Search - Daniel Asia, Jean Odo Demars, Steven Galante :: An American Patchwork

Most Interesting CD in a long time.

Mark Huth | 05/01/2009

(5 out of 5 stars)

"Wow, this is a totally engrossing CD for anyone interested in modern classical music or the saxophone. I stumbled across this while trying to locate the source for another contemporary saxophone disc. It had the right number of tracks, so what the heck. Boy did I get lucky!



First, the performances are first rate, and I am going to proclaim that Michael Hester is the Paganini of the Saxophone. He does things with his instrument that I have never heard before, at least as an intentional part of the music. The wonderful portrait on the cover is very small, but a close look seems to reveal a slightly crazed, almost supernatural look in his eyes that furthers the Paganini metaphor for me.



Hester talks and growls through his instrument, produces long glissandi in the altissimo register, and in one piece produces the most incredible set of sax raspberries I've ever heard. All this is done with perfect control and intonation. The more normal things are done effortlessly, with a very nice tone and precise, fluid technique throughout the alto's extended range. The intonation is impeccable at all times.



If I insist on finding a possible flaw, it would come down to a personal tonal preference. I like a little rounder, warmer sound, especially in the lower register of the alto, and some of the short notes in the first track seem a bit forced, but I am truly unworthy to criticize Dr. Hester's performance.



Now for the music - this is possibly not for everyone, as I find the music extraordinarily innovative, hence the title of the review. But if contemporary and experimental music is not your thing, then you may not like this. But then I'm not fond of Mozart.



Steven Galante's Saxsounds III Diminishing Returns is for two altos and a delay line. Since there is no second sax credit on the album, I presume that Dr. Hester performs both parts. This piece starts with a simple rhythm on a major chord run through the delay line, and then progressively adds layers of additional sounds towards a cacophony in the central part which includes snake charms, delicate fast passages, human voice and throat sounds, and horrendously powerful squawks and squeals. It then decomposes back to the simple beginning, ending with a final throat clearing. Sounds awful, I know, but this is all performed very musically and under complete control. Fascinating.



The next five tracks are called The Alex Set by Daniel Asia - originally for solo oboe, but the alto sax seems equally as suitable. The first Alex was apparently written many years before the remainder of the piece. This is my least favorite part of the CD, but I don't care too much for music which resembles the serial/atonal music of the middle 20th century that has fortunately for me passed out of vogue in favor of music with a bit more harmonic organization. None the less, Hester's technique is masterfully demonstrated as he flits from register to register, seemingly at random.



Next comes DeMars Seventh Healing Song - this is for tape, flute and alto saxophone in this performance. I really like this piece. It combines the feeling of Native American flute and drums with the electronic sounds on the tape. Hester seems quite at home in this genre, as he has spent a good bit of time performing with Native American ensembles. This is a very moving piece, at once peaceful and energetic.



Kaufmann's Meditation is next. This is the only piece that I have heard on another CD so far, as it's on Kenneth Tse's Saxophone album. The performance here is close miked and extremely intimate compared to Tse's recording which has the ambiance of a large hall and a bit more forceful tone. I prefer this recording, as it feels as though we are allowed into a very special place with only the two performers, even though the recording is live.



Next up is Penn's Diversions for Alto Sax and Marimba. A very interesting combination, and both Hester and (I presume) Dodge on marimba get to demonstrate their chops in a meditative Interrupted Serenade followed by explosive technique in the Perpetual Motion ending.



Finally, another Galante piece - Shu Gath Manna for alto sax and DX7 synthesizer ends the disc. This is my favorite on the album, but it is indeed a close call.

The prologue introduces the rather pensive thematic material that will be further developed in the last two movements. The second movement is called silicon dance and feature a strange, at times combative, dance between Hester and the DX7. The third and fourth movements return to a pensive mood. Just let the Threnody wash over you to experience an aching sadness. By the time Regeneration begins you will be ready for a lighter conclusion. While much of the darkness of the Threnody is lifted in this movement, we never quite leave the pensive place from which this music originates. The last up tempo section seems to be Hester at his best. Rich use of the different flavors of the sax combined with effortless passage playing through all registers.



In case you haven't figured it out yet, I truly love this disc. I'm eagerly awaiting the arrival from Amazon of some other recordings by Michael Hester. The album could use some improved notes and credits - there is no credit for the flute in The Healing Song, for instance, and we are left to discover that the piece uses a tape background. I'd also like to know more about whether the sax is ever processed (other than by the delay line). I don't think so, but the sounds sometimes made me wonder."