Parrhesia

( 1 )

Editorial Reviews

All Music Guide - Alex Henderson
Those who have listened to a lot of avant-garde jazz over the years know that some of it -- not all of it, but some of it -- has favored a scorched earth policy. In the '60s, free jazz firebrands such as Cecil Taylor, John Coltrane (after 1964), Gato Barbieri (before he turned to more melodic post-bop and after that, crossover jazz) and Albert Ayler offered vicious, dense, harshly atonal music that showed listeners little or no mercy; it was brutal sensory assault long before death metal, black metal, techno, or metalcore used suffocating density to pummel the listener into submission. But not all avant-garde jazz has adhered to a take-no-prisoners agenda. There is also ...
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Editorial Reviews

All Music Guide - Alex Henderson
Those who have listened to a lot of avant-garde jazz over the years know that some of it -- not all of it, but some of it -- has favored a scorched earth policy. In the '60s, free jazz firebrands such as Cecil Taylor, John Coltrane (after 1964), Gato Barbieri (before he turned to more melodic post-bop and after that, crossover jazz) and Albert Ayler offered vicious, dense, harshly atonal music that showed listeners little or no mercy; it was brutal sensory assault long before death metal, black metal, techno, or metalcore used suffocating density to pummel the listener into submission. But not all avant-garde jazz has adhered to a take-no-prisoners agenda. There is also the kinder, gentler approach to avant-garde jazz that Chicago's AACM first unveiled in the '60s -- and after all these years, avant-garde jazzmen realize that they don't necessarily have to be confrontational or abrasive. They can be reflective instead, which is how trumpeter Stephen Haynes approaches things on Parrhesia -- an early 2010 date that finds him working in a trio setting with Warren Smith (drums, percussion, marimba) and Joe Morris (electric guitar). Parrhesia does not confront; it reflects and contemplates. And instead of emphasizing density, the trio thrives on the use of space -- which makes a huge difference and gives the listener a lot more breathing room. But make no mistake: Parrhesia is not about inside/outside improvisation. Parrhesia is outside from start to finish. Haynes (who is also heard on cornet and flügelhorn) and his two colleagues thrive on intellectual abstraction; it isn't the bombastic, hatchet-wielding abstraction of Coltrane circa 1966, but it is abstraction nonetheless. And the threesome's abstraction yields satisfying results on this 51-minute CD.
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Product Details

  • Release Date: 6/22/2010
  • Label: Engine Studios
  • UPC: 753182272306
  • Catalog Number: 33
  • Sales rank: 275,482

Tracks

Disc 1
  1. 1 Reclamation (7:29)
  2. 2 Quietude - Warren Smith (7:17)
  3. 3 Invocation - Warren Smith (9:58)
  4. 4 Flowers For Ida - Warren Smith (3:05)
  5. 5 Saint Louis Sonority - Warren Smith (7:11)
  6. 6 Yet and Still - Warren Smith (7:53)
  7. 7 Unfolding - Warren Smith (8:30)
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Album Credits

Performance Credits
Stephen Haynes Primary Artist, Trumpet, Cornet, Flugelhorn, Mute
Warren Smith Indexed Contributor, Percussion, Drums, Marimbas, Vocals
Joe Morris Guitar, Electric Guitar
Technical Credits
Joe Morris Composer
Steven Walcott Producer, Engineer
Stephen Haynes Composer, Producer
Warren Smith Composer
Jon Martinez Engineer
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Posted October 1, 2010

    Stephen Haynes and Parrhesia

    To set the record straight, this is trio music by improvising composer Stephen Haynes. Parrhesia is Haynes first release as a solo artist. The ensemble was created during a year long artist residency at Hartford, CT's Real Art Ways in 2005.

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Sort by: Showing 1 Customer Reviews