Saxophone
Instrument
Recordings featuring the saxophone across its family, from soprano to baritone, in jazz and concert repertoire alike.
206 products
-
-
-
Music for Saxophone Quartet – EWAZEN, E. / MORRILL, D. / SAMPSON, D. / SAUTER, E. / TANENBAUM, E.
Naxos · Jul 2011CD$19.99 -
Venice of the North Concerti – Violin Concerto, "Lines in Motion" / Saxophone Concerto / Ania's Song
Naxos · Aug 2011CD$19.99 -
-
-
-
-
-
-
Nobuya Sugawa Plays Yoshimatsu, Honda, Ibert, Larsson / Sado, Bbc Po, Et Al
Chandos · May 2008CD$21.99
Traces of Light
In Motion (SACD)
Strange Exclaiming Music / Teeth of the Sea / Rough Winds Do Shake the Darling Buds / I Have Only One Itching Desire / Market Forces
Adrian Jones: Nybyggnan
Himself a viola player, Adrian Jones constructed his six-part concerto Nybyggnan, a folk music saxophone concerto in chamber music format, using a set of newly written tunes in a folk idiom imbued with elements from jazz, heavy rock and classical music. Written for chamber forces it also forges a bridge between the folk and chamber music scenes. Nybyggnan was composed for Daniel Reid, a saxophonist and something of a pioneer in Swedish folk music. Also heard are Mr. Reid’s own Rings on Water as well as Adrian Jones arrangement of the traditional Tingsmarschen (‘The District Court March’).
Lovesome Thing
This is the extraordinary recording debut of jazz phenomenon Anaïs Reno, who made it in 2020 at the age of 16. Reno has already won accolades for her dedication to the Great American Songbook. She recently received the Julie Wilson Award, and in 2019 won the Mabel Mercer Foundation competition for high school students. For this album she has chosen 12 tunes by two master writers: Duke Ellington (1899-1974) and Billy Strayhorn 1915-67), creators of some of the most challenging and sophisticated material in the Great American Songbook. Reno combines beloved hits such as "Mood Indigo," "Take the 'A' Train," "Lush Life" and "Caravan" with lesser-known but equally memorable tunes like "A Flower Is a Lovesome Thing" and "It's Kