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Jack Wright is either a very serious musician or else, uninterested to carry that burden, he could hardly be considered serious at all. In the 80s he called himself "non-commercial, not interested in the marketplace," what today is known as DIY. His wide vocabulary comes from reaching out as widely as possible for new experience, and playing with anyone who asks. He seeks to know his music as if for the first time, rather than demonstrating a pre-constructed and self-approved aesthetic--he's not always sure he likes his music. He is motivated to put his love of playing in front of people.
Jack has been a full-time saxophonist of improvisation since 1979, though he began playing as a ten-year-old in 1952. He didn't continue then, basically because he couldn't play chord-change jazz. Before getting back to playing, he studied and reflected on history, philosophy, culture, which he continues to do. He taught and quit that, engaged in radical politics and quit that, began playing again as a free improviser. He has been regularly discouraged but has not stopped. Now seeks to keep a low profile, which is the easy way to go, business-wise. He used to rage and stomp around like a Dionysian; now he can make soft and squeaky sounds, mixed with occasional lion roars and dog barkings. He wears shorts and a beard, and usually a hat. He mostly plays crouched down, with the bell of his horn pressed against his bare thigh and muted sometimes into silence. He sounds electronic at times, but no wires attached, nothing recognizable as saxophone music. He may be obscure but he comes close to doing exactly what he wants in his life, and that is no simple matter for any of us.
After teaching at Temple University in the 1960s and leaving academia
in the early 1970s to engage in radical politics and community organizing,
by the late 1970s Wright directed his energies into music. He is one
of a very small group of musicians in North America that has played
improvised music exclusively since the 1970s. Through years of near
constant touring, often performing for audiences in cities and towns
where improvised music had never before been heard, he came to be regarded
as something of an underground legend. He has deliberately eschewed
the conventions and socio-aesthetic limitations of musical careerism
to pursue his own vision. Although his de-professionalized approach
sets him apart from most musicians at his level of accomplishment, his
art has always grown, expanded, and synthesized new information. He
is unquestionably an original and virtuosic saxophonist, a master improviser
who is deeply lyrical, with humor never far away.
Today Wright tours frequently in Europe and North America (and in Japan in 2006), making new musical and human connections, bringing European musicians to the U.S. and bringing musicians everywhere together. His inspiration has provided crucial impetus to hundreds of musicians and has even motivated several people to establish music venues in order to present him and other improvisers (e.g. Baltimore’s High Zero festival). His vast list of collaborators includes some “name” luminaries (William Parker, Axel Dorner, Michel Doneda, Andrea Neumann, Denman Maroney, Bhob Rainey to name a few) but more significant are the many obscure greats he has played with. He has made over 40recordings (many published on his own Spring Garden label), performed in over 20 countries, and written extensively and insightfully about music and society for journals such as Improjazz (France) and Signal to Noise (US), as well as his own website.S
And the formal bio:
Alto, soprano, tenor saxophones;
Born Pittsburgh PA in 1942 and grew up around Philadelphia and Chicago. He began playing saxophone in 1952, with private instruction; also singing in groups large and small through 1964, including a blue grass trio (playing washtub bass), which recorded an album, "Undertaking Bluegrass." After this he ceased playing music. He attended Lafayette College in Easton PA, where he studied European history and literature and graduated 1964; Johns Hopkins University, MA in European history, 1972; taught history at CCNY in NY and then Temple U. 1967-72, after which he left the academic world. In this latter period he was involved in left politics, organizing mainly on a community level, and began to become involved with music again.
In the late seventies he returned to music in earnest, and began playing free improvised music on the saxophone and piano. Partners for this music then were sparse; he sought them out in NY and the East Coast, traveled to the West Coast, then in 1983 began extensive tours in Europe, which continued until 1986. In the US his partners were Toshi Makihara, Jim Meneses, William Parker, Todd Whitman; in Europe he performed with Hannes Bauer, Joe Sachse, Wigald Boning, Lars Rudolph, Wittwulf Malik, Peter Hollinger, Bernhard Arndt, and Andreas Stehle, touring Germany, England, Switzerland and Italy. In 1984 he began touring the US, either as soloist or with his European partners, Roger Turner, Malik, and Rudolph, and an American dancer from Chicago, Bob Eisen. In this period of the eighties his music would today be considered free jazz, very full and expressive. He was known for playing in places that had never been exposed to free improvisation, and encouraging young players everywhere, such that Davey Williams titled him the “Johnny Appleseed” of North American free improvisation.
In 1988 he moved to Boulder CO and got involved in painting and writing, continuing his private study of European literature and philosophy. Yet he was still practicing and playing regularly, as a member of the local community of players (The Front Range Improvisers Orchestra, FRIO), and continued touring the US. In the late nineties there was a resurgence of interest in non-idiomatic free improvisation in the US, especially coming from Boston, but increasingly throughout the country. In 2000 Wright did an extensive tour of the West Coast with Boston soprano saxophonist Bhob Rainey, and recorded with him in three different groups. His music became often sound-oriented, using space, texture, and sustained tones, but always with a characteristic energy and lyrical musicality. He moved back to the East Coast in 2003 to be closer to his playing partners and to Europe, and now lives in Easton PA. He has worked to strengthen the free improv scene in Philadelphia by turning his former home there on Spring Garden St. into a residence for such players, where he goes regularly for sessions.
He has presented his music at most of the improv festivals in the US: four years at High Zero in Baltimore, several years at the Seattle Improv Festival, the SFALT and the Outsound New Music Summit Festivals in the Bay Area, California, the Autumn Uprising in Boston, and the Improvised and Otherwise Festival in Brooklyn. In 2005 he performed at the Museum of Modern Art in NY in a mini-festival, Relay, involving 13 American and European players. In Nov. 2007 he performed with Andrew Drury at the N.O. (not only) Jazz Festival in Zagreb Croatia, and in Sept. 2008 with Olivier Toulemonde and Agnes Palier, as well as Lebanese and Italian musicians, at the ContemporaneaMente Festival in Lodi Italy.
Since 2000 he has renewed his label, Spring Garden Music, which presents his own music and that of his partners.
He continues to seek out new partners;
in 2002 and every year since he has returned to Europe to that end (list
of tours). Those partners living in Europe with whom he has been playing
most consistently the past decade are Pascal Battus, Paris; Alberto Braida,
piano, Milan; Sebastian Cirotteau, tpt, Toulouse France; Phil Durrant, computer,
violin, London; Michael Griener, drums, Berlin; Joel Gripp, double bass, Paris;
Grundik Kasyansky, electronics, London; Hans Kocher, bass cl., Switzerland;
Urs Leimgruber, saxes, Lucerne Switz; Andrea Neumann, inside piano, Berlin;
Agnes Palier, voice, Rambouillet France; Eve Risser, Paris; Stephan Rives,
soprano sax, Beirut Lebanon; Sharif Sehnaoui, guitar, Beirut; Christine Abdelnour
Sehnaoui, sax, Paris; Fabrizio Spera, drums, Rome; Olivier Toulemonde, percussion,
France; Guillaume Viltard, bass, London; and Sabine Vogel, flute, Berlin,
Christopher Williams, double bass, Berlin. He has been especially active in
bringing European, especially French musicians to tour in the US (see "The
Paris Experiment" in the Phila. City Paper).
His full tours of the past decade, in retrograde order,have been S/E and Midwest US with Wrest (2013); Europe with Andrew Drury (Oct. 2012); Europe (Oct. 2011); the West Coast ( Fall 2010), with Bob Marsh (two US tours 2010 and 2011); with Pascal Battus on the east coast (2010); Europe (March 2010); the Northwest (Feb. 2010); with Fabrizio Spera and Albert Braida on the east coast (2009); a trio of Guillaume Viltard, bassist, and Grundik Kasyansky, electronics in France, the Netherlands and Belgium; with Michael Johnsen, midwest; with Fabrizio Spera and Gust Burns in the Northwest; with Andrea Neumann and Stephane Rives on the East Coast (the Snowball Tour, joining also with 11 other musicians); with Andrew Drury in the Balkans; with French soprano sax player Michel Doneda and percussionist Tatsuya Nakatani (From Between) in the US; with Agnes Palier and Olivier Toulemonde in Europe and the US East Coast; with Carol Genetti, vocalist, and Jon Mueller, perc. (NomTom) in France and the US; with Pittsburgh electronicist Michael Johnsen and Sebastien Cirotteau of Toulouse, in Europe and the US; with Ben Wright, bassist, in the US; with Doneda and Nakatani in Japan, France and the US (30 performances); and a cross-country tour with Michael Griener percussion and Sabine Vogel flute of Berlin (2004); US tours with Reuben Radding and with Phil Durrant (2003).
