There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes. — Evan Parker Copy Share Image
Remarkable only the very best arrangers can get a sound like that from four horns — 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… — Evan Parker Copy Share Image
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
