In Real Time

ICTUS 124

Evan Parker, Alvin Curran, Andrea Centazzo

Tracklist: 01 – In Real Time #1 (6:48)  | 02 – In Real Time #2 (14:03)  | 03 – In Real Time #3 (8:12)  | 04 – In Real Time #4 (6:41)  | 05 – In Real Time #5 (17:23)  | 06 – In Real Time #6 (6:20)

Real Time is an extraordinary example of interaction between musicians coming from different worlds of new music. I had the chance to perform with those two great musicians on other occasions: in duo with Curran and in duo, trio and sextet with Parker. Alvin came from the American school, full of minimalist references, melodic structures and open to all kinds of contamination. Evan had left jazz to accomplish his own instrumental language, aiming at total improvisation. The idea of getting them to put together a trio that would perform several concerts and recording was one of the most exciting moments of my career. Our three languages found a common ground of expression where different musical backgrounds came together and created a unique blend for that period of time… Andrea Centazzo

Any time you invite Evan Parker to perform in a small group, you can expect the unexpected, particularly considering the unusual instrumentation of this talented trio, which includes soprano and tenor saxes, percussion, synthesizer, and piano, among others. At this point in his career, Parker’s technique was still imbued with shock value, and there is an exuberance to his playing and even a certain roughness that have dissipated somewhat with time as his playing has matured. The emphasis here is on sound, with the pieces freely improvised and melody nonexistent. Andrea Centazzo serves a supporting role, his presence sometimes negligible. At his best, Centazzo drums powerfully and passionately, proving himself a worthy member of the team. Alvin Curran has always expressed his radical electronics in a subtle manner, and his contribution here is no exception, though his electronic manipulations will often be barely noticeable to the casual listener. There is an atmospheric ambience to much of the music, although with these players it is never quite so simple.

At first the tempos tend to the slow side, and the volume is rarely very loud, but there is nonetheless an intensity fueled by Parker’s extended techniques, particularly on the fourth, fifth, and sixth tracks where the temperature picks up considerably. While devotees of Parker should be satisfied with his performance, what distinguishes this from his other work are the performances of Curran and Centazzo, with whom Parker interacts passionately. Curran’s piano on the last track is a special pleasure, too, as he performs with little restraint and considerable technique. While definitely not an indispensable part of the discographies of any of the players, there are enough exciting and innovative moments to satisfy the demanding listener. by Steven Loewy

Recorded live in concert Rome, Italy December 12-13, 1977 by Nicola Bernardini and at Teatro Comunale, Pistoia, Italy December 14, 1977 by Carla Lugli Originally released as Real Time – ICTUS LP 006 and as CD on Ictus Reissue Series #4 including never released before tracks and Real Time Two ICTUS Reissue Series #8 CD except #6 * un-issued All Tracks Digitally Re-Mastered and Edited By Andrea Centazzo 2005 About: It has been a pleasure finding recently in the ICTUS archive two tracks from this amazing trio concert that originally were left out from the Trio Live LP for the known media time limits. In the nightmare of non-labeled tapes and in the following archive passages, Stalks and Feline have been lost. Now this CD finally presents the concert in its original order and length fully digitally re-mastered. This record presents a performance with a classic jazz combo: saxophone, double bass, and percussion. Naturally, the percussion no longer reflects the timbre of the tonal instrument, but brushes up the executive praxis in long 4/4 accompaniments next to Carter’s extraordinary bass. All tracks on this CD were recorded live, as were most of ICTUS’ LPs, at a concert in Udine, the final show of a tour that covered all the major Italian cities. It was a magic evening. Not only did the trio burst with a creative energy that was homogeneous and interactive, but the acoustics, usually inadequate, of the half-empty sports pavilion with a capacity of 10,000 people, gave the music an ethereal transparency and crystalline purity that the recording captured and the CD newly presents in all its singular beauty. Andrea Centazzo

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