Wright has partners in most major cities of the US, with whom he plays on his tours, over sixty US musicians with whom he is developing music. Among those of the past five years are: Alban Bailly, guitar, accordion, Phila; John Bennett, poet, Columbus OH; Ben Bennett, percussion, Columbus; Gust Burns, piano, Seattle WA; Andrew Drury, percussion, NYC; Bryan Eubanks, electronics, sop. sax, NYC; Carol Genetti, voice, Chicago; Michael Johnsen, electronics, Pittsburgh; Andrew Lafkas, bass, NYC; Dan Levin, guitar, Phila.; Evan Lipson, bass, Chattanooga; Toshi Makihara, dr, Phila.; Bob Marsh, guitar, voice, violin, Richmond CA; Joe Moffett, tpt, NY; Paul Neidhardt, percussion, Baltimore; Johan Nystrom, percussion, Philadelphia; Andrea Pensado, electronics, Salem MA.; Mike Pride, dr, Brooklyn; Reuben Radding, bass, NYC; Vic Rawlings, cello, elect., Boston; Ron Stabinsky, piano, Wikesbarre PA; Tom Swafford, violin, Brooklyn; Chris Welcome, guitar, NY; Walter Wright, electronics, Lowelll MA; Ben Wright, bass, Taos NM
Interview in Avant Music News Jan. 2014
Tom Djll's journal of our 2002 east coast tour--descriptive, humorous, and analytical
| For more detailed information
jackwri444 at aol.com
--more elaborate descriptions of SGM recordings are found here.
A variety of music can be found on the Sounds page, Soundcloud, and Spring Garden Music Bandcamp
OVER THE TRANSOM: "Hell & Bunny" sounds like something you might come across over at engrish.com, but in fact it's an improv duo consisting of cellist Hans Buetow and percussionist Ben Hall (I'm not sure who's hell and who's bunny but I guess it doesn't matter), who might be more familiar to readers as two thirds of Graveyards, with ol' Wolf Eye himself John Olson. On this splendid CDR release on the Alberta-based Bug Incision imprint they're joined by another prowling wolf of American free music, saxophonist Jack Wright, and it's the most impressive Wright release I've heard since the two trio dates with Michel Doneda and Tatsuya Nakatani, from between (SOSEditions, 2003) and No Stranger To Air (Sprout, 2006). At the turn of the century, Jack Wright took a decisive step (every step Jack takes is decisive) into lowercase territory, generously acknowledging the influence of Bhob Rainey, but throughout the decade his playing, especially solo, has gradually been getting more combative again – though it's nowhere near as fiery as it was back when he started out in the early 80s. On Over The Transom, Hall's soft mallets and Buetow's elegant micromelodies and delicate pizzicati pull him back into more restrained territory, but you can tell he's just itching to burst into flames. Wright has always taken the line of most resistance as a player (I still think he should team up with his English namesake Seymour), exposing himself to as much risk as he can find. Just as well he's not a Wall Street trader. Listen to how he jams the horn against his thigh and really goes for – and gets! – those awkward multiphonics, just when the music is quiet enough to show up the tiniest mistake. This stuff is as poised as gagaku, as focused as shodo and as intense as butoh.
Dan Warburton, Paris Transatlantic, 2009
AS IS: Decades ago, before
Wire year zero, I wandered into a London record store, Honest Jon's,
then located off Charing Cross Road, where a solo bass disc by Dave
Holland was on the player. "That's far out," I remarked to Wire founder
Anthony Wood, working behind the counter. "No, it's near in," he retorted.
Even Anthony couldn't describe As Is as near in. Its three live tracks,
two on soprano and one on alto, are uncompromising solo sax improv.
Jack Wright left music in the mid-60's for radical politics. Returning
in the late 70's to free jazz, by the milennium he was playing free
improv with Bhob Rainey. If an improviser is producing tones at all
on saxophone, it's hard to avoid a jazz element, and while the alto
track starts out with noise, there's a moment when Wight is almost "soloing"
on "Three Little Words". Raw, visceral, urgent, his music demands to
From the first warm saxophone notes wrapping around even warmer piano notes,
it's clear that this is no ordinary Jack Wright record. Then again, every
Jack Wright record is a bit of a shock, so that's a rather nonplussing statement.
A particular quality that distinguishes this one is a luxurious "chamber"
sound, with the conventionally tuned notes of Bob Falesch's piano resounding
at every turn. It plays a bit like a Roscoe Mitchell and Matt Shipp duet.
