William Parker & In Order to Survive

Posium Pendasem

★★★★

William Parker is a great griot that serves to translate the Tone World to the rest of us, who are not necessarily capable of reaching such a destination. I think I doubted the existence of such a realm, when listening to his interviews I denounced them in my mind as some pseudo-intellectual bs. But really after listening, and paying close attention, I've come to realize that when Parker reaches this zone there's almost nothing that can stop him from pouring his soul out into the recording. I'm sure witnessing it for yourself would be a completely different and metamorphic experience. I am still kicking myself at the fact that I sat next to his fantastic musician and didn't have the courage to say anything to him. He had a meditative presence surrounding him and I could tell that he was all about the music. Not only does he venture into the pure spiritual realm of the Tone World, but he takes all the players with him. The In Order to Survive quartet has become a quintet during this outing, with the addition of tenor saxophonist Assif Tsahar. He may make some parts of this more chaotic than you'd imagine, but there's enormous depth in his playing and it would feel a bit barren and unusual without him on these compositions. The quartet is made up of Rob Brown on alto, Cooper-Moore on piano, Susie Ibarra on drums, and William Parker on bass. Parker and Ibarra have great chemistry, and I've witnessed this before on the great David S. Ware recording Godspelized. 

The three songs on here are arranged in a strange and intimidating manner. "Posium Pendasem #9" is a short and almost unassuming solo piano piece that Cooper-Moore executes perfectly. It's the definition of the calm before the storm. Cooper-Moore, throughout this session, shows great finesse and ingenuity as an improviser and piano player. He has a very recognizable playing style that is unlike most pianists I've come across. Moore mixes a New Orleans bar type playing with the complexity of Thelonious, and it's hard to pin down what he'll do next. His hands become precise, slithering cobras that strike the skeleton keys with passion and fortitude. He's without a doubt one of the most unique and poignant players on here, but he's not the only one. The cyclone track "Posium Pendasem #7" is daunting and not for the faint of heart. Clocking in at fifty one minutes, you have to be prepared for all the twist and turns it will take you on. It starts with all players already in full swing, and that's really a maze that takes some serious listening to navigate. Around halfway in the horns shut out, leaving some flavorful drums, shaky bowed bass, and nervous keys that trickle all around you. The tension builds again and the saxes come in to release it in screams of terror. There are moments of sparsity that feel like walking through a Zen temple, only to quickly erupt into the spiritual fire of a Zoroastrian flame. Of course it's the standout piece, but the bookends help to establish what else the quintet can achieve. 

The other bookend, "Another Angel Goes Home", is an auditory memorial for the jazz drummer Denis Charles who had just passed away when this was recorded. I've heard Charles play on a few album, and I have one of his albums on a list of albums to listen to. I know for a fact that he recorded with William Parker under the general umbrella school that was Cecil Taylor. So it must have been an emotionally charged session for Parker at least, and it seems like everyone else involved too. Cooper-Moore switches to a very drowsy, mournful style that helps jump-start the others into a similar theme. Ibarra acts like a distressed undercurrent that is the floor on which the others stand on. A simple ballad motif is repeated with great impact, and the horns are like voices of pain and anguish, releasing whatever sounds they can. The pace picks up; the journey to the other side is in full swing. The tone becomes fuller, and more assured of itself. And somehow, these players are able to transform the dreary ballad tune into one of hope and pride for their brother who has left them, but not without leaving a great impression in their lives. 

Parker's music has taken all shapes and forms; he's a versatile bass player much like Charles Mingus. His roots are in the blues and gospel, not as much as Mingus but it's still evident, and he performs exceptionally in many settings. Whether in a big band, quartets and quintets, or as a soloist. In every setting he brings something different, and sometimes it can be hard to recognize him through these transformations. But in this quintet he is able to elevate the players so that the whole is greater than the sum of its parts. He creates a blanket feeling that all players adopt, not in order to appease Parker, but to elevate the music to a different plane; that being the Tone World. I have much more to learn and listen to, but Parker's music takes time to ingest and digest. His music is a Thanksgiving meal whose leftovers remain for weeks after, yet stay as delicious and comforting as the first time. 

Favorite Song: Posium Pendasem #7