Oral history of jazz in Britain

Parker, Evan (2 of 11). Oral history of Jazz in Britain

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  • Type

    sound

  • Duration

    01:00:28

  • Shelf mark

    C122/108-109

  • Recording date

    1990-11-2

  • Recording locations

    Sound Archive recording studio, 29 Exhibition Road, London, UK

  • Interviewees

    Parker, Evan, 1944- (speaker, male)

  • Interviewers

    Priestley, Brian, 1940- (speaker, male)

  • Recordist

    Clark, Christopher, 1952-

  • Abstract

    Stayed at the YMCA, roomed with Dutch art student, appreciation of then current developments: "totally a product of that time". Joined Birmingham jazz trio, Monk and Coltrane repertoire, Parker moved them into modal style, playing soprano. Alan Cain (piano player), later a Lucas executive. (Parker read Botany, didn't complete course). Spent 2nd year grant money on a tenor saxophone. Cain replaced by Howell Thomas. Howard Riley (inter-university associationss), John Marshall, Pete Burden (Southampton) "best at that time". Howard Riley (Bangor) did summer vacation gigs at Birmingham university club, at the Grotto and at the Elbow Room (Sunday afternoons). Friend in Staines bought Ornette Coleman records, held parties: through David Cheney [?] (later Durham University) Royal College of Art contacts, got commission to do music for film version of Ray Bradbury Farenheit 451: first free playing. Through Alfreda Benge (partner of Robert Wyatt) met John Stevens, return to London, 1965. Practicing in in-laws' shed, soprano and tenor. Sounded like Archie Shepp or Wayne Shorter, which was not intended. Mick Burney (tenor guidance). Never practiced with metronome, or music minus one. Worked through Bauer 'Chords and chord progressions', scales, Rascher '158 exercises'.

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Parker, Evan (2 of 11). Oral history of Jazz in Britain

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