Topography (from Greek τόπος topos, "place", and γράφω graphō, "write") is a field of planetary science comprising the study of surface shape and features of the Earth and other observable astronomical objects including planets, moons, and asteroids. It is also the description of such surface shapes and features (especially their depiction in maps).
The topography of an area can also mean the surface shape and features themselves.
In a broader sense, topography is concerned with local detail in general, including not only relief but also vegetative and artificial features, and even local history and culture. This meaning is less common in America, where topographic maps with elevation contours have made "topography" synonymous with relief. The older sense of topography as the study of place still has currency in Europe.
For the purposes of this article, topography specifically involves the recording of relief or terrain, the three-dimensional quality of the surface, and the identification of specific landforms. This is also known as geomorphometry. In modern usage, this involves generation of elevation data in electronic form. It is often considered to include the graphic representation of the landform on a map by a variety of techniques, including contour lines, Hypsometric tints, and relief shading.
Evan Shaw Parker (born 5 April 1944 in Bristol) is a British free-improvising saxophone player from the European free jazz scene.
Recording and performing prolifically with many collaborators, Parker was a pivotal figure in the development of European free jazz and free improvisation, and has pioneered or substantially expanded an array of extended techniques. Critic Ron Wynn describes Parker as "[a]mong Europe's most innovative and intriguing saxophonists ... his solo sax work isn't for the squeamish."
His original inspiration was Paul Desmond, and in recent years the influence of cool jazz saxophone players has again become apparent in his music — there are tributes to Warne Marsh and Lee Konitz on Time Will Tell (ECM, 1993) and Chicago Solo (Okkadisk, 1997).
Parker is better known, however, for his later work, which rapidly assimilated the American avantgarde — John Coltrane, Pharoah Sanders, Albert Ayler and others — and forged his own, instantly identifiable style. His music of the 1960s and 1970s is harsh, raw and unsettling, involving fluttering, swirling lines that have shape rather than tangible melodic content; sometimes he makes use of pure sound in a manner that recalls Steve Lacy's more radical 1970s recordings or the work of some AACM members. He began to develop methods of rapidly layering harmonics and false notes to create dense contrapuntal weaves; these involved experiments with plastic reeds, circular breathing and rapid tonguing which initially were so intense that he would find blood dripping onto the floor from the saxophone. He also became a member of the important big band, The Brotherhood of Breath.
Han Bennink (born 17 April 1942) is a Dutch jazz drummer and percussionist. On occasion his recordings have featured his playing on clarinet, violin, banjo and piano.
Though perhaps best known as one of the pivotal figures in early European free jazz and free improvisation, Bennink has worked in essentially every school of jazz, and is described by critic Chris Kelsey as "one of the unfortunately rare musicians whose abilities and interests span jazz's entire spectrum." Known for often injecting slapstick and absurdist humor into his performances, Bennink has had especially fruitful long-term partnerships with pianist Misha Mengelberg and saxophonist Peter Brötzmann. Han is a brother of saxophonist Peter Bennink.
Bennink was born in Zaandam, the son of a classical percussionist. He played the drums and the clarinet during his teens.
Through the 1960s he drummed with a number of American musicians visiting the Netherlands, including Dexter Gordon, Wes Montgomery, Sonny Rollins and Eric Dolphy (he can be heard on Dolphy's recording, Last Date (1964)).
So it brings account with the growing shade
What does it mean what hath god rotten made
We opened the window and even beckoned indeed
That the succubus was Lorealei
Yeah, that's our speed
Back to what we brought to the killing fields
Crescent swords and crosses on shields
We slaughtered and foddered and blundered
Then laundered in blood
We questioned the other's purity
Then we rolled around in mud
Cause I want to get me more
Do what, do you want to get now
You want to get more Gitmo
You want to have
Rearview mirror sunrise travel away
From where you're sleeping
Trace the shape of your body
I'm so familiar with the roads of this land
I've got more fight
I just want you to know
You should know
Your sorrow is mine
Horizon in your eyes
When we're driving we get lost in the landscape, in the cold unfolding
Trace the shape of your body
I'm so familiar
I'm familiar
Close your eyes and imagine that my ribcage is two open doors
Forget sins of the lovers we leave behind
We're the blameless
Your sorrow is mine
Horizon in your eyes
You say it can't be done
I'll beg to follow you
You want
You are
You say it can't be done