Tag Archives: saxophone

Joseph Luloff: New Stories for Saxophone and Piano


Blue Griffin

Joseph Lulloff (1960- ) is an internationally known artist with at least 10 CDs currently available. He is on the woodwind faculty of Michigan State University. Lulloff reportedly started playing saxophone in part to deal with asthma (a useful adjunct to pharmaceutical treatment) and has made quite a career since. Lulloff is a new name to this writer but, after hearing this latest release, a name that will trigger alerts on my listening radar. He, like most saxophone soloists working today, is equally comfortable and competent in both jazz and classical idioms for his instrument.

The present release is a collection of works, all written for the Joseph Lulloff. Four works are presented by four composers, two of which (Dorothy Chang and David Biedenbender) are new names to this listener. Overall this is one exciting release with deeply substantive music which makes a case that tonality and quasi romantic writing are not dead, just evolving.

Pianist Yu-Liien The is a fellow faculty at Michigan State and one who is clearly a sympathetic collaborator. The Netherlands born pianist has a wide range of international performances to her credit and is a major asset in the interpretation of the works on this CD. Their friendly collaboration is reflected well in the album cover photo by Nick Zoulek.

The recording itself is lucidly captured by producer/engineer Sergei Kvitko. Subtlties of both the saxophone and the piano come across clearly and this album is rife with subtle but very effective inflections of tone. It is a warm listening experience.

tracklist

Dorothy Chang contributes the work from which the album derives its title. New Stories (2013) is a four movement work that is major opus, practically a concerto in all but name. At ca. 20 minutes total duration it reveals several moods and many challenges for the performer. This American composer writes in the useful liner notes that she attempts to utilize Chinese elements in her composition. These are not immediately apparent to this listener’s ears but what is apparent is the composer’s ability to create a very compelling listening experience.

The four movements include: “Floating Worlds”, an ethereal melodic/impressionistic movement which demonstrate the soloist’s fine and nuanced breath control and ability to integrate microtonal and multiphonic inflections in this relaxing movement punctuated with mildly dissonant piano chords. It is followed by “Tall Tale”, a scherzo-like movement which demands intricate interplay between the saxophone and the piano. The third movement, “Reflection”, is a somber solo for the saxophone, almost a cadenza. It is a lyrical slow movement that is relaxing for the listener but a challenge for the soloist, one that Lulloff handles effortlessly. The last movement, titled “Folksong” is a playful, busy movement that also incorporates a solo cadenza-like passage. It is a challenging interplay between saxophone and piano with rhythmic intricacies that sound difficult to execute. All in all a large and substantial work that almost begs to be orchestrated. But it stands clearly on its own very satisfyingly as a chamber work.

David Biedenbender is a composer new to these ears. His “Detroit Steel” is a solo saxophone work, a paean of sorts to the workers of the steel industry. This is the shortest work on the album but Biedenberger manages to create a cohesive soliloquy that sustains attention for the entirety of its 6 minute duration. Doubtless there are references in the work that were not immediately obvious to this reviewer but, like its companions on this release, it is an appealing sonic document.

Stacy Garrop, whose work has received praise in several reviews on this blog, again does not disappoint in her three movement, “Wrath” (2019), another concerto like work which is, according to the composer’s liner notes, is a sort of reimagining of an earlier work, “Tantrum” (2000), also for saxophone and piano. Written for Mr. Lulloff, Wrath is perhaps a representation of the composer’s evolving style and maturity.

The work is is three movements (Menace, Shock, and Amok). The sinister first movement gives way to the second, “Shock” which is more like a post shock experience (PTSD perhaps) seemingly reflecting some resolution of said shock presumably from the encounters in that sinister first movement. The finale, “Amok” picks up in a way from the menace of the first movement in a sort of return to that first movement in a cohesive transformation of that makes for a very satisfying finale. Garrop’s work seems to these ears to have a cinematic dimension and that is also the case here.

