AUM010/11 - WILLIAM PARKER / In Order To Survive
The Peach Orchard
...Album Reviews

cover photo by Anyez Van Rozenberg

2xCD $18

Add to Cart

DISC 1
1. Thot 14.12
2. Moholo 18.51
3. Three Clay Pots 15.24
4. The Peach Orchard 20.45

DISC 2
5. Posium Pendasem #3 11.36
6. Leaf Dance 25.28
7. Theme From Pelikan 17.10
8. In Order To Survive 12.24

All compositions by William Parker Centering Music (BMI) 1998
p+c 1998 AUM Fidelity

William Parker:bass
Cooper-Moore:piano
Rob Brown:alto sax
Susie Ibarra: drums
+ guest on track 5,
Assif Tsahar: bass clarinet
Produced by William Parker and Steven Joerg
Recorded by Alen Hadzi Stefanov
1, 4: Context / NYC on March 20, 1998
2, 3, 8: Knitting Factory / NYC on July 2, 1997
6, 7: Alterknit / NYC on February 7, 1997
5: Context / NYC on March 21, 1998
Mixed by Alec Head at Knoop Music / River Edge, NJ
Mastered by Chris Flam at Mindswerve Studio / NYC
Front cover photo by Anyez Van Rozenburg
Design By Ming@409

'The Peach Orchard' is an incredibly vibrant 'double-live' album from William Parker's small ensemble - In Order To Survive. The second essential 2xCD set from William on AUM Fidelity. 'The Peach Orchard' is essential to any attempt at a full awareness of NYC Jazz in the late 90's.

In addition to William Parker's impassioned compositions, bass playing and band-leading, IOTS also features Cooper-Moore, "a consummate musician and one of the genius' of 20th century music," as described by William Parker. Cooper-Moore is also a composer and musical instrument designer-builder. Susie Ibarra on drums is probably the player to elicit the most excitement in 98-99 in this music. She is heard to great effect on 'The Peach Orchard.' Rob Brown, who also leads his own group and is fully featured on Transonic (AUM005) by the Whit Dickey Trio, is quite simply one of the finest living improvisors on the alto sax. 'The Peach Orchard' rocks and swings so bountifully that any number of new regionalized dance crazes have resulted. -SJ

From the liner notes by William Parker:
The music if 'In Order To Survive' is deeply rooted in the concept of vision. In this music I hear the history, the mystery and the now. All existing and vanishing at the same time. Everything is kept together by the undertow of this luminous lyricism that is ever present.

The main force in playing this music is having the ability to feel the pain of all who suffer. To feel it as if it were happening to us; not resting until it ceases to be. Feeling for others and believing that the only way to survive is through love of God (Self) . Making sure that each sound that comes from your instrument is directed and filled with the strongest truth that exists.

"There is always an intent and story behind each piece of music."

THOT is named after the Egyptian god of the same name. The healer, the inventor of science, math, arts and theology.

MOHOLO is dedicated to the Black South African drummer/percussionist Louis Moholo. I first met and played with Louis in 1981, and since then I have had the pleasure to share many musical moments together. Louis was part of the 1st line of expatriate musicians to leave Capetown in the early 60's. He has been living in Europe since that time and all this time Louis has felt displaced and uprooted due to the politics of South Africa. Any joy was always tinged with a poignant sadness. Today in 1998 the freedom in South Africa has a bitter aftertaste. I tried to reflect melancholy, hope and struggle within this composition.

IN ORDER TO SURVIVE is the band's theme song. In it we state our motto: "In order to survive, we must keep hope alive."

The title song, THE PEACH ORCHARD, draws its inspiration from events that took place on the Navaho land in what is now called New Mexico. The great Navaho chief Manuelito and his people were fighting against being pushed out of their homelands by the United States Army. Out of all the things the Navaho cultivated they loved their peach orchards the most. In the end of this struggle they like all Native Americans lost everything, including their cherished peach orchard which was destroyed. In reading about this I immediately felt a very deep sadness. I can only imagine the sadness they must have felt. It was the beginning of the end. In this composition you can hear the massive blanketing of America by Europe; you can also hear the voice not only of Manuelito, but of Nana, Geronimo, Wovoka, Sitting Bull, Kicking Bird, Kicking Bear, and all of the others.

In writing my first draft of these liner notes, I included quite a bit of technical information about the music; not to seek validity through intellectual justification of what we do. It was done to make some points to some of those who write the history of Jazz. They always seem to leave out the chapter on creative music, they don't seem to get it. I have also observed that some of those who love music least are spokespeople for it. I have always said this music comes from love not technique. To love music is to understand it on its highest plane. Love is the highest intellectual level we can attain. At this point there is nothing to prove. -William Parker, August 30. 1998



AUM Fidelity home