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LP
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MTE 065LP
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2023 restock. The long awaited repress of Slight Freedom, acclaimed guitarist & composer Jeff Parker's first solo album & a New York Times' best albums of 2016 selection, is here. Pressed on premium 120-gram audiophile-quality vinyl by RTI from lacquers cut at sterling sound by Steve Fallone, presented in a retro flipback jacket. Second edition of 1,399 copies. What we said in 2016: "Slight Freedom, Jeff Parker's first ever solo record, presents the first opportunity to hear the guitarist in fully self-revealed circumstances. recorded 2013 & '14 in the Hollywood Hills as he relocated from Chicago to Los Angeles, Parker combines the dark tonal palette & percussive attack he's long been known for with real-time processing elements & field recordings, deftly crafting a unique world of solo guitar music -- multilingual, mysterious, alive with extraordinary sonic events, with a sturdy intelligence in charge & a raw homestyle vibe. parker's title composition sets the album's cavernous mood. terse lines & ricocheting loops morph into a gnarly ambient section that resembles Neil Young droning out over a vg+ copy of discreet music. Parker creates a different sort of ambient space in his take on Frank Ocean's 'Super Rich Kids', bending the melody around a bossa nova rhythm into a moodsville tone poem. parker makes an extraordinary long-form statement out of Chad Taylor's 'Mainz', a piece he first recorded with Taylor & Chris Lopes on the album Bright Light In Winter. Twice the length of the trio recording, the multi-layered soliloquy finds parker leaping from the high rung to damn near orchestral heights, pushing his techniques & concepts to the breaking points. It's one of the great solo performances you'll hear from a musician this year. To say 'Lush Life' comes with formidable baggage is an understatement. Parker achieves instant classic status with a rendition that sounds beamed-in from a decommissioned satellite -- burned out, covered in space grit, yet still formally nuanced & beautifully reflective of Strayhorn's world-weary lyrics. twenty years into the game it's a joy for eremite to present work by an artist who's clearly taking his music to the next level." "It's not jazz, it's not ambient, it's not noise; it's something more idiosyncratic and more personal, something only Parker could have come up with. Perhaps this is what Slight Freedom is supposed to mean: Not an anarchic exploding of rules, not the total liberation proposed by free jazz, but a steadier, stealthier path -- dissolving boundaries, softening constraints, and wearing away at the edges of things until the ideas run as freely as water." --Philip Sherburne, Pitchfork
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2CD
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ZORN 093CD
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"Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet, is at last here. Recorded live at ETA (referencing David Foster Wallace), a bar in LA's Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depthful & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan's Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle. While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group -- just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It's tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras -- dub & Dilla, primary source psychedelia, ambient & drone -- suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, 'we sound like the Byrds' (to certain ears, the Clarence White-era Byrds, who really stretched it). A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they've established in Parker's -- The New Breed -- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker's beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers -- as distinctive a sonic signature as we have in contemporary acoustic drumming -- bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom. For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker's unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker's music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power. On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together." --Michael Ehlers & Zac Brenner
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2LP
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MTE 076-77LP
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Sold out, 2024 repress forthcoming... "Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet, is at last here. Recorded live at ETA (referencing David Foster Wallace), a bar in LA's Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depthful & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan's Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle. While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group -- just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It's tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras -- dub & Dilla, primary source psychedelia, ambient & drone -- suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, 'we sound like the Byrds' (to certain ears, the Clarence White-era Byrds, who really stretched it). A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they've established in Parker's -- The New Breed -- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker's beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers -- as distinctive a sonic signature as we have in contemporary acoustic drumming -- bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom. For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker's unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker's music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power. On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together." --Michael Ehlers & Zac Brenner Pressed on premium audiophile-quality 120 gram vinyl at RTI from Kevin Gray/Cohearent Audio lacquers. Mastered by Joe Lizzi, Triple Point Records, Queens, NY. First eremite edition of 1799 copies.
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