The album concludes with a large work by Carter Pann, an American composer whose star is steadily rising. The work, “Sonata for Alto Saxophone and Piano” (2016) is a four movement work which, despite its ordinary sounding title, is quite a fascinating piece. It shares a similar sound world to that of Paul Creston and mid 20th century neoromantics. The four movements (the second broken into three separate songs without words) are:

  1. Black Cat, apparently a set of variations which give the saxophone time to shine.
  2. Songs Without Words, three separate songs ranging from the melodic, romantic “Reverie” to the “Soaring”, a faster piece, and “Consolation”, a slow contemplative piece.
  3. Cuppa Joe, fast virtuosic scale work with manic piano accompaniment, sort of a scherzo.
  4. Epilogue Lacrimosa (In memoriam Joel Hastings), a somber homage to the Canadian pianist who championed Pann’s work.

This is a very exciting release by two fine musicians whom listeners will want to keep on their radar. This album is a significant contribution to the chamber literature for saxophone and a pretty wild listening experience.

Aaron Jay Myers, Superbly Integrated Eclecticism in “Late Night Banter”


Neuma 175

Aaron Jay Myers’ third album grabbed my attention immediately and didn’t let go til the album ended. Working un-self consciously in a stunning plurality of styles (this guy clearly paid attention to his 20th century music history classes) he has produced some mighty substantial works. His ability to integrate a wide variety of techniques and styles into his artistic persona is simply astounding. His references to other composers’ works, rather than sounding derivative, evoke nostalgic homage, at least in this listeners ears. Indeed there seem to be more references per square inch than in a Thomas Pynchon novel. And the fact that he shares this writer’s passion for Star Trek, Deep Space Nine only endeared him more to me (more on that later).

His very listenable music seemingly embraces the whole of the twentieth century stylistically and his very judicious use of extended techniques for pretty much all instruments including voice demonstrate a firm understanding of where those techniques best serve his artistic vision. Fortunately he has managed to find performers who both meet his technical demands and have a real grasp of his musical vision. This Neuma release is truly something special.

There are six works divided among the thirteen tracks. These chamber works were written between 2011 and 2021. None require more than ten minutes or so of your time and left this listener satisfied with the music and optimistic for the future of classical music in general.

“Save One Life, You Save the World Entire” (2017) for the unusual combination of flute and baritone saxophone opens this album with a surprisingly engaging work. It sounds like a challenge for the musicians who handle those challenges seamlessly and engage the listener in this rather brief essay.

When I listen to “Late Night Banter” (2011 rev. 2015) now, I do so in bare feet (it knocks my socks off). This piece for ten musicians with a conductor is a finely crafted piece that grabbed this listener’s attention by that craftsmanship but also by what seem to be a plethora of sonic references to 20th century music. The style of Stravinsky, an homage to Luciano Berio, etc. These brief references evoked emotional responses which led me to recall similar emotions I had attached to the apparent (at least to me) object of said reference. Even minimalist references occur matter of factly. Such efforts can sound derivative or at least imitative but not so in this piece. Rather it had the quality of a tour of the twentieth century in respectful jogs of memory. But even if you don’t get the references, this is a substantial and entertaining work. The evanescence of those references had me questioning whether they were actually there or just my mental figment. (I guess I’ll just have to listen again). Either way I was thrillingly engaged.

Avery Brooks as Captain Benjamin Sisko, commander of Deep Space Nine

“You Get On My Nerves, And I Don’t Like Your Hat” (2020) is the Deep Space Nine reference mentioned at the beginning of this review. If you haven’t seen this series I highly recommend it. And so, apparently, does Aaron Michael Myers. This work for vocal quartet (SATB) takes its title from a witty utterance by Captain Sisko (my fave Star Trek Captain). Of course you don’t have to know Star Trek lore to appreciate this work, but it helps. It is a challenging work for four unaccompanied soloists which reflects the composer’s sense of humor as well as his connection to pop culture.

Aaron Jay Myers

“Lichens III” (2018) is scored for soprano voice but the singer also does the work of a percussionist. In addition to the vocal challenges the singer is asked to perform on “body percussion”, the various sounds one can make by percussing (pounding) on one’s body. It is more commonly an idiom of folk and blues but soloist Stephanie Lamprea handles both the singing and the percussing as though it is her everyday practice accomplished with ease.

Clairsentience (2016) is another wind instrument duo, this time for clarinet and alto saxophone, a similarly unusual choice of instruments. This one is about twice the duration of that first piece and every bit as engaging as well as challenging.

The last track is a marvel of multitasking. Other than Aaron Trant (who does a fine job) on drums, all of the parts (three electric guitars, and bass) are handled by the composer. “Perception Stains Reality” (2002) is a tour de force consistent with the other works on this disc. Here he shows his rock/pop sensibilities, clearly as essential a part of his artistic endeavors as his “classical” training.