Beyond this overall surface feeling, the disc is packed with Wright's trademark
un-trademark-able flood of reed newness.
Enhancing both the surprising conventional aspect and the characteristic anti-conventional aspect, the stunningly vivid recording quality (courtesy of Bob Falesch's mysterious and elaborate machinations) makes this a disc that will seduce just about anyone plugged in somewhere to the broad spectrum of post-jazz improvisation; those already primed to savor the raw edges and unsafe trajectories of Wright's saxophone will do a double-take and then proceed to play the disc repeatedly, and those who are generally a bit queasy about this sort of thing will find their attention drawn beyond the details of Wright's playing and into the larger flow of conventionally rich and beautiful instrumental sound, finding the piano to be a counterbalance to any suspicious reed episodes....
--Mike Parker, Bagatellen, concerning the CD Clang, Zeroeggie Ox-2bdf
|| UP FOR GRABS:
Jack Wright is bright, his playing powerful: These qualities forge an
engaging combination. For the most part, his musicianship inhabits the
extremes: Usually not the extremes of Jazz, but the extremes of free improvisation.
While Wright is capable technically of playing almost anything on his
saxes, he has of late chosen to pursue what he terms a "more feminine
approach," where the focus is on pure sound, often (but not always) filtered
by unabashed minimalism. Wright is a master solipsist; a fierce individualist
in the tradition of Howard Roark, exuding inner strength while seeking
or affirming objective truths...this is one of Wright's most esoteric
solo ventures; and for those few who are likely to appreciate it, one
of his most curious recordings.
---Steve Loewy, Cadence Magazine, April 2005
|| NOM TOM: These
two extended improvisations feature the indefatigable road warrior of
American improv, saxophonist Jack Wright, with two younger playing partners,
percussionist Jon Mueller and vocalist Carol Genetti. Genetti is one of
the more discreet improvising vocalists: there are no full-blown hysterics
and theatrics here, just a patient exploration of tiny twitters, bleats
and delicate overtones – imagine a small furry animal Tuvan throat
singing – and Wright accordingly spends much of the time with his
sax jammed tight against his trouser leg, muffling and filtering the sound
much as he did on the exquisite series of albums he released a while back
in the company of Bhob Rainey. Mueller's the wild card here, deftly avoiding
classic improv percussion's nervous clatter and ping to concentrate on
in-depth research into his beloved snare drum. The second track is more
adventurous, filling the empty spaces of long dead reductionism with a
whole range of sustained sonorities; about halfway through it turns into
a veritable jungle (Indian, presumably, given the album title's reference
to North Indian classical music), with Genetti squawking like a demented
parrot and Wright growling menacingly in the undergrowth, while Mueller
ticks away like a death watch beetle, leading the others into a nocturnal
hooting contest. It's fascinating, superbly paced and impressive work,
well worth checking out.
--Dan Warburton, Paris Transatlantic, Nov. 2005,
FROM BETWEEN: Many
practitioners of lowercase Improv nowadays sound like they're going through
the motions. Saxophonists and trumpeters spit, dribble, gargle and drool,
guitarists and percussionists scratch their prostrate instruments as if they
were pimples, and laptoppers sit statue-like behind their luminescent Apples
fizzing like soluble aspirins. But albums like this show that lowercase definitely
need not mean 'lacking in intensity and commitment'.
--Dan Warburton, The Wire, Sept. 2004
--Sébastien Moig, Jazzosphere no. 19 (French publication)
PLACES TO GO: In the rarefied, underground world of experimental free improvisation,saxophonist Jack Wright is king. For over 20 years as a pioneer of extended techniques like overblowing, tongue clicks, multiphonics and microtones assembled in spontaneous compositions, Wright’s been an inspiration, mentor and musical partner to many players. Here, with silence as his only foil, Wright solos in various live settings, creating a technical primer that demonstrates ecstatic flights of musical imagination unfettered by euphony or meter.
Wright plays more wildly in Baltimore and more meditatively in Boston, but it sounds like he has the most fun recording in his own Boulder, Colorado, kitchen. Drawing on a vast vocabulary of hisses, clicks, pops, howls and siren blasts amid conventional tones, Wright blows complex, quickly flowing phrases that showcase not just creative virility but tremendous healing sanction-offering holy water from the horn of plenty.
