Intakt CD 409 / 2023




Humans have seemingly always feared new technologies. We're not even talking about AI and ChatGPT. When the first electric light bulb was invented, folks worried it would end civilization as they knew it. Artificial light certainly changed how late one stayed up at night. On the other hand, it also allowed people to find their keys after the sun had set. Any new technology can be either a master or a servant, a tool or a tyrant. The programmable drum machine Miles Davis employed for the making of Tutu (Warner, 1986) is so antiseptically sterile it made the music mostly bland and characterless.

Mark Corroto, All About Jazz, August 22, 2023 (EN)



Hiroki Sugita, Import Disc Review 2023-10, PJ Portrait In Jazz, September 14 2023 (JP)


Other Aspects, WAYO 104.3FM, July 30 2023

Other Aspects, WAYO 104.3FM, July 30 2023 (EN)


2007 ist Peter Evans zum Evan Parker Electro-Acoustic Ensemble gestoßen und „Scenes In The House Of Music“ zeigt ihn 2009 mit Parker, Guy & Lytton, dem Kern, aus dem es 1993 hervorging.

Rigobert Dittmann, Bad Alchemy Newsletter, Aug 2023 (DE)


Even at age 79, British reedist Evan Parker
			continues to embrace new tools to enrich
			and provoke fresh strains of improvisational
			thinking. He's maintained several ensem-
			bles that process spontaneous sounds with
			analog and digital means, including Trance
			Map+, his nimble duo with electronics maven
			and turntablist Matt Wright. On Etching
			The Ether (Intakt: **** 49:35) the pair
			are joined by trumpeter Peter Evans for three
			extended improvisational pieces, with the
			horn players leaping in and out of Wright's
			gurgling, fractal hal-of-mirrors manipula-

Peter Margasak, Downbeat Magazine, Sept 2023 (EN)


[livre] Jean-François Foucault : jazz, musiques recto-verso et une valise rouge.

Thierry Giard, CultureJazz, Oct 05 2023 (FR)


In electronic music forms
			technology is not a tool,
			but an instrument that
			for intuitive and m
			and m-provisational sound exploratio
			explorations; sometimes more, sometimes
			more. sometimes less contingent.
			sometimes obeying algorithmic principles
			principles, sometimes like a freely
			available tool.

Ulrich Rudenauer, Jazz Podium Magazine, Oct 2023 (DE)


Als ein Gigant des Solo-Spiels mit Zirkular-atmung und ausgefeilten Blas- und Intonations-techniken ist der englische Saxophonist Evan
			Parker bekannt geworden. Seit langer Zeit arbei-tet er mit Multiphonics.

Pirmin Bossart, Jazz N'More Magazine, Switzerland, October 2023 (DE)


Trance Map, groupe fondé en 2008 avec le compositeur et sound designer Matthew Wright, est le laboratoire où le saxophoniste et compositeur Evan Parker expérimente de nouvelles formes d'expression musicale par l'adjonction, en live, d'effets électroniques.

Thierry P. Benizeau, Les Chocs, Jazz Magazine France, November 2023 (FR)

Constantly seeking novel sonic areas in which to explore, Trance Map, UK saxophonist Evan Parker’s newest disc raises the question of when are four musicians not a quartet. That’s because this cornucopia of synthesized expression was first recorded by Parker, American trumpeter Peter Evans and British sound designer Matthew Wright. Figuring that the textures from his soprano saxophone, oscillations from Wright’s electronics and Evans’ brass extensions needed more zest however, American drummer Mark Nauseef’s percussion interludes were added in post-production.

Ken Waxman, Jazzword, 22 Novembre 2023 (EN)

Trance Map: a
	mappa per
	rintracciare la strada che fiporta
	fuorida te, gran belnome per un
	gruppo: nucleoin Evan Parkere
	Matthew Right, I'uno sassofonista
	da mezzo secoloe oltre abituatoa
	sondare l'impossibile, Iallro allievo
	diAndriessen, musicista elettronico,
	sound designer e molfo altro, con
	Iaiuto di Peter Evans, trombetista
	quasialienoe Mark Nauseef,
	percussionista a proprioagio nelle
	terredinessuno quiattraversate.

Guido Festinese, Alias/il Manifesto, Aug 2022 (IT)

Toward The Margins von Evan Parkers Electro-Acoustic Ensemble (ECM,
	1997) zeigte, wie aufregend kollektive Improvisation in Verbindung mit Live-Elektronik und Sound-Processing sein kann. Diese Saat von damals geht noch immer auf, Mr. Parker ist seiner Vision weiterhin auf der Spur. In dem Trompeter Peter Evans fand er den idealen Dialogpartner für dieses Riesenaben-teuer. Umwerfend, wie sie sich die Bälle zuwerfen und Matthew Wright die Impulse auffängt und umwandelt. Großartig passend dazu die Schläge von Mark Nauseef - wie aus einem Zen-Kloster.

Karl Lippegaus, Fonoforum Magazine, December 2023 (DE)

De voorbije vijftien jaar
	kwamen rietblazer Evan
	Parker en elektronica-expert/sounddesigner
	Matthew Wright regel-
	matig samen voor geim-proviseerde sessies die
	even cerebraal als radicaal de wereld van de elektroakoestische mogelijkheden
	verkenden. Regelmatig was dat ook met extra gasten, vaak muzikanten met een heel eigen persoonlijkheid.

Guy Peters, Jazz N' Mo Magazine, December 2023 (BE)

Best of 2023, The New York City Jazz Record, December 2023 USA (EN)

Best of 2023, The New York City Jazz Record, December 2023 USA (EN)

After being buffeted by frigid winds and crisp sunlight while traipsing on the soft sand of an Oregon beach for several hours last Sunday, I recovered by sinking into a couch with Evan Parker’s latest release for Intakt Records.

There Stands The Glass, August 22 2023 (EN)

Trance Map+ is a collaborative project involving some incredibly talented musicians exploring the realms of avant-garde jazz and experimental sounds. Etching the Ether features three extended pieces, treated with Matthew Wright's live electronics and sound design. It is a production that embarks on a sonic journey, pushing the boundaries of improvisation and musical exploration.

Glenn Astarita, All About Jazz, December 28 2023 (EN)



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