Myers is one to put on your hot list. He is certainly on mine. If you can hear a performance of his work, whether live or recorded, you would do well to check it out.

Art and the Reclamation of History: Akropolis Reed Quintet’s “Ghost Light”


New Focus FCR-292

Let me say that this disc represents one of the most integrated releases that I have seen/heard. This has the gravitas of a well conceived and executed prog rock concept album (remember those?). This young group of musicians from Detroit present themselves in a photo in the accompanying booklet in casual dress flouting the old fashioned traditions of playing in tuxes much as another creative chamber ensemble (The Kronos Quartet) did many years ago. The Akropolis Reed Quintet is a group of instruments not commonly known (I’ve never heard of any repertoire for this combination of instruments, any musicians/musicologists want to chime in here?) in classical chamber ensembles. Whereas the Kronos began work a with a long held standard ensemble comprising two violins, a viola and a cello, the classical string quartet which can easily trace a long standing tradition going back to Haydn and very much alive today, the Akropolis consists of oboe (Tim Gocklin), clarinet (Kari Landry), saxophone (Matt Landry), bass clarinet (Andrew Koeppe), and bassoon (Ryan Reynolds), an unheard of combo. Its history begins here.

Illustrator Ashton Springer

Unfamiliar music by an unfamiliar group of reed instruments doesn’t exactly shout, “Buy me, listen to me”, but the prospective listener need not fear. The program here consists of all new music for this ensemble. There are no competitors, at least for now. But all this music in truly excellent performances/recordings along with remarkably integrated collaboration with visual artist, British artist and illustrator Ashton Springer, and poet/writer Marsha Music combines in an apparent attempt to reclaim the artistic history that, in the days of the booming automotive industry and the success of Motown Recordings made Detroit a creative center known round the world. Ms. Music (a nom de plume for Marsha Battle Philpot), a Detroit native, is in many ways the heart of this album. Her father was a producer for Motown and her poetic reflections on local history infuses the album with a certain authenticity. The poet states she was “born in a record store”. Indeed it was the Joe’s Records which appears in Ashton’s album cover art to which she refers (metaphorically of course)

Ghost Light brings a variety of things into focus in this paean to Detroit, the home of these artists whose work very organically includes promotion of the arts in local schools and other venues. In works generally focused on themes of birth, death, and rebirth this album tells a sad story of lost history, of razed black neighborhoods, of fond memories, of a once thriving economy now struggling but fully embracing pride of place while seeking resolution of (and forgiveness?) for past injustices while looking optimistically to a better future.

Poet Marsha Music

The art work itself is a nostalgic example of fine cover art which successfully reflects the content and the character of the music contained within. The illustrations which so beautifully attract the eye to the cover are continued in the accompanying booklet which provides concise notes which place the music in the context of the composers’ various intent and processes as well as the nearly cinematic efforts made to represent the intended content of each piece. Though neither the poet nor the illustrator are known to this writer it is reasonable to assume that we will see/hear from them again. That would be my wish.

This is the fourth album by this prize winning chamber group which was formed in 2009 at the University of Michigan. It contains five musical compositions and three poems (which precede movements I, II, and IV of the final work). All the music, as noted above is generally on themes of life, death, and rebirth as well as “ghosts” of the past.

The first work by the only composer here that was known previously to this writer is “Rites for the Afterlife” (2018) by the amazing Stacy Garrop whose facility with melodic invention and subtle use of tone colors permeated her exciting Mythology Symphony. The four movements are roughly analogous to the classical sonata forms with a longer more complex first movement followed by a slow movement, a scherzo-like movement, and a finale which ties them all together. Here she titles her movements: I. Inscriptions from the Book of the Dead, II. Passage Through the Netherworld, III. The Hall of Judgement, and IV. The Field of Reeds. The composer provides a scenario which is recounted in the booklet. Let me say that her tone painting is that of a true master and I advise listeners to collect anything she releases. You will not be disappointed.

Second is “Kinds of Light” (2018) by Michael Gilbertson. This piece, in four brief movements attempting to metaphorically treat each instrument as a pigment. The movements: I. Flicker, II. Twilight, III. Fluorescence, and IV. Ultraviolet utilize timbres and combinations of timbres to represent the visuals implied by the titles. This is probably the most “experimental” of the pieces here but the experiment engages rather than repels.

