#saxophone quartet

[maisonnushi]

「Chocolate Addiction」制作中！［”Chocolate Addiction” in production!］

New mini album "Collection 28"coming soon...

[fish-want-women-me-fear-me]

There’s been no posts in the classical saxophone tag in like a year so I shall carve it out to be my home. It shall be my saxophone diary. I’m a slut for creston and glazunov and singelee and I’m going to make it the problem of anyone who decides to look this up.

Let’s start with Chansons D’Autre Fois

Japanese saxophonists have such a good ear for rep and the albums they make are so fun. This quartet has excellent sonority, usually going for a less homogenous but still well-blended group sound that adds enough of an edge to really punch out the big moments while making so much out of the soft bits.

Album pour Les Petits Amis is a super simple and charming opener and Far Away is simply beautiful, a perfect ending. Suite hellenique, by the only recently deceased and incredibly talented Pedro itteralde slaps so hard and folds jazz into the classical sound so elegantly, but the absolute highlight of the album is introductions et variations sur une ronde populaire. The variations are super thrilling and creative and the ending is so big and bombastic it makes my cheeks clap. Just slaps ass. French saxophone quartets just have the juice. I’m currently playing the bari part in my uni quartet and playing some of the runs makes me pre.

Y’all should give it a listen

[laurelfishbear]

When you are assessing a chestnut of classical music, naturally, you start with technique, and that's here in abundance. The tone sparkles, the articulation is light but lacerating. The tempos are ideal, the unison absolutely breathtaking.

The most extraordinary thing, for a Russian band, is the warmth and playfulness, but that's called for here. You'd have to go forward in time -- all the way to West Side Story -- to find a tragedy with such a sparkling score.

This is Russia's Misteria Saxophone Quartet with the Overture to Georges Bizet's tragic opera, Carmen.

[srijellyfishtempura]

I'm going to go on one of my semi-regular bouts of finding an obscure artist and getting REALLY into them because GUYS

The masato kumoi saxophone quartet!!!!!!

Maybe I just like the repertoire they play but their album Chanson d'autre fois is SO GOOD OMG. Suite hellenique goes SO hard and ryukuan fantasy is genuinely a masterpiece (THANK you yasuhide ito), then you have the three folksongs from toyama prefecture which are so joyful and great????

[musicollage]

Dexter Gordon – A Swingin' Affair. 1962 : Blue Note BLP 4133. 

! acquire the album ★ attach a coffee !

[jazzdailyblog]

David Murray: The Revolutionary Voice of Contemporary Jazz

Introduction: David Murray, a towering figure in the world of jazz, has redefined the boundaries of the genre with his innovative approach and virtuosic saxophone playing. With a career spanning over four decades, Murray has captivated audiences around the world with his unique blend of traditional jazz, avant-garde experimentation, and global influences. In this blog post, we will explore the…

[burlveneer-music]

Tiptons Sax Quartet & Correo Aereo - Mujer o Bruja

During the worldwide COVID-19 Pandemic, two powerful ensembles joined forces in Seattle Washington in late 2020 to research and create the history of the role of women in culture. Written and directed by Madeleine Sosin, MUJER O BRUJA? takes us on a journey inspired by partnership societies of the Paleolithic Era, revealing the advent of the Dominator Systems and organized religion, and looking towards a balanced future. The musicians in Correo Aereo duo and the all-women Tiptons Sax Quartet developed ideas and compositions with digital technologist Jing ‘Jude’ Dai for a full year during the pandemic. The group developed the piece in 2021 by video conference and met in Seattle In October 2021 for a 2-week creative residency. where they honed, rehearsed and premiered. MUJER O BRUJA’s world premiere was a co-production of Wayward Music and the Earshot Jazz Festival in Seattle on October 22/23, 2021 at the Chapel Performance Space in the Good Shepherd Center. The ensemble went on to record and mix the audio at Stone Gossard’s Studio LITHO in Seattle. Inspired by The Chalice & The Blade by Riane Eisler Conception & Direction: Madeleine Sosin Creative Technologist, Visual Concept & Curation, Digital Artist, Video Production: Jude Dai Visual Curation & Concept: Madeleine Sosin Produced by Amy Denio Co-Producers: Madeleine Sosin and Jessica Lurie MUSICIANS/COMPOSERS: Correo Aereo Duo: Abel Rocha: harp, guitar, percussion, voice / Madeleine Sosin: violin, percussion, voice + Tiptons Sax Quartet Amy Denio: alto sax, clarinet, accordion, guitar, voice / Jessica Lurie: soprano & alto sax, flute, auxiliary percussion, kazoo, voice / Sue Orfield: tenor sax, piano, percussion, voice / Tina Richerson: baritone & alto sax, percussion, voice / Elizabeth Pupo Walker: percussionist in absentia

[radiophd]

john coltrane quartet -- dear lord

[dustedmagazine]

James Brandon Lewis Quartet — MSM Live (Intakt)

MSM Molecular Systematic Music - Live by JAMES BRANDON LEWIS QUARTET with Aruan Ortiz, Brad Jones and Chad Taylor

James Brandon Lewis’ molecular systematic music is an unfolding phenomenon. It begins with the tenor saxophonist’s self-directed study of molecular biology, an investigation into the building blocks of life itself. That study has inspired an abstraction of structural concepts into a book of tunes, which he then hands over to his Quartet. 