With nimble fingers--and an embouchure to die for (lips and tongue becoming subtle acrobats challenging a high blown wire without a net)--Wright ties his axe in knots and unties it with the dexterity of a prestidigitator. His mysterious, un-sax-like tones may sound like something imagined by a science fiction writer creating a Martian culture, but one thing the sax does exceptionally well is imitate the human voice, and Wright furthers this tradition of soulful cries by blending his own guttural or shrieked voicings with those of his instrument. Despite its difficulties, Wright’s music remains human and exciting because it is clear and true.
--Jeff Bagato, the Washington Post, April 27 2001
|| THE DARKEST CORNER: Increasingly,
American improvisers have been looking as much toward European free improvisation
and electro-acoustic explorations as they have toward the Free Jazz tradition
for inspiration and opportunities for cross-fertilization. This recording
provides a look at how musicians operating on the fringes are synthesizing
this approach to create vital, expansive improvisation. The Darkest Corner,
the Most Conspicuous brings together two generations of improvisers.
Jack Wright and Bob Marsh are staunch individualists who have been practicing
their art for over four decades; Wright from his base in Colorado and Marsh
around Detroit. Bhob Rainey has been an integral figure in the Boston improv
scene, though he has also spent time recently in Chicago. Lonberg-Holm is
the fourth member here. The four have hooked up individually over the years,
and this recording was made during a tour they put together. The pairing of
two reeds and two cellos is a masterful combinations in the hands of these
improvisers. Each is concerned with the tones between the notes, the space
between the sounds, and the interaction of the two in an ensemble.
There is an intimacy in this music, but rather than being conversational improvisations, the four come together to make music that is intrinsically interwoven. Each of the players spin intricate lines, but it is how these lines come together that creates the whole. There is a delicacy as they move from a hushed whisper to heated intensity. Throughout, there is an openness to their playing as they all maintain a collective balance to their spontaneous abstractions. Wright brings a free Jazz sensibility to the music, his grittier tone providing an effective foil to Rainey's sliding tonalities and stuttering percussive flurries. The two cellists constantly shift from linear arco to scrabbled textures as the woodiness of the instruments' tone ping-pongs off the breathiness of the horn players. Ideas are collectively molded and through these compact collective structures, it becomes next to impossible to keep track of the individual voices. This release is an acknowledgment of how improvisation continues to grow in the hands of musicians working independently to foster collective, spontaneous interaction. Listeners should also be appreciative of labels like CIMP for fostering and documenting sessions like these and making this music available."
--Michael Rosenstein, from a review for Cadence Magazine, 2000
|| PERFORMANCE AT 1999 HIGH ZERO: Wright
was one of the jewels of the Festival, a player
with awesome technique and few evidently predisposed notions. Capable of
passion-filled bursts that abruptly end, followed by gruff honks, slap-tongue,
and a unique eclectic attack, Wright enthralled with his constantly surprising
turns. Dressed in lavender shorts, Wright purposely makes a comic appearance,
and when combined with his shtick (such as a soda can stuffed in the bell,
or chasing around on stage like one of the Marx Brothers), the results are
as visually appealing as the music is aurally attractive. In all, one of the
most successful events of the Fest. [This set included four percussionists]
[In another set] Wright is one of the most interesting and eclectic saxophonists on the scene. He plays sui generis, something that, when you consider the innovations on saxophone in recent years, is a remarkable feat. Wearing his characteristic purple shorts and mixed colored socks, Wright seems to blow without preconceived notions. He blows air, stuffs his horn with curiosities, launches enigmatic lines, and seems to create bursts of notes in reverse order. On soprano, his advanced techniques enthrall, as his mind works at super speed. Zornish at times, his squeaks and screeches are less random than coordinated, sporting little sounds, mouthpiece treasures, and spitting forth pings and pops: Donald Duck meets Evan Parker.
--Steven A. Loewy, Cadence Magazine, Nov. 1999
|| i can't
stand myself when i hear Jack Wright! the man is a secret master of the
universe. he waltzed into Baltimore last saturday, ate a quick meal of thai food
with me and played an impromtu set at the red room and basically performed
something like a lobotomy on me. everyone agreed. you just need to watch,
listen and smell the man for yaself.