“Firing Squad” (2018?) by Niloufar Nourbakhsh. If I’m reading those liner notes correctly, the performance of this work is accomplished with the ensemble playing with a recording of themselves playing the work. This is the most overtly political of the works represented here in its intense single movement.

“Seed to Snag” (2018) by Theo Chandler is cast in three movements: I. Sprout, II. Stretch, and III. Sow. Here is a metaphoric evocation of the cycle of life from birth to death utilizing baroque musical structures.

The album concludes with “Homage to Paradise Valley” by Jeff Scott. This is the largest work here clocking in at over 30 minutes including the poetry. Its four movements attempt to describe forgotten neighborhoods of Detroit. The movements are titled: I. Ghosts of black Bottom, II. Hastings Street blues, III. Roho Pumzika Kwa Amani, and IV. Paradise Theater Jump. Movements I, II, and IV are preceded by Detroit poet Marsha Music reading from her work. The beautiful title of the third movement is a phrase in Swahili which translates as, “Spirits, Rest Peacefully”. The other movements channel the ghosts of these nearly forgotten neighborhoods and that third movement invites those ghosts to a place of rest and the peace of knowing that they will not be forgotten.

I’ve placed links throughout this article so that readers can find more detail about the composers and other artists involved. All of the artists involved here deserve at least a second look if not more. Kudos to all who were involved in this project.

World Premieres and a Resurrection: Partch Vol. 3 on Bridge Records


Bridge Records is one of those labels whose every release is worth one’s attention. Their series of music of Elliott Carter, George Crumb, et al are definitive. And while this listener has yet to hear the first two volumes of the Harry Partch series this third volume suggests that Bridge continues to maintain a high standard as they do in all the releases that I’ve heard.

Harry Partch (1901-1974), like Philip Glass and Steve Reich would later do, formed his own group of musicians to perform his works. For Glass and Reich they could not find performers who understood and wanted to play their music. For Partch this issue was further complicated by the fact that he needed specially built instruments which musicians had to learn to play to perform the very notes he asked of them.  And keep in mind that Partch managed to do a significant portion of his work during the depression.  He is as important to the history of tonality as Bach, Wagner, and Schoenberg.

I will confess a long term fascination with Partch’s music.  Ever since hearing a snippet of Castor and Pollux on that little 7 inch vinyl sampler that came packaged with my prized copy of Switched on Bach I was hooked.  That little sampler also pointed this (then 13 year old) listener to Berio’s Sinfonia, Nancarrow, Steve Reich, and Terry Riley.  And so it continues.  But it is not just nostalgia that recommends this disc, it is the definitive nature of the scholarship, the intelligence of the production, and the quality of both performances and recordings that make this an essential part of any serious collector of Partch, microtonal music, musicology, and good recordings in general.

With the aforementioned interest/fascination I reached a point where I had pretty much collected and listened to all I could find of Partch’s music.  Certainly everything of his had been recorded, right?  Well ain’t this a welcome kick in an old collector’s slats?  Not only have the folks at Bridge (read John Schneider) found and recorded a heretofore practically known composition but they’ve done it with a brand of reverence, scholarship, and quality of both recording and performances such that this is a collector’s dream and a major contribution to the history of microtonal musics and American music in general.

schneiderUtube

John Schneider from a You Tube screen capture

Let me start with the liner notes by producer John Schneider.  As one who is given to complain about the lack of liner notes I am so pleased to encounter such as these.  They alone are worth the price of the CD and read at times like the adventure they describe, to wit, this recording.  The tasteful and well designed (by one Casey Siu) booklet provides an intelligent guide to the music which enhances the listening experience.  Schneider’s web site also provides a wealth of information and references for further research.  Many would think that these liner notes are comprehensive as they are and there should be no need for anything more…so the link provided to even more info on the web site of the performing group on this disc, PARTCH.   These folks are Grammy winners and they perform on scholarly copies of the original Partch instruments executed by Schneider and his associates.  This release is solidly built from the ground up.

