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time_is_now
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« Reply #30 on: 19:20:14, 18-09-2008 » |
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Incidentally, and this probably isn't quite the right place for it, but that Braxton download from Tantris's blog is excellent and would I think be very much to martle's taste.
What did you make of the 'melody and accompaniment' bit, Richard?!
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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martle
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« Reply #31 on: 19:22:57, 18-09-2008 » |
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Yes, the more I contemplate my own project the more I'm beginning to realise the truth of that, RB. The big 'hits' in my research so far have tended to be examples of soprano sax playing which buck the smooth, French sound trend. I've done a fair bit of Braxton, and will be getting that CD you mention upthread. One thing that really got me thinking was a very fine and very weird rendition of 'My Favourite Things' by Coltrane: http://www.youtube.com/watch?v=I_n-gRS_wdIIt's that sound I'm interested in, plus the fantastic ornamentation. It makes me think of Julie Andrews dressed as a snake charmer. Just seen tinners' post. Yes, indeed.  |
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Green. Always green.
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richard barrett
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« Reply #32 on: 19:36:46, 18-09-2008 » |
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Incidentally, and this probably isn't quite the right place for it, but that Braxton download from Tantris's blog is excellent and would I think be very much to martle's taste.
What did you make of the 'melody and accompaniment' bit, Richard?!
Haven't had a chance to listen to it yet. Martle, if you're interesting yourself in Coltrane, you should also check out John Gilmore and Marshall Allen (tenor and alto respectively for Sun Ra), especially Gilmore, who I think would have been as big a name as Coltrane if he hadn't decided to do almost all his playing in the context of the Arkestra. |
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Ron Dough
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« Reply #33 on: 22:11:16, 18-09-2008 » |
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In a rather different direction, I've just found another sax concerto I'd forgotten - another written for John Harle, this time by Christopher Gunning in 1998.
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autoharp
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« Reply #34 on: 10:06:03, 19-09-2008 » |
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Another piece written for Harle was The green ray by Gavin Bryars.
It's interesting to compare one of Coltrane's versions of My favourite things (not the youtube version - I've checked) with Terry Riley's Poppy Nogood and the phantom band: one of the saxophone + tape-delay sections uses material which if not almost identical to the Coltrane, is at least demonstrably derived from it.
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thompson1780
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« Reply #35 on: 11:16:55, 19-09-2008 » |
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Does anyone count Milhaud's Creation du Monde as a sax concerto? It certainly has a prominent alto part.
(Brilliant piece, I think, from the two times I've heard it)
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Turfan Fragment
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« Reply #36 on: 14:19:20, 19-09-2008 » |
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Don't you just love Charlie Parker? If I had to write a sax concerto, I would begin by transcribing some of CP's solos.
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martle
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« Reply #37 on: 15:34:26, 19-09-2008 » |
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Don't you just love Charlie Parker? If I had to write a sax concerto, I would begin by transcribing some of CP's solos.
Already got the fake book, Turfs.  |
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Green. Always green.
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Turfan Fragment
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« Reply #38 on: 15:46:47, 19-09-2008 » |
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I didn't know there was one. Also, I thought a 'fake book' just had changes and not whole solos for the most part. But the only fakebook I have had any contact with was called "The Real Book"  Do you have a citation for your fakebook? Very interested to see it. |
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martle
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« Reply #39 on: 16:22:53, 19-09-2008 » |
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This is the one I have: http://www.di-arezzo.co.uk/detail_notice.php?no_article=AMSCO03088&aff=scores&prov=varIt's not comprehensive, but it is extremely accurate as regards the notation of CP's solos. I seem to remember a jazzhead friend of mine years ago having a far bulkier book o' solos, but darned if I can remember what it was. It's weird, if you study some of those solos carefully you start to believe he composed them beforehand, so consistent, logical and clear-headed is the creative craft.  |
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Green. Always green.
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Turfan Fragment
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« Reply #40 on: 16:49:30, 19-09-2008 » |
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It's weird, if you study some of those solos carefully you start to believe he composed them beforehand, so consistent, logical and clear-headed is the creative craft. No reason to believe he didn't, in some cases. Except for the writing them down part. He left that to the transcribers! thanks for the cite |
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Robert Dahm
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« Reply #41 on: 01:15:36, 20-09-2008 » |
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I had read that, for the earlier part of his career at least, there was great pressure from the record companies to play the solo that appeared on the record, because punters wanted to hear the piece they had grown to love on the wireless/turntable at home, not some gibberish string of notes that the performer made up as he went along.  |
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BobbyZ
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« Reply #42 on: 21:24:31, 20-09-2008 » |
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and were rather tangier we feel.
Ooh, we like the idea of North African sax sound (not a million miles from the way we are thinking about our own modest effort to come). I notice that on October 15th, as one of the English Chamber Orchestra series of concerts at Cadogan Hall, there will be a performance of Saxophone Concerto by Waleed Howrani. I'm making presumptions based on the name and the sponsorship by the Al Farabi Concerto Series but there could well be some North African kind of thing going down. Soloist Simon Haram. |
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Dreams, schemes and themes
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martle
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« Reply #43 on: 09:10:47, 21-09-2008 » |
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Thanks for that tip-off, BZ! Sadly I won't be able to get to that, but I'll do some background research...
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Green. Always green.
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