--tom boram, Baltimore, May, 1999
|| His musical
language has the shape of a stream of consciousness in which the colours
are made by a big repertoire of "strange" sounds, growls, overtones, multiphonics
all played with strong feeling. He has very personal opinions about music
and keeps himself out of the musical establishment to look for a more human
and convivial relation with the listener
---Gianni Gebbia, Curva Minore, 1997
|| "The startling
quality of Jack's improvising is its 'concreteness,' by which I mean that
it seems not to refer to anything outside what he is doing the moment you
hear it. Looked at from a music theory standpoint you could break it down
into streams of extended techniques, 'non-metric rhythms' and often 'non-western
pitches', but it doesn't strike me in that way. The parts have a fluid unity
and elemental range that I don't associate with 'music' or the saxophone-perhaps
that's why I like it so much. The sound of a continually transforming timbre,
a densely packed phrase that holds together, points towards a macrocosmic
view, towards a choice of different listenings.
Jack's playing is replete with the feeling that it is spontaneously structured on many different levels at once, and that you can choose to listen to different energies that run through it. It is truly polyphonic music, played on traditionally monophonic and linear instruments. Jack Wright's playing involves a constant self-reflexive listening. He listens intently to the sounds that he produces, and reacts to them as if they were another player -- it gives Jack's playing an eerie feeling of time, as if each moment were supremely contingent on the last, each a turn from the last. This sits well with my feelings of nihilism: that we are reinventing the world in each interaction.
--John Berndt, Baltimore, 1993
improvisation had a unique logic: all followed strong linear rivers of consciousness,
in which ideas developed slowly and thoroughly, almost Beethovenly. Improvisors
know of the flickering of openings which tempt us away from that realm which
we have set out to explore. Wright managed to keep his concentration, I think,
by listening intently to himself: between phrases he would make tiny vocalized
responses: a laugh or a surprised or approving grunt. The audience too listened
closely and attentively. An entirely exceptional concert"
--Dan Plonsey at Berkeley Store Gallery, Dec. 13, 1992, in Freeway
and rampaging musical hullabaloo Get bored at a Jack Wright event? Impossible.
He not only hears but sees the trail the music will follow. His sax can
turn out express-train runs of short, rattled notes, then switch to slow,
weaving threads punctuated by heavy voiceless breaths or even squealed vocal
syllables. Virtually every time, the change in direction is exactly what
you wanted to hear without knowing it. I'm not enough of an analyst to know
how good he is technically, but Jack just might be the finest musical player
I've heard this side of Indian master Ali Akbar Khan.
I think most people find it hard to live with unpredictable music. I wish it was all like that-screaming messengers of Pan hurling themselves into the mists with engine full throttle and brake lines cut. Just listening-unquestioning, accepting, letting it fill me-I found that a curious thing happened. By my acceptance, I became the completing instrument, not only interpreting what I heard, but creating its final form. So even I, with my leaden fingers, was performing in a public place. That's a hell of a gift to receive, Jack. Come back soon."
--Derek Davis, Welcomat, Oct. 21 1992, Philadelphia
|| "For sheer
maximum sax bravado, no one matches the intensity of Jack Wright, including
Brotzmann or the Borbeto boys. Though his sometimes minimal approaches remind
me more of someone like Luc Houtkamp, Jack is a positive electric force that
just will not stop until the whole house is up on chairs dancing. You will
smell the sweat beading on his balding head. You will writhe in agoney and
delight. You will come away from the experience no better than before, but
what fun, huh?"
--Glen Thrasher, lowlife magazine, Atlanta 1991
|| PERFORMANCE with Andreas Stehle in Germany: "Musik die Bisweilen ins Animalische Geht" : We heard music that for long periods
left all known paths or, the other way around, in its strangeness and expressive
power made us aware of the narrowness of these paths. Maybe the term music
is already too narrow for these experiments of sound and rhythm spreading
out to real orgies of sounds. This music becomes ritualistic, sometimes it
sounds raw and sensual. The two saxophones [with altoist Andreas Stehle]
give real mating calls and knocking sounds, the musicians bend with their
instruments and stub out the sound on their knee like a smoked cigarette.
Then the sound rises such that you're in the midst of an insect swarm. From
there it moves of itself to the spherical; we hear lovely, for short moments
almost classical sounds. These sounds seem so free of all formal corseting
that involuntarily you perceive them as genuine expression of feeling. This
music paints wildly and abstractly with a thick and bold stroke, and if you
get to listen to it for a longer time it would positively be able to pole
your brain current in a different way.
Schwabische Zeitung, March 1986
|For more detailed information email Jack Wright|