Project 2018: February Review
I have just returned from space camp. #nasa2018 . The North American Saxophone Alliance’s Biennial Conference. This is a time and place where saxophonist from all over the world gather to nerd out over all things saxophone. There are concerts, recitals, debuts, lectures, networking opportunities, and of course – gear. Oh, the gear! Horns, and mouthpieces, and cases, and…just wow. This year it was held on the beautiful campus of the Cincinnati College-Conservatory of Music, which was a treat in itself aside from the frigid temperatures from the recent cold snap.
It was serendipitous that February’s album review was over Ben Wendel’s “The Seasons”.
I listened throughout the month and it got me in the right frame of mind for the experience.
This selection was made by my friend Bob Fuson, a saxophonist who performed and lectured at the conference. The Seasons is the only album on our list to not yet manifest itself in a physical copy because the artist chose to publish these works one at a time by medium of video. They are easily accessible on the link above or on YouTube.
Of course, Ben Wendel is not on to anything new here. Other composers like Vivaldi and Tchaikovsky have also tackled “The Seasons”. But here the approach is different. Wendel presents for us twelve chamber duos, one per month, featuring himself paired with an artist he admires. The duos range from multiple saxophones in unison to bassoon and bass. Some mimic a jazz standard, others a classical sonata, and still others a complicated etude. The videos present each piece in a stark audience-free performance in a unique venue. The whole aesthetic from dress, to locale, to font is very modern and pleasing.
Rather than break the whole thing down one piece at a time I just want to give an overview and some highlights. First of all, this work is called “The Seasons” and I believe it should be consumed as such. One, two, but no more than three at a time. A suite that you have to sort of compile yourself. It’s not easy listening in some places, although there are palate cleansers throughout.
The first three for me just screamed “New York”, Ben Wendel’s current home. The songs are busy, but not offensive. February had me in awe with Wendel trying to keep up with Joshua Redman on his own tune! March featured a switch to bassoon in a highly thematic piece.
Other highlights for me included the duo with vocalist Luciana Souza, and the groove set up by pedal delay with guitarist Gilad Hekselman. The lows for me were August, a tedious etude-like performance with fellow saxophonist Mark Turner, and December a duo with trumpeter Ambrose Akinmusire. But August is like that. It’s hot. It’s a time to set things in order. Get ready to go back to school. Focus. December was reflective, almost mournful, as it was for me this year as well. At more than nine minutes it was the longest piece. After Christmas is gone and we are waiting for the New Year doesn’t it seem like December hangs on a bit too long?
One thing I learned about myself during this listening was that I have a hard time telling what is theme and what is improvisation in this setting. It’s not an easily identifiable “two verses, a chorus, then alternate solos” like we often see. That was a stretch for me. Something I can work on in the future.
The end of February brought the release of Vance Joy’s sophomore album “Nation of Two”, so that is what I will be reviewing in March. I purchased a physical copy and listened on the long drive to Cincinnati. Join me?
Gary Baker 