Customer Reviews

Lucs Lantern

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Wow, for those who know William Parker's music well, this definitely seems, on the surface at least, like a very different style for him. The focus here is on 4-5 minute songs, very melodic, slow to mid-tempo, with one fast tempo- not the boundless energy, inventiveness, creativity, and stamina of his orchestra, quartet, or many other projects. In a way, this album is a collection of short stories. Of course, it is still extremely creative and inventive, too, just in less obvious, cleaner, and maybe more mainstream, ways.

The cover of the album portrays a dark field with black trees that grow purple and white teeth(as Parker says in the liner notes), and a lantern hanging down. In a way, maybe this album is like a dark, mysterious, small corner of Mr. Parker's musical mind, always present, but not usually brought to the forefront.

It is true that there is very little soloing from Mr. Parker on this album, and that in no way detracts from it. Bass solos would have definitely sounded out of place on this album. Nearly every other of the dozens of Parker albums have extended solos from him- and, by the way, you should buy those, too.

As the reviews on this page make manifest, there is no little controversy about this enigmatic disc.

Certainly, it bears slight resemblence to Parker's large ensemble discs, The Little Huey Creative Music Orchestra; nor does it sound much like his stuff with Hamid Drake.

But isn't this a guy who's essentially impossible to pin down? What about his Die Like a Dog project? Or Eloping with the Sun? Or Long Hidden: The Olmec Series? Or Palm of Soul with Kidd Jordan and Hamid Drake?

Me, I'm entirely taken with the plodding pianisms of Eri Yamamoto. To me they mesh perfectly with the vibe going down here: skewed mainstreamisms. Really, this isn't about killer solos; it's about reconfiguring the piano trio for the 21st century. I'm blown away by the smart, noirish, postmodern sensibilities insouciantly brandished throughout this remarkable disc. Yes, there's a kind of world-weariness, a kind of Georgia O'Keefe blanched-out etiolation. But doesn't that just serve to highlight the blasted emotional vistas we are experiencing in face of maddened terrorists and problematic responses from the West?

I think so.

Look.

We need a lantern to light our way. Why not sign on to the one William Parker provides, Luc's Latern?

Why not indeed?

"Luc's Lantern" is a bit of an anomaly in bassist William Parker's ever growing catalog. Having recorded in every conceivable format ranging from his own free jazz big band to duets with percussionist Hamid Drake, this album actually marks a first for the veritable jazz renaissance man. It is not merely a piano trio recording sans his usual cohorts; pianist Matt Shipp and the aforementioned Hamid Drake, but a straight ahead take on this venerable genre warhorse. However, because it is a Parker album, there are a few twists and turns to keep things interesting.

Newcomers Eri Yamamoto, pianist and drummer Michael Thompson were suggested as recording companions by Parker's longtime associate and Thirsty Ear Blue Series curator Matt Shipp. Fortunately the new chemistry between them is solid and an enjoyable document has been forged. Focusing primarily on short, melancholy set pieces, this introspective album is Parker's first real release of conventionally traditional material. There are a few exceptions though. "Jaki" is a swinging post-bop number, with "Bud in Alphaville" a fine tribute to the master pianist. Only on the title track does the trio launch into more aggressive territory, and then does so with aplomb.

The only real complaint one could find with this album is in Parker's own playing. Allowing the new members of his trio the lion's share of the solo space leaves little room for Parker to actually step out on his own. While his decision to allot more solo space to his new band mates is admirable, it would be nice to hear a bit more from Parker himself. That said, the album is still a solid release and possibly the best place for more mainstream minded fans to enter Parker's unique musical worldview.

Enjoyable chemistry overall, but sorry to say the pianist plays with the melodic inventiveness of a granite slab. Though the group does hang together well working through some rather engaging little compositions by the leader and bassist Parker, the best of these feature some of the less redundant pounding by the pianist Yamamoto. I don't as a rule enjoy being so critical, especially to newcomers, but on the bright side she does have chops and tremendous potential, as does the group. I only hope that their next recording is an improvement, since enough encouraging signs point in that direction.