In Trance Map Evan Parker and Matthew Wright investigated the ways in which improvisation, sampling technology and soundscape design can be brought together. The project resulted in the creation of a CD and also a series of live performances.
The sounds used in the project were:
- manipulated recordings of Evan Parker's soprano saxophone
- samples of Matt Wright's extended turntable techniques
- fragments of found sound culled from Evan Parker's cassette and vinyl collection
Matt examined the sounds of cicadas, birds and frogs. He then manipulated Parker's saxophone improvisations and his own turntable scratching using electronic filtering and time stretching techniques to produce sounds modelled on the original 'environmental' samples.
Matt then used these compositional materials to mix freely into the live performances.
While most improvisers build a shared language over a long series of performances, resulting perhaps in an eventual studio recording, in the case of Trance Map, the language was meticulously constructed in the studio environment first.
A CD was released and this led to a series of performances across Europe that took the work further.
When Trance Map is presented live in public, new material is recorded in real-time and mixed into the original structure, thus extending the potential density of the contrapuntal thinking, but also adding greater subtlety to the hinterland between ‘organic’ and ‘digital’ sound sources.
So far performances have taken place in the UK, Holland, Belgium and France in a duo format, and also in a trio with lithophone player Toma Gouband and larger groups containing some of New York’s finest improvisors (including trumpeter Peter Evans and electronics pioneer Ikue Mori).
The project continues to evolve and further details can be found on Matt Wright's website.