So in the sense that we were all dealing with that freer approach, yes, it was certainly one of the first contacts, perhaps the first contact, when Peter came that summer. So it's a very pivotal moment that is documented… — Evan Parker Copy Share Image
I think the solo playing, the decision to start playing solo, came out of having discovered what lay behind the doors that that technique opened for me. — Evan Parker Copy Share
But I think the record will actually come from tapes that are not yet recorded. — Evan Parker Copy Share Image
In my mind these two instruments speak to me in different ways, and the solo stuff seems to be easier to do on the… — Evan Parker Copy Share Image
So I'm looking to the saxophone as a resource which has its own unique set of possibilities. I'm looking to exploit them and develop… — Evan Parker Copy Share Image
I think the voice does that perfectly adequately without being imitated by other instruments. — Evan Parker Copy Share Image
If I think about the way I was drawn into the music, it was much more by recordings than by live performances. — Evan Parker Copy Share Image
So what starts is ad hoc and you never know where it's going to lead, so it's important to keep an open mind about… — Evan Parker Copy Share Image
Of course I knew the work of Roland Kirk and Harry Carney and the specific uses they would make of circular breathing, so I… — Evan Parker Copy Share Image
Certain kinds of speed, flow, intensity, density of attacks, density of interaction... Music that concentrates on those qualities is, I think, easier achieved by… — Evan Parker Copy Share Image
To speak about notation as the only way that you can guarantee structure of course is already very suspect. — Evan Parker Copy Share Image
When you add a period of 25 years between the playing and the listening, then the whole question of meaning gets very complicated. — Evan Parker Copy Share Image
