#saxphone

[noirbeduzz]

Dark is the night | Тёмная Ночь .

[bandhall]

day 54 of being in band this year: 

the band director walked in on our tuba standing on a chair yelling at our saxophone to stop playing careless whisper

[newjazzthings]

http://www.newjazzthings.com/saxphone6.html

[wdlabo]

瀧野由美子

[shihlun]

Gamelan + “Over the Rainbow”: John Lurie's theme music for Jim Jarmusch's film "Permanent Vacation".

[myrecordcollections]

Visit Original Link

This 1976 duo session documents the lasting and profound musical partnership of saxophonist David Liebman and pianist Richard Beirach. Their stark and somewhat somber music, which would be perfectly at home on the ECM label, still sounds contemporary. Beirach's chords are lush and, at times, quite dissonant and opaque, providing a complex harmonic foundation for the lyrical post-Coltrane musings of Liebman, who plays tenor and soprano sax, as well as alto flute. The two each contribute three compositions, culminating in Beirach's extended up-tempo showstopper "Obsidian Mirrors," during which one can practically hear bass and drums churning along with them. Indeed, it is their rhythmic communication that grabs the listener most of all -- particularly the suspenseful in-tempo pauses that occur during "Repeat Performance" and "Troubled Peace." Other highlights include Liebman's biting, plain-spoken tenor on Beirach's "Eugene" and his ethereal alto flute on the title waltz, "Forgotten Fantasies."

[myrecordcollections]

Visit Original Link

The titles of “Plan Eden”, out in 1987, refer to Doris Lessing, Friedrich Nietzsche, Robert Anton Wilson and Harth himself. It’s another “separated at birth” statement: the first side is Harth solo on the tenor sax, playing a series of short improvisations whose atmosphere changes like tropical weather: a serene reverb-drenched meditation one moment, a torrent of multiphonic schizophrenia a minute later, and the firm reminder that what we currently worship in the so-called “reductionist” movement had already been tackled by Mr.23 at least a decade earlier. The second side features a clutch of duets with Lindsay Cooper - on bassoon and sopranino, while Harth uses clarinets - and a furious one with John Zorn, plus a three-minute improvised “mini opera” with Phil Minton gurgling his tonsils out and a pre-iPod, pre-electronics Günter Müller on drums among the others. In this album, just like in “Anything goes”, the composer also took good care of the cover artwork; the LPs include inserts with Harth’s drawings, and the nostalgic collector who replaces my good self every once in a while is still moved by the carton’s smell of his treasured copies. Sniff….Aaaahhh….

Touching Extremes

[myrecordcollections]

Visit Original Link

The titles of “Plan Eden”, out in 1987, refer to Doris Lessing, Friedrich Nietzsche, Robert Anton Wilson and Harth himself. It’s another “separated at birth” statement: the first side is Harth solo on the tenor sax, playing a series of short improvisations whose atmosphere changes like tropical weather: a serene reverb-drenched meditation one moment, a torrent of multiphonic schizophrenia a minute later, and the firm reminder that what we currently worship in the so-called “reductionist” movement had already been tackled by Mr.23 at least a decade earlier. The second side features a clutch of duets with Lindsay Cooper - on bassoon and sopranino, while Harth uses clarinets - and a furious one with John Zorn, plus a three-minute improvised “mini opera” with Phil Minton gurgling his tonsils out and a pre-iPod, pre-electronics Günter Müller on drums among the others. In this album, just like in “Anything goes”, the composer also took good care of the cover artwork; the LPs include inserts with Harth’s drawings, and the nostalgic collector who replaces my good self every once in a while is still moved by the carton’s smell of his treasured copies. Sniff….Aaaahhh….

Touching Extremes