Evanescence

I first met Evan Parker during the inaugural year of the Vancouver Creative Music Institute. Frankly, he was one of the two reasons I went for it. Between Evan and the brilliant George Lewis, I had a chance to work with some of the actual pioneers of improvised music, from both the American and European traditions. VCMI turned out to have a lot more benefits, but the opportunity to spend time with those two musicians was priceless.

I stayed no more than six feet away from Evan's right elbow during the time he was at VCMI. He had a demanding touring schedule and was not there for the entire duration of the program. He also was travelling with his wife and they have many friends here in BC. I asked him about getting together for a private lesson, but the time was not available. He had to fly to Toronto and Ottawa before returning briefly to Vancouver for a jazz fest gig.

The day before my birthday, my home phone rang. It was Evan. He was apologetic that we couldn't get together. We talked for about 30 minutes and he answered all of the questions that I had for him. I couldn't have asked for a better present.

This week, Evan was again in town, this time for the annual Time Flies series. Visit the Coastal Jazz & Blues website for more details. Last Wednesday, I attended a short workshop and did an evening performance with the Time Flies guest artists. The performance was not well attended, as it wasn't publicized to any great degree, but I was happy to be onstage with Evan again. We did a small ensemble piece with 3 tenor saxes and a conga player. Interesting, but not earth-shaking. I was satisfied nontheless.

During the workshop, the topic of groove came up. I jumped into the conversation and made a sweeping generalization (which I prefaced with a bit of a disclaimer) about the European and American approaches to time in improv, saying that Chicago-based improvisors would be more likely have a more groove-based approach. I knew Evan would bristle a bit at such a broad statement, and we had a few laughs about it later. I gave him an ion Zoo cd and I assured him that he would find me more European in my improv style.

The following evening, while I was eating supper, I got a call that Francois Houle was looking for a soprano sax for Evan to play during the Time Flies shows. Apparently, the one Frankie had arranged didn't turn up at the appointed time and place. I grabbed mine and dashed down to Ironworks. Evan was backstage, preparing to go on in a few minutes.

I handed him my horn and asked him to give it a try. He said it was very similar in age and feel to his one back home. He had a slightly bemused look as were talking. I wasn't sure why until Frankie came flying in at the last minute and thanked me for bringing it down. Then Evan understood. ""Oh, I'm supposed to play this tonight. I thought you just wanted me to check out your horn." So typical, ever gracious. I had to take off right away, unable to stay for any of the show. I didn't know how Evan would like my soprano, those horns being very finicky, and especially given Selmer's lack of consistency. Evan is also very particular about what he likes in a saxophone.

I made it down to the Saturday evening show. It was pretty great. The move in 2007 to Ironworks from The Western Front has done wonders for this series, and there was another full house. The music was really happening. Just before the finale, Evan came out and played his trademark tour-de-force soprano solo, 15 minutes of nonstop circular breathing, with cascading multiphonics and moving rhythmic patterns. He played more notes in that solo than I would play on my soprano in a year. I knew he would not have undertaken this solo if he wasn't comfortable with my horn.

I went backstage afterward and he handed my soprano to me. I caressed it and asked if it will have me back. (Only time will tell, but at least we're talking...) Evan and I joked that I'll sound like a European on it now, the groove having been played out of it. Groove or no groove, it was an honour for me to help him out.

Evan's back in June, again participating in VCMI, but this year his longtime associate Barry Guy will be there as well. Barry's approach to graphic scores has been a huge influence on my composition, and performing a remounting of his Witch Gong Game II/10 was a pivotal experience for me. So now I have to figure out how to work another VCMI into my schedule. Life is tough.