Saxophone Solo

Most rock & roll bands are a tightly wound unit that developed their music through years of playing in garages and clubs around their hometown. Steely Dan never subscribed to that aesthetic. As the vehicle for the songwriting of Walter Becker and Donald Fagen, Steely Dan defied all rock & roll conventions…

These little pieces for saxophone, largely unknown even to saxophonists since their composition in 1929, may be viewed in several ways. The composer, the mostly Leipzig-based Sigfrid Karg-Elert, termed them "in primary respects higher studies for the development of new paths in technique and expressive means" for the saxophone. But saxophonist Christian Peters argues for their wider expressive significance. He himself wrote the booklet notes, which include a good deal of interesting biographical information (he was born simply Sigfrid, or Siegfried, Karg, but was urged by teachers to append his mother's maiden name to his surname to deflect "Semitic suspicions").

Evan Parker - Chicago Solo (1997) {Okkadisk OD12017 rec 1995}
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© 1997 Okkadisk | OD12017
Jazz / Free Jazz / Free Improvisation / Saxophone

Recorded in a Chicago studio and feeling as if it were a live concert, despite his many solo saxophone recordings, the Chicago Solo by Evan Parker is very special. For one thing, this is a completely tenor saxophone set; the trademark soprano is nowhere in evidence. For another, Parker seems very interested in the extended tones of the horn rather than in the fiery creation of microtonal knots of sound. On "Chicago Solo 3," he pulls his tone right from the bell, rolling out notes along the physical properties of the horn itself, exploring each vibration and sub-tone as a color and of its own territory, worthy of exploration and he follows them into the bell and back.