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PARTCH performing at RedCat copyright Redcat

PARTCH includes: Erin Barnes (Diamond Marimba, Cymbal, Bass), Alison Bjorkedal (Canons, Kitharas), Matt Cook (Canon, Cloud Chamber Bowls, Spoils of War), Vicki Ray (Canons, Chromelodeon, Surrogate Kithara), John Schneider (Adapted Guitars, Bowls, Canons, Spoils, Surrogate Kithara, Adapted Viols, Voice), Nick Terry (Boo, Hypobass), T.J. Troy (Adapted Guitar II, Bass Marimba, Voice), Alex Wand (Adapted Guitar III, Canons, Surrogate Kithara)

The 21 tracks contain five Partch compositions.  It opens with one of Partch’s more unusual pieces (for him), Ulysses at the Edge of the World (1962).  This piece was written for Chet Baker but Baker never got to play it.  It kind of sits a bit outside of Partch’s work and is his most direct use of the medium of “jazz”.  The piece has been recorded twice before.  For this recording two fine new music/jazz musicians were chosen, saxophonist Ulrich Krieger and trumpet player extraordinaire Daniel Rosenboom.  Excellent choices for this too little performed piece.

Tracks 2-13 contain the Twelve Intrusions (1950) which is basically an accompanied song cycle with instrumental pieces placed at the beginning.  These are great vintage Partch works but do read the liner notes on the evolution of Partch as he was writing these.  They describe some of Partch’s evolution during that time.

Next is another discovery (or restoration if you will).  Partch’s scores exist in various versions for various reasons.  Windsong (1958) was written as a film score for the Madeline Tourtelot film of that name.  It was later reworked into a dance drama (Daphne of the Dunes, 1967).  Here we have a live performance of the entire score which (read them notes) includes things not heard before, not to mention the most lucid sound of this recording.

Now to the putative star of this release, the Sonata Dementia (1950).  It too comes with some nice detective work allowing listeners to hear substantially what Partch intended but neither recorded nor rejected.  There are three movements and let me just say that they are captivating and substantial.  This deserves to be heard again and again.

Now two little bonus tracks (reminiscent in nature but not in content of the sampler I mentioned earlier) add significantly to Partch and his place in music history.  First is a Edison cylinder recording from 1904 of a traditional Isleta Indian chant which Partch, who had been hired to transcribe these songs, later incorporated into his music.  It’s early date and the nature of that old recording method provide a picture of early ethnomusicological work.

partchguit

Photo of Partch with adapted guitar found on web

The second bonus is a real gem.  Again, read the liner notes for more fascinating details.This is an important find, an acetate recording made of Partch performing his Barstow (1941) for an appreciative audience at the Eastman School of Music from November 3, 1942.  This early version (of at least three) for adapted guitar and voice was reconstructed by John Schneider and released on the Just West Coast album of 1993 (Bridge BCD 9041) and later performed so beautifully at Other Minds 14 in 2009.  But I believe that Schneider’s reconstruction predated the discovery of this recording.  Pretty validating to hear this now I would think.

It is this reviewer’s fondest hope that this wonderful Partch project will continue with its definitive survey of Partch’s work.  Bravo!!

 

 

 

William Susman’s Scatter My Ashes


susmanscatter

I first encountered the composer William Susman (1960- ) when one of his works appeared on a program which included a solo cello and electronics piece by Vivian Fung.  This solo electroacoustic piece, the work I was initially asked to review, was nestled in the middle of an interesting program by the San Jose Chamber Orchestra.  I chose to review the entire concert which was a fascinating selection of new music.  William Susman’s “In a State of Patterns” (2018) struck me immediately as interesting post-minimalist work.

Susman_at_piano

Mr. Susman read my review and rather promptly sent me this 2014 CD on his Belarca label.  It contains four of his works from 1992-2010 and is a fine sampling of his work.  All works are here performed by the Octet Ensemble which includes: Alan Ferber, trombone; Mike Gurfield, trumpet; Melissa Hughes, vocals; Elaine Kwon, piano; Eleonore Oppenheim, double bass; Demetrius Spaneas, saxophone; Greg Zuber, drums and percussion; and William Susman, electric piano.

There are four pieces on 12 tracks.  The disc begins with Camille (2010), a very listenable post-minimal chamber work.  It is followed by a melancholy song cycle, Scatter My Ashes (2009) on poems by the composer’s sister Sue Susman.

