受到不同音樂風格的影響，環境爵士組合Park Evans Quartet的新專輯"Surviving Desire"展示他們的獨特創作才華，將West African, Reggae, Ska, Latin, funk, indie-rock及Electronica風味融入原創音樂，帶有時興古典的感覺。.

“Sugar Styles” opens with twisting sax and funky basslines, reminding me of the danceable grooves of local band Chill 7. The blending of sax and guitar effects evokes two horns, while Schutte keeps the groove in funkland, going heavy on two and four while Evans adds dissonant elements to his finger exercises. It’s the shortest track and one of the most playful. Coming at a 180 degree angle to “Sugar Styles,” “Nicole’s Apparition” aptly creates a ghostly atmosphere, filled with ethereal reverberations, lovely chord tones and balladic guitar lines. Like EST with guitar instead of keyboard, the quartet evokes European elegance and subtle passion, artful yet injected with traces of funk. Schutte’s busy percussion contrasts with the softly flowing melodic lines from Evans. Vircks’ sax adds a more direct line of melancholy, while McKinney’s background bass notes gently push it ahead.

On the title track, Vircks blows gently over the trio’s vamp, then trades roles with Evans before the quartet blazes through a more complex section. Vircks follows with a driving passage of melodic spiraling lines buoyed by Evan’s chordal comping. “Under Florescent Lights” is the longest track at 9 ½ minutes, a slightly off-kilter blend of metallic flavors in a high tech mousse. Schutte drives the beat with a brittle splatter, while Vircks takes an extended funk-inspired journey. McKinney makes his mark with a solo spin bubbling like molten lava, ready to erupt but simmering just below the surface. Schutte’s subtle percussion solo is followed by a few measures pairing horn and guitar, with the quartet fully engaged in the final round. Less complex and much more funky, “Impossible Party” kicks off with a sassy sax and a danceable groove from the strings and percussion. Schutte is impressive in his control of the beat and its elaborations.

The final two tracks close the recording on the dark side. “Sorrows Disappear” features haunting lines from bass, then joined by guitar in what could be an introduction to the Addams Family, a catchy vamp that evolves into a more melodic meander. Schutte places his punctuations like a new age grammarian while Vircks takes the melodic lead. Evans adds his variations, slowing down the pace, dissecting chords alone and then in tandem with Vircks, creating lush harmonies that hang in the air. “Luminosity” opens with a rubato display from Schutte that shimmers its way into McKinney’s bass ostinato. Evans casts resonating chords as if a net to catch his reverbing phrases, and with Vircks creates a palette of dark watercolors that bleed into each other, a swirl of sound that rises and falls. A subtle break sets up a forceful statement from Evans who picks over a deep dirge from McKinney, with Schutte maintaining the tension throughout.

There’s a feel of constant movement across these eight tracks, a musical conversation that encounters multiple themes and directions without losing its way. Regardless of the individual personalities, the Park Evans Quartet is most impressive as a well-tethered ensemble where many voices speak one language."  Andrea Canter, Contributing Editor for www.jazzpolice.com  

July 22, 2007.