Evan Parker, tenor saxophone
Paul G. Smyth, piano
26 March, 2015
Kevin Barry Room, National Concert Hall, Dublin, Ireland
Recorded by Spud
Mixed and mastered by Spud at Guerrilla Sound Studios, Dublin
Design by Paul G. Smyth
With thanks to
Matthew Nolan and Catherine Kehoe at Note Productions
Caroline Feehily at the National Concert Hall
“… there is no doubt that we hold here one of the masterpieces of (Parker’s) discography but also of the genre, all styles and eras. Captured live, the two tracks of unequal length reach a fullness and beauty that is comparable to the greatest peaks in the history of jazz and improvised music” — Le Vif / L’Express
Best of 2019, Improvisation – Percosi Musicali
Best of 2019, Jazz – Du Vangaurd au Savoy, CHOQ
Best of 2019, Jazz / Improvised – Everett Wallace, The Fire Note
Best of 2019, Honourable Mention – The New York City Jazz Record
Musician of the Year – Evan Parker – The New York City Jazz Record
Instant Award in Improvised Music 2019 – Evan Parker
“It’s a beautiful album, with really fantastic production … The full set takes its time, building and burning and crashing, when all is said and done, into a tremendous round of applause. I can only imagine what it felt like in person, though the thrill of the room feels duly captured here.” ★★★★★ — Lee Rice Epstein, The Free Jazz Collective – Album of the Month / Best of 2019
“Easily one of the finest duo statements I’ve heard and my favorite Parker release from the last few years. Mesmerizing.”— Taylor McDowell, The Free Jazz Collective – Best of 2019
“A perfect concert” ★★★★ — Spontaneous Music Tribune
“Pure bliss in action” ★★★★ — Don Phipps, All About Jazz
★★★★ — Stewart Lee, stewartlee.co.uk
“Each melody is bright, luminous and passionate… The musicians are individual masters… this album has a thrilling and expressive sound.” — Avant Scena
“Parker and Smyth use stillness to step outside the ticks of the clock and build something mysterious and substantial in between … still, cleansing … powerful and affecting.” — The New York City Jazz Record – Best of 2019
“a brisk but free-flowing dialogue with phrases and ideas being batted back and forth between them … in effect, they are soloing simultaneously with each being aware of the other’s playing and responsive to it. Even when Parker gets locked into one of his protracted, circular-breathing solos, Smyth is still there with him, responding with an impressively gargantuan solo of his own. The two obviously understand and complement each other well.” — John Eyles, All About Jazz
“It’s all exactly as one might hope and expect.” — Jazzwise
“Far too much happens in this performance to remember it all, so it’s a very good thing it was recorded.” — The Wire
“Enregistré il y a quatre ans, Calenture serait (plus ou moins) le 52e album en duo d’un saxophoniste qui a joué dans cette formule avec les instrumentistes les plus variés que l’on puisse imaginer. Même s’il n’est ni le seul ni le premier, il ne fait aucun doute que nous tenons là l’un des chefs-d’oeuvre de sa discographie mais aussi du genre, tous styles et époques confondus. Captées live, les deux plages de longueurs inégales atteignent une plénitude et une beauté qui n’est comparable qu’aux plus grands sommets de l’Histoire du jazz et de la musique improvisée -ceux du Parker de la fin des années 40, de Giuffre au début des années 60, du dernier Coltrane, de Shorter et de Miles entre 1967 et 1969, du Cecil Taylor des séjours berlinois de 1989 et 1991, d’Anthony Braxton au début des années 90. La maîtrise de l’instrument (ici le ténor) comme l’inspiration qui traverse l’autre Parker n’a aucun équivalent aujourd’hui comme l’illustre sa science de la respiration circulaire, d’une musicalité inégalée. Paul G. Smyth, son cadet de 30 ans, se montre à la hauteur du maître en jouant souvent dans les cordes du piano avec un son à la “lisibilité” parfaite.” — Le Vif / L’Express