The third piece is a wonderful piano concerto.  There are not a lot of convincing concertos in the minimalist genre but this one is a candidate for being a poster child.  It is for piano with chamber ensemble.  Here the composer goes not for the finger busting virtuosity that seems to be the current vogue but rather he evokes a latter day Mozart with more technically modest but highly entertaining music that communicates directly.  Curiously (is this a carry over from the Steve Reich and/or The Philip Glass Ensemble?) he uses a wordless vocal (Hughes) as a part of the instrumental texture.  Elaine Kwon handles the featured keyboard part.  It works very well.

He ends with an arrangement for OCTET of Moving in to an Empty Space (1992, arr 2010), another setting of his sister’s lovely poetry.  Again he evokes the somber but it is more in the nature of exorcising the demons of sadness much like the mission of the poet.

 

Donut Robot! Post-Haste Duo


OK, so I go to the post-office, to my little PO Box and I find one of those nice flat envelopes with the bubble wrap inside. Nothing unusual so far. When I pull out the disc I see post-apocalyptic cover art that could have come from the pen of Matt Groening (that is a compliment). And looking at the inside I recognize none of the musicians and none of the composers (also not unusual). Bassoon and Saxophone? Sounds iffy at best. And these folks hail from Idaho. Idaho? The last time I heard the name of this state in relation to classical music La Monte Young was being discussed (he was born in Idaho). They now hail from Portland.

Sean Fredenburg

But when I put this disc in my CD player while on one of my longish drives (we drive a lot in California) I was delighted and mesmerized. These two musicians, both professors at Idaho university, seem to have cast their net into minimalist waters. The variety within that definition of a musical style demonstrates the apparently boundless creative ways of working within that style and the limitations of the term in helping listeners know what to expect.

Well, expect virtuosity, expect clever invention, and expect to be entertained. Despite the pop art cover (the entire production will be my exhibit A when I propose a law requiring a minimum 12 x 12 packaging for all music and video releases) the music consists of some really solid compositions which send quite a challenge to the artists while leaving the listener enthralled (no easy task). The only mistake is putting the liner notes one line. Die hards like yours truly will seek out and read these (actually very useful notes) but I think most listeners will not make the effort. Ah, well.

Usually these solo instruments are accompanied by a piano or a guitar when they are not a part of a larger ensemble. When these two instruments play together one might choose a strategy of having one instrument accompany the other. The compositions here utilized a variety of strategies, many of which place some serious physical demands on the musicians. What all these compositions manage to do is to sound as though they were intended to come out exactly as you hear them in this recording (also a daunting and frequently unaccomplished task).

These machinations stem from the efforts of the Post-Haste Reed Duo consisting of Sean Fredenburg on saxophone and Javier Rodriguez on bassoon. These works are commissions written for them (who else?) and presented here in their world premiere recordings.

The composers (Ruby Fulton, Drew Baker, Michael Johanson, Edward J Hines, Andrea Reinkemeyer, and Takuma Itoh) presented me with yet another research task (also not uncommon with the unusual music that comes my way), that of finding out who these people are and, frankly, if I should file these names away in my future successes file, keep them on the radar in the hopes that they will continue to produce work of this quality. I’d say odds are good.

Steven Kemper’s Mythical Spaces


mythical

Ravello Records RR 7980

It is this writer’s opinion that the category “electro-acoustic” carries such a wide range of connotations that it is of limited use to a listener.  This album is so characterized and here simply means that both electronics and acoustic instruments are used.  Even the concept of electronic music is difficult since such a designation. Playlists on Spotify and iTunes usually points the listener to a form of pop/dance music if you search for electronic.  Further complicating things (and I think this is at least in part the point here) the electronics here include fixed media (electronics which does what it is programmed to do and does not interact with the performers or simply plays alone) and robotic electronics as well as electronics which interacts with the performer.  You will have to check the composer’s web page for more information on what exactly the “robotic” media are.

This is cutting edge in the sense that it is experimenting with new media in combination with more traditional media (and simple electronics is now “traditional media” having been superseded by the new fangled).  The actual sound of this music seems to inhabit a rather spare sound world akin perhaps to that of late Morton Feldman but with more brevity. These pieces last from 1.5-10 minutes on average and demand some concentration on the part of the listener.  Think maybe a cross between Feldman, Webern and say Subotnick.