Molecular systemic music doesn’t necessarily result in music that overtly follows double helix pathways, or manifests a Cecil Taylor-like cellular organization. Its processes are invisible to the casual listener, and it’s entirely possible to relate to molecular systemic music at the more widely accessible levels of melody, rhythm, energy and emotion. Lewis’ background includes lengthy stints playing church music; he knows all about fostering an affective connection with people who aren’t concerned his with technique and methodology. But the quartet does use this system to make music that maintains a high level of cohesion while providing room for its musicians to manifest their dialogic and improvisational skills that delivers the interactive charge that draws listeners to jazz. 

That charge pulses throughout MSM Live. Recorded after a COVID-imposed layoff in Zurich, Switzerland, it is the third album by Lewis, pianist Aruán Ortiz, bassist Brad Jones, and drummer Chad Taylor, following two studio recordings that were also released by Intakt Records (it seems that Lewis likes to find homes for certain of his projects, and then let them grow there). That means that the energy here is fueled by all the emotions stirred by an overdue reunion. Spread across two CDs, one gets to hear the musicians sparking ideas back and forth across chasms of open space in almost synaptic fashion. On “Cesaire,” a tune named for a Haitian poet, Ortiz and Taylor toss dizzying keyboard runs and correspondingly intricate percussion sequences in each other’s direction. The exchange is not so much a call and response as an overlapping conversation, enacted while Jones lucks pithy figures that seem to complete both their phrases. Lewis cuts through their turbulent stream of sound, channeling the density of sheets-of-sound era Coltrane. 

A listener hearing this group for the first time will pick up certain antecedents. There’s Coltrane, of course and a bit of the David S. Ware Quartet’s layered wall of sound. But the musicians’ individual characters soon come into play. Ortiz applies his conservatory-schooled facility with classical material to quicksilver dynamic shifts, and introduces judicious dashes of Cuban vernacular. Jones and Taylor have been part of his band, as well this quartet; as a unit, they toggle easily between dense, collective creation and conventionally supportive, figure-and-ground relationships, such as Jones’ fluent extended solo on the ballad, “Loverly.” They aren’t just running their own show behind the boss’s back, though. They’re closely attuned to the requirements of Lewis’s music, as evidenced by their playing on “Neosha,” where they realize an exquisitely braided framework the saxophonist’s bold, imploring melody, and the darting elaborations that follow.

Bill Meyer

[ondasyletras]

Portico Quartet - Offset (Official Video)

[maisonnushi]

↓

エレピとカホンを抜いてみました😃スタンダードなサクソフォン四重奏になります！

I removed the electric piano and cajon 😃It became a standard saxophone quartet!

[nonesuchrecords]

It was 35 years ago today: World Saxophone Quartet's Rhythm and Blues was released on Nonesuch. On the album, the group reimagines such R&B classics as “Let’s Get It On,” “Try a Little Tenderness,” and "(Sittin' on) The Dock of the Bay" through its own unique lens. “Few groups of any kind,” said the New York Times, “are so luxuriant and precise.” You can hear it here.

[andrewdmeyer]

Saxophone History Podcast Episodes 7-9 Paul Desmond

I’ve just released the third and final episode on Paul Desmond for the Saxophone history podcast and I think the three episodes are quite an interesting story. Just like with the other saxophonists I’ve looked at, Desmond had a much more colourful life than the few bits and anecdotes that we all know of. I hope you’ll give these episodes a listen and then I hope you’ll listen to some of his…

[dpwrites]

Good Thing Come in Threes

"Good Things Come in Threes." Recorded in 1999 by my quartet, Gift of Speech, featuring Mark Fransman on piano, Dave Ridgeway on bass, Vincent Pavitt on drums and P. du Preez on alto sax.

“Good Things Come in Threes.” Recorded in 1999 by my quartet, Gift of Speech, featuring Mark Fransman on piano, Dave Ridgeway on bass, Vincent Pavitt on drums and P. du Preez on alto sax.

[musicollage]

Espen Eriksen Trio — In the Mountains. 2022 : Rune Grammofon.

[ support the artist ★ buy me a coffee ]

[differenthead]

Volume 276

0:00:00 — "Get It On" by The Woodentops (1986)

0:03:20 — DJ

0:06:53 — "Trust Me / Dance with Me Now" by Phoebe Legere (1985)

0:15:05 — "Not Like the Others" by Sandy Stewart (1984)

0:19:32 — "Temporary Obsession" by Tuesday Knight (1987)

0:23:28 — "Out of Control" by Tuesday Knight (1987)

0:28:15 — DJ

0:33:38 — "Where Did We Go Wrong" by The Pool (1984)

0:37:24 — "Bisa Blues" by The Pool (1984)

0:43:05 — "Brujo" by Mic Holwin (1986)

0:46:13 — "Unbound" by Mic Holwin (1986)

0:52:08 — DJ

0:55:54 — "You've Changed" by Maria Muldaur (1986)

1:00:40 — "St. Croix" by Scott Cossu (1984)

1:05:29 — "Poetry and Passion" by Lucia Hwong (1987)

1:10:15 — "Singe" (Edit) by Windmill Saxophone Quartet (1988)

1:11:57 — DJ

1:17:01 — "From the Roots" by African Image (1984)

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