William Parker, a shaping force in improvised music for over five decades, is an improviser, composer, poet, educator, and author who has appeared on hundreds of recordings and countless stages. His name first came to broader attention through his tenure as bassist in the Cecil Taylor Unit in the 1980s. Despite the under-documentation of his early work, a common plight for creative music, Parker’s prolific nature has persisted, leading to a diverse array of releases in recent decades. However, his two new releases on the AUM Fidelity label stand out as unique within his discography, highlighting his versatility and creative spirit.
Heart Trio presents Parker alongside Cooper-Moore and Hamid Drake. Both have been performing and recording with Parker for over thirty years, but this recording is their first as a trio. Parker plays doson ngoni, shakuhachi, bass duduk, Serbian flute in F sharp and ney flute. Cooper-Moore performs on the ashimba and hoe-handle harp, instruments he made for himself and has been playing since the 1970s. Hamid Drake is heard playing a frame drum and a small drum kit. With this small orchestra of instruments, the trio creates joyous music that is sure to uplift the listener’s spirits.
Comprised entirely of spontaneous compositions,Heart Trio reveals the raw, unfiltered energy and deep connection these improvisers share. The music, mostly tonal and filled with grooves, doesn’t possess the searching quality that is common in improvised music and instead feels at many moments like a highly rehearsed piece, as it is full of clear sections and tight transitions. In the liner notes, Parker says that “the theory behind this music is the music itself. Empty and fill the heart and soul with sound, letting it dance. Without pretense.”
Cereal Music, Parker’s first spoken-word album, is a testament to his versatility and collaborative spirit. Created with longtime colleague Ellen Christi, the album features Christi as the sound designer, producer, and vocalist. She has skillfully framed Parker’s recitations with her sound designs, as well as incorporating field recordings and sounds from Parker’s bass and flutes. The album’s tracks, most of which are less than three minutes long, offer the listener a series of rich vignettes that transport us through many states of mind. Though much of the album carries an intense emotional weight, the overarching feeling affirms the beauty in life and the joy that can be found in sound.
Patrick O’Reilly is a composer, artist, and a community-driven fixture in the Toronto creative
music scene.