Now one could conceivably play this music at a low volume in the manner of so-called “ambient” music. There are not many dynamic changes here to take you away from that sort of reverie.  But that does not really seem to be the composer’s intention. These are concentrated little essays, each seeming to explore the parameters of its context, fixed media, live instruments, robotic media, and combinations of these.

Steven Kemper is a new name to this writer.  His education and wide interests are available on his web site.  While he has an impressive bibliography with cutting edge research interests in music and sound this appears to be his first CD.

There are 15 tracks which comprise 5 works.  Mythical Spaces (2010) is for percussion with fixed media in 5 separate movements.  Breath (2015) is for fixed media alone in one movement.  Lament (2015) is also in one movement and is scored for flute with interactive media.

The longest single movement comprises In Illo Tempore (2012 rev 2017) is scored for saxophone, bassoon, AMI (automated monochord instrument), and CARI (cylindrical aerophone robotic instrument).  It clocks in at 7:48.

Last but not least is The Seven Stars (2012) for amplified prepared piano in 7 movements.

Live performers include Mark Truesdell, percussion; Wayla Chambo, flute; David Wegenlaupt, saxophone, Dana Jessen, bassoon, and Aurie Hsu, prepared piano.

This is music which requires some serious concentration from the listener.  Hearing/seeing this live might provide some additional aspects due to these strange electronic/robotic instruments but the point here seems to be one of an inner voyage which, if you focus you listening energy, transports you into this composer’s imaginary spaces.  Whether you will enjoy this or not is difficult to say but it is certainly worth the effort.

 

The Alchemy of Diversity at Sound and Savor


 

bialys

Freshly baked bialys right out of the oven opened the brunch.

This is another in the continuing account of my encounters with Philip Gelb’s underground vegan salon now called Sound and Savor.  For some twelve years now he has hosted a series of dinners, brunches, and cooking classes.  Many of the multi-course meals also feature some of the finest musicians, many from San Francisco and the east bay.

Today’s brunch started with fresh brewed coffee with a dollop of ginger (vegan) ice cream along with fresh baked bialys with cashew cream, pickled red onions, and “carrot lox”.  So we began with a vegan Jewish theme.  Needless to say these were delicious and the coffee helped waken anyone not ready for this 11AM start.

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The next course was a similarly delicious borscht (beet soup) with beet pakoras.  And clearly Phil has introduced this traditionally Indian dish which worked remarkably well with that soup.  Again all were hot out of the pot/fryer clearly in our view.

As Phil performed his culinary alchemy in the kitchen we were most attentively served by his assistant for this meal, Letitia, a smiling joy of a woman who seems to have the knowledge and genuine caring of customer service in her blood.  She was equally attentive to all in the crowd of about twenty diners with the usual mix of familiar faces and few new ones.  Indeed the beautifully presented courses came at just the right pace.

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The main course in this brunch was a Potato-Onion Tortilla, blood orange salad.  And once again the diversity of cultures mixed to truly savory results as the friendly conversations flowed.  At this point even the hungriest would hope for a pause and that’s exactly what happened.

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With a judicious touch of rearranging Phil prepared a performance space for the three musicians who graced us on this beautiful sunny Oakland day.  Jay Ghandi, bansuri (Indian Flute), Sameer Gupta, tablas (a staple of Hindustani music), and David Boyce, saxophone and bass clarinet (need I say a staple of jazz?).  The alchemy of the food would now find an analogy in this jam session.  Boyce and Gupta had played here about a year ago and Ghandi is a frequent collaborator with both musicians.  All three had played yesterday in San Jose and were scheduled to play in San Francisco at the Red Poppy Art House.  They are touring to promote their recent release A Circle Has No Beginning.  These are just three of the musicians who participated in this crowd sourced disc which is itself worth your attention.

The energy was immediately palpable as seen in this excerpt from one of three pieces they played.

This last excerpt demonstrates the ease of communication between these musicians who blend diverse backgrounds of jazz and Hindustani musics seamlessly into something new and wonderful.  The audience was energized to a level beyond what coffee could do and broke into appreciative applause after each piece.

The brunch ended with a dessert of (again fresh baked) Citrus Semolina Cake and more of that delicious coffee and ice cream.  And, of course, more conversation.

