Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

William Parker: Universal Tonality (Centering/AUM Fidelity)

Review of historic live album cut by the prolific bassist/composer in 2002

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Cover of William Parker album Universal Tonality
Cover of William Parker album Universal Tonality

At the midpoint of Universal Tonality’s opening composition, “Tails of a Peacock,” spoken-word artist and vocalist Leena Conquest interjects, “Where there’s a will/there’s a way/to survive/Hope is relentless, hope is relentless/It will never die.” Conquest speaks/sings William Parker’s lyrics throughout the two-hour piece, as a 16-piece orchestra swells and deflates, swings and turns rubato, fires madly abstract and sweetly, four to the bar.

Universal Tonality was recorded at the onetime location of Roulette in Tribeca on December 14, 2002, and one could surmise that the music’s passionately billowing waves of abstract expressionism were in some way fueled by the horrors of September 11, 2001. Tribeca is directly north of what was Ground Zero, and while any direct inspiration is impossible to confirm, surely the assembled musicians felt the music deeply, the atmosphere of the location itself impossible to escape.

The performance included such historical figures as Grachan Moncur III, Billy Bang, Jerome Cooper, and Dave Burrell, joined by Gerald Cleaver, Joe Morris, Matt Lavelle, Steve Swell, and Conquest, who acts as the music’s divination point. All these musicians were integral to Parker’s music through the years, the performance a kind of open-ended overview of his amazing body of work.

Though a score was composed, the musicians’ participation was optional, helping to make this truly egalitarian sound work—what Parker called “breathing together”—vital and democratic. Separate voices flow to the surface at will, then just as easily glide back into the weblike structure of the piece.


“There are no keys, no chord changes, modes or notations,” Parker wrote in the album’s liner notes. “We all speak different languages, but we feel each other. The music guides us. All we have to do is listen. All we have to do is feel.”

Find out more about Universal Tonality on Amazon

William Parker Keeps Refining His Approach

Ken Micallef

Ken Micallef was once a jazz drummer; then he found religion and began writing about jazz rather than performing it. (He continues to air-drum jazz rhythms in front of his hi-fi rig and various NYC bodegas.) His reportage has appeared in Time Out, Modern Drummer, DownBeat, Stereophile, and Electronic Musician. Ken is the administrator of Facebook’s popular Jazz Vinyl Lovers group, and he reviews vintage jazz recordings on YouTube as Ken Micallef Jazz Vinyl Lover.