Percussionist Paul Lytton is both an inventive, textural drummer in the tradition of European free jazz, and a pioneer in electronic sound processing and the use of homemade instruments of his own invention. Lytton made his first noteworthy appearances on the British creative music scene in the late '60s, and his influence -- particularly in live electronics -- can still be observed in the experimentation of a new generation of improvisers in the 21st century. - Dave Lynch, AllMusic
"A portion of sales will benefit Fendika Cultural Center and Catalytic Sound. At Fendika Cultural Center, we celebrate and renew Ethiopia’s rich cultural heritage. We welcome all creative souls; through exchange of music, dance, art, and poetry, we meditate on humanity’s one-ness, and pray for a peaceful world."
Figures and Grounds
Adam Linson Systems Quartet
""Linson's aim to explore the range of possibilities at the intersection of jazz and computer music goes some way to being achieved; it still feels as if there are yet more possibilities to be explored. As an exemplar of the use of electronics and processing with a small improvising group, Figures and Grounds is a great success." -John Eyles, All About Jazz"
Phases of the Night
Barry Guy / Marilyn Crispell / Paul Lytton
"After two highly praised trio CDs, Odysse and Ithaca, the composer and bassist Barry Guy presents a new CD with the same trio members, pianist Marilyn Crispell and percussionist Paul Lytton. For his new compositions, Barry Guy was inspired by paintings of Max Ernst, Dorothea Tanning, Wilfredo Lam and Yves Tanguy, which provide the springboard for the compositional strategies that reflect dream scenarios and unusual juxtapositions of material whilst preserving improvising. Barry Guy writes: «A sense of space coupled with high energy drives the vehicle of the imagination to create a suite of pieces that take us on a night journey. Importantly for me is the preservation of the classic piano trio tradition where sonority and interplay reign supreme. On top of this we can research our fantasies concerning the musical trajectories inspired by images conjured up by some very special artists.»"
Catalytic Quarterly Issues 5-8 (2019)
"n a very limited quantity of 25 hand-numbered sets, we present the first four issues of the Catalytic Quarterly collected in an envelope designed by our own Federico Peñalva. Get one while the stock lasts!"
Catalytc Sound Festival 2021: Chicago
"Designed and screen printed in Chicago by Dan Grzeca"
Collective Calls (Revisited) (Jubilee)
Evan Paker & Paul Lytton
""This recording from Paul Lytton and Evan Parker marks their golden jubilee as musical collaborators and good friends, the title serving as a tip-of-the-hat to their first duo record Collective Calls (Urban) (Two Microphones) which was originally released on Incus in 1972 after they'd already played together for a couple of years. I've spent a good deal of time the last few weeks enjoying both albums and noting similarities and differences, and so it follows that this review is colored by the lense of that exercise. Gone are the electronics and prickly intensity of the 72' sessions, interchanged here with distinctively refined technique and a confederation secured through the blood-and-guts of a half century of collaboration." -Nick Metzger, Free Jazz Blog"
""It would have been a very tall ask for attention to the music of this living pantomime, had Parker and his ensemble not found a way to engage even the most skeptical mind—with which Lynn Margulis also had to contend in her halcyon days. Appreciative attention comes quick to Parker and his group's profound interpretation of a difficult theory on set for Lynn Margulis. Margulis may surely be pleased as well, from wherever she is listening." -Raul D'Gama Rose, AllAboutJazz.com"
At the Unity Theatre
Evan Parker & Paul Lytton
"Three years after Evan Parker and Paul Lytton's recording debut as a duo (Collective Calls, originally released by Incus), At the Unity Theatre captures them in a live setting. The studio album saw them foray into microscopic sounds. This time around the music is overall more feverish and loud, but it loses nothing in subtlety and intelligence. "In the Midst of Laughter and Glee," at 18 minutes long, stands as one of their best improvisations from that period. We are greeted by a low growl, like a long string being scratched; it may be the enigmatic lyttonophone but, in any case, it immediately tells you how unconventional this sax/drums duet was. Closer to the end, Parker squeezes out of his soprano sax the whiny sounds of an oboe or shenai, unfolding a sinuous mourning song that is simply stunning. He also plays a raspier tenor and uses a bullroarer and cassettes of prior performances -- but these are discernible only on very close listen. Lytton spends little time playing thedrum kit in a conventional way. Instead he focuses on objects and scrap metal, but still makes quite a racket. The CD reissue of this album (on Parker's Psi imprint) adds over 22 minutes of previously unissued material in the form of two extra improvisations from the same concert. At 18 minutes,"Through Consensus" was too long to make it on the original LP without sacrificing "In the Midst of Laughter and Glee," which is simply better. Despite some captivating activity, the two musicians drift apart, Parker trying to force the piece into a more powerful direction while Lytton instead moves deeper within his pile of scrap metal. It makes a nice bonus though." -Francois Couture, All Music "
Evan Parker / Barry Guy / Paul Lytton
""What is important is: a sapphire symbolises and invokes quietude, peace, purity. States that Evan Parker, Barry Guy and Paul Lytton reached during the set presented here. By means of music, rough and wild, which condenses organically into something of angular beauty. A union which ultimately makes for the «purity» of this set. A magical, mysterious set for posterity." — Frank von Niederhäusern"
Concert in Vilnius
Evan Parker / Barry Guy / Paul Lytton
""In short, this set is prime European free improvisation. The trio crafts a dense and information-rich offering, one in which the intensity ebbs and flows through the activity remains lively. Guy and Lytton, in particular, play artfully off one another with the latter moving in and out of structured forms and the former giving every inch of his instrument a workout. The theme, if any, is to do the unexpected – whether that means playing at the edge of hearing or making loud, abstract declarations. Parker provides his rolling solos, simultaneously melodic and angular, which often jolt his companions into even fiercer endeavors." - Mike, AvantMusicNews"