the sign

Please

Have all pains eased

All hurts soothed

Wrapped in love

In the peace

Of acceptance of salvation

Every sound must be filled

With truth and love for all

Creation, the intuitive tomorrow

May last a lifetime

What shall we do

when we cannot hear the silence?

The intuitive tomorrow will solve the mystery

It is today

It is yesterday

The intuitive tomorrow

Is another name for the music

It is the life

It is the dance

It is the prancing pony

Soon to be stallion

It is the doe we saw that morning

On the way to Vermont

It is the shirt off my back

Onto yours

It is the birthday party

The river

Mixing with the ocean

The intuitive tomorrow

Is the kind nurse

Who gave you that sip of water

After your operation

Within the intuitive tomorrow

The deaf hear

The crippled walk

The pain of famine vanishes

There is no war, guns or missiles

The sky is deeply concerned

And buckles and caves in

Due to the weight of these elements

It's as if the seat is the volcano

When its crust cools

It will be the new landscape

The playground for the little ones

The point tone

Split and stretched across time

The nail of the finger of the valley

Is one million times

The size of one million

Galaxies.

#black history month #william parker #tone poem #Intuitive tomorrow #Music and the shadow people

[l0caltiredgirl]

when i want fluff/angst fics and all i’m getting is smut

the struggle is real

#don’t get me wrong #smut is great #but a girl wants some angst and fluff #joel miller x reader #din djarin x reader #matt murdock x reader #steven grant x reader #steve harrington x reader #spencer reid x reader #aaron hotchner x reader #derek morgan x reader #jj maybank x reader #rafe cameron x reader #tasm!peter parker x reader #peter parker x reader #marc spector x reader #javier pena x reader #ellie williams x reader #poe dameron x reader #cassian andor x reader #bucky barnes x reader #steve rogers x reader #logan howlett x reader #daryl dixon x reader #simon riley x reader #bruce wayne x reader #l0caltiredgirl #mike schmidt x reader #sam carpenter x reader #emily prentiss x reader

[ardl0]

#tunes #matthew shipp #william parker #beans #hprizm #Youtube #rap

[soundgrammar]

Listen to: Bowl Of Stone Around The Sun by William Parker / Raining On The Moon

#jazz #William Parker #Bandcamp #music

[okajoton]

#bandcamp #jazz #music #roy campbell #william parker

[ifuckinglovelemondemon-srs]

You know a characther is fucked up and traumatized when they are wearing one of these

#ellie williams #rose winters #chris redfield #travis bickle #andrew garfield peter parker #james sunderland #and many more #i think #there's probably more #the last of us #resident evil #taxi driver #spiderman #silent hill #charlie kelly #ethan winters #john rambo #jesse pinkman #luke danes #lance mcclain #pete maverick mitchell #komaeda nagito #peter b parker #betty grof #dean winchester #leo valdez