These events have become a regular part of this writer’s recreational time and a real reason to celebrate living in the diverse and creative east bay.  Phil’s judicious blend of cultures in his culinary experiments provide a parallel to his curation of some of the finest musicians with the only purpose in both case to entertain and enlighten.  He achieved both is a big way this day.  Thanks to all who participated.

Edgy Saxophone, Ryan Muncy’s “ism”


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This one wins the prize for the most charming and unusual presentation of a review copy that this writer has ever seen.  I received this rather plain looking slip case and contained therein was a little data card glued to a saxophone reed.  Fortunately I have just enough tech skills to find the little data card slot on my laptop and was able to then burn a CDr.

It was well worth the effort.  Ryan Muncy is a saxophone player with the increasingly venerable ICE.  (That is the International Contemporary Ensemble and not the less venerable immigration and customs enforcement by the way.)  He here takes the opportunity to demonstrate his considerable fluency on his instrument.  The deceptively simple cover belies some serious complexity in this release.

Beginning with James Tenney’s too seldom heard Saxony (1978) Muncy decisively lets the listener know that this is a hard core saxophone album with music that demands a level of skills and interpretive ability within the reach of only the finest musicians. Tenney’s piece is a multitracked composition concerned with acoustic phenomena produced by different tunings as do many of his works.  This piece is a species of minimalism, drone, even meditative music.  It’s slow unfolding demands and then rewards patience as it envelops the listener in lovely, trippy sound masses.  At over 20 minutes it is the biggest piece here and alone justifies purchasing this album.

What follows are 5 more tracks of similarly extreme experimental music with various extended techniques albeit on a much smaller scale.  Each is like a little study focusing on one or more extended techniques.  All but one are recent compositions by composers yet unknown to this reviewer.  The last piece is by the late great Lee Hyla (1952-2014) and is from 1979, making it contemporary with the opening Tenney piece.  Muncy demonstrates his facility with tuning, multiphonics and other creative techniques demanded by these composers.

Here is the track list:

James Tenney-Saxony (1978)

Erin Gee-Mouthpiece XXIV (2015)

David Reminick- Gray Faces (2011)

Morgan Krauss- masked by likeness (2014)

Evan Johnson- Largo caligrafico (2012)

Lee Hyla- Pre-Amnesia (1979)

Each of these pieces is seemingly a self contained universe and repeated listenings reveal more than simple experimentalism.

This is a disc for serious saxophone aficianados with an appreciation for free jazz and cutting edge instrumental techniques.  Truly a wonderful release.

Ken Thomson’s Restless: a Feast of New Chamber Music


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Ken Thomson is one of the rapidly rising stars of the New York music scene and beyond. His involvement with his group Slow/Fast which includes Ken Thomson, Russ Johnson, Nir Felder, Adam Armstrong and Fred Kennedy as well as Bang on a Can and others in the new music/new jazz community demonstrates his level of drive.  Thomson is a saxophone player and a composer.

The present album showcases his talents as a composer and are different than what I had expected from a musician with roots in free jazz and with saxophone as his principal instrument.  This is a set of two suites in the classical manner, a collection of movements. They do not appear to have any direct influence from jazz but rather they are quite clearly in a classical new music vein.

The first, Restless (2014) is a four movement piece for cello and piano.  It could have been called a sonata for all its complexity and development.  It is a lyrical and very listenable piece which is restless at times (though I think the title actually suggests multiple meanings) and loaded with fascinating musical ideas.  The writing for both the cello and the piano are apparently technically challenging but both are handled very well by Ashley Bathgate (cello) and Karl Larson (piano).  This disc is worth the price if only for the fantastic musicianship of these performers.

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Ashley Bathgate (cellist) and Karl Larson (pianist) (Photo by Gabriel Gomez, all rights reserved)

The three movement suite, Me vs. (2012) is a pianistic tour de force that makes great use of various pianistic effects involving judicious use of the sustain pedal and the creation of after image type effects which allow the harmonics to vibrate on strings not struck by the keys.  Again the nod to a basic three movement classical piano sonata with a complex first movement followed by a lyrical slow movement and a spritely virtuosic finale which resembles a moto perpetuo.

More about the internal dialogue that went on in the composer’s head is available in his commentary but this music doesn’t really require much explanation.  It is pretty clear and very effective music.  This is simply a wonderful recording of some fascinating new music.