Jeff Parker – International Anthem @ Public Records (Volume 5) (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 25:01 minutes | 212 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © International Anthem
“I’m always looking for ways to be surprised,” says composer and multi-instrumentalist Jeff Parker as he explains the process, and the thinking, behind his new album, Suite for Max Brown, released via a new partnership between the Chicago–based label International Anthem and Nonesuch Records. “If I sit down at the piano or with my guitar, with staff paper and a pencil, I’m eventually going to fall into writing patterns, into things I already know. So, when I make music, that’s what I’m trying to get away from—the things that I know.”
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Daniel Villarreal feat. Jeff Parker & Anna Butterss – Lados B (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 42:47 minutes | 478 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © International Anthem
On October 15th and 16th, 2020, drummer Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they’d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from these sessions made it onto Villarreal’s critically-acclaimed 2022 album Panamá 77, but most of the music remained unreleased.
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Jeff Parker – Suite for Max Brown (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 39:54 minutes | 454 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © International Anthem – Nonesuch
Jeff Parker’s art has always broken the boundaries of the music he made with the band Tortoise, of which he remains THE legendary guitarist. From post-rock to jazz, the Chicago native who has played with Joshua Redman, Brian Blade, Meshell Ndegeocello and Makaya McCraven has always had his interests in a particular genre: “I was drawn to jazz music as a kid. That was the first music that really resonated with me once I got heavily into music. When I was nine or ten years old, I immediately gravitated to jazz because there were so many unexpected things. Jazz led me into improvising, which led me into an experimental process of making music”.
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Jeff Parker – Forfolks (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 40:22 minutes | 357 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © International Anthem – Nonesuch
With credits as diverse as Chicago postrock collective Tortoise and free-jazz band Ernest Dawkins’s New Horizons Ensemble, guitarist and composer Jeff Parker owns a unique vocabulary. He’s been able to muster expressions of self within groups and as a bandleader across 30 years of work, and now he offers a new solo dispatch, Forfolks. “Suffolk” employs guitar loops piled one upon another, cascading with Parker’s melodic and rhythmic ideas and becoming a fully realized guitar symphony when he solos atop them. It’s a method Parker employs across Forfolks, an album named for a tune he wrote and recorded while working with drummer and bandleader Ted Sirota in 1996. Parker recontextualizes other pieces he created as a member of rock-leaning acts, casting a fingerpicked calmness over something that might have initially been intended to function with a backbeat. He reimagines “La Jetée”—a composition whose history dates back to 1997, when members of Tortoise and Chicago Underground Orchestra first convened as jazz-fusion group Isotope 217—by giving it more of a definite shape than it’s previously had, turning it into a somber ballad that closes the album. There’s also an interpretation of Thelonious Monk’s “Ugly Beauty” where Parker delicately treads the jazz pianist’s progression, turning in something just as tender and thoughtful as the original but augmented with the long tones of studio magic. Nels Cline could be considered a sensible point of comparison to Parker; both guitarists forged careers rooted in jazz, then spiraled out to encompass a mix of styles, including avant-garde rock and quieter, moody experiments. Where they diverge, though, is musical personality. Cline continues to exert a cool downtown New York vibe, even when accompanying the relatively bucolic Wilco, but Parker’s voice is broader; he built the tracks on 2020’s Suite for Max Brown around grooves summoned from elemental funk and R&B. Throughout Forfolks, Parker makes the point that he can access just about any approach to playing his instrument, writing music, and working in the studio.
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