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William Parker & The Little Huey Creative Music Orchestra Mayor of Punkville (AUM Fidelity, 2000)
review by Micah Holmquist
October 21, 2000

William Parker (bass, piano),
Roy Campbell (trumpet, flugelhorn),
Richard Rodriguez (trumpet),
Lewis Barnes (trumpet),
Masahiko Kono (trombone, electronics),
Steve Swell (trombone),
Alex Lodico (trombone),
Chris Jonas (soprano sax),
Darryl Foster (tenor sax, soprano sax),
Rob Brown (alto sax, flute),
Ori Kaplan (alto sax),
Charles Waters (alto sax, clarinet),
Dave Sewelson (baritone sax),
Dave Hofstra (tuba),
Andrew Barker (drums),
Cooper-Moore (piano),
Aleta Hayes (voice)

"The word is not Jazz the word is Universal Music."

So says William Parker in the linear notes to Mayor of Punkville, two discs and well over two hours of musical joy, laments, and sonic representations of locations both physical and mental. Political rebellion is here as is spending an afternoon listening to journeymen jazz musicians. Nothing, not even death, seems to overshadow the other elements of life. Many thousands or words would only begin to approximate cataloging what is in this music.

Such language might look like hagiography to those unfamiliar with Parker. Individuals such as Peter Brotzmann and Cecil Taylor have asked the bassist to be part of their groups long after they had become legends. Parker has also shared the stage and CD booklet with young musicians like Susie Ibarra, Matthew Shipp and John Zorn. Whether leading his own groups or working in support of others, Parker has a unique voice that both compliments the other players and challenges them to move a bit quicker, to create a bit more fluently, and to develop music that is just a bit better.

Sometimes Parker’s supreme skills as a improviser overshadow his abilities as a composer and leader or larger groups get overlooked but Parker has been leading larger ensembles since decades. (See Through Acceptance of the Mystery Peace now available on the Eremite label for some of early recordings of those groups.) Most of these groups have been crack ensembles without legs but by 1993 Parker decided that he wanted something more lasting. And in 1994 he formed the Little Huey Creative Music Orchestra. The group’s namesake is a fictional character who wanted to be a poet and live on his own terms but society told him not to do that. Parker has told Fred Jung, "Our philosophy behind the band was to make a contribution for the children of the world, for those who really want to be poets, who want to be singers, who want to be dancers, who want to be free and who are not free in a way." Since its formation the group’s roster has remained much the same. Some musicians have left and others have joined but many of the founding members remain. Mayor of Punkville is the third release to come from the orchestra and quite arguably the richest and most satisfying so far.

A risk for any group this large is devolving into chaos, a problem compounded exponentially with musicians such as these who mostly come from backgrounds where improvisation is often the only form of composition. Yet the music found here —taken from four performances in July, August, September, and November of last year at the Tonic in New York City- mostly avoids this problem. Parker has given each player a pre-written part but also told them that they are free to play something else in order to improve upon it. Form does not suffocate creativity but instead compliments it. Freedom hangs out with order and planning dances with improvisation in this music.

Which is not to say that awkward moments vanish. Several times throughout this recording one or more players step out and find themselves all alone, apparently hearing but at best bungling a dialogue with the other musicians. But the players existing a bit too much on the margins either return to the fold by themselves or meet the other musicians at some point of middle ground that appears mutually agreeable. These interactions are as fascinating as they are beautiful.

A play-by-play of the music found here isn’t feasible given the depth of sound found here but some individual performances do warrant kudos. "Interlude #1 (The Next Phase)" is the first track and features Parker on the piano instead of the upright. He doesn’t have the chops or mastery of the instrument of someone like his longtime associate Matthew Shipp but Parker does seem to know exactly what mood he wants from the keys and sparsely plays to get that sound. Aleta Hayes delivers soothing vocals on "James Baldwin to the Rescue." The lyrics come from Parker and as are imaginary and impressionistic as his music. Beneath Hayes lies a group that alternates between straight blues backing in the tradition of bar bands centered around a pianist —in this case the wonderful Cooper-Moore- and a more avant outfit. Drummer Andrew Barker plays beneath it all and does an especially interesting series on his hi-hat. In a similar vein, a drum solo closes "I Can’t Believe I am Here" which itself closes the first disc. Throughout the solo, Barker spends particular attention to any cymbal or drum that his sticks touch. He seems to be asking what sounds can come from this cymbal? What emotions does this drum want to express? What is this kit saying?

That said, the real star of Mayor of Punkville is the Little Huey Creative Music Orchestra. The group belies its size throughout both discs. What should be a large demonstration of people in the streets moves with the flexibility and communication of a guerilla squad. They show traces of Ellington on "3 Steps To Nøh Mountain" and make the previously mentioned "I Can’t Believe I am Here" into a study in violence. Many of the pieces found here have a story line that goes with them. You wouldn’t guess any of these stories from just the music but they all make sense after you have Parker’s descriptions in the booklet. The release peaks at the right point, which is to say the closer. Parker dedicates "Anthem" to the great trumpeter Lester Bowie who passed away last November. Truth be told, the track was recorded at the September date but the song does capture the spirit of Bowie. It is a New Orleans funeral march done with the swirling chaos and not completely harmonious voices that you expect from a group like this. It remains true to both the spirit of creativity and exploration that drives this group and to the sounds that marked the pass away of many a musicians and, much more importantly, provided sustenance and smiles to countless numbers of people. Mourning and good cheer cuddle up together on this track and each smiles at the other. For better or worse, life is complete.

Enjoy this recording, think about this recording, listen to this recording but most of all sit back and soak in this recording. Feel Mayor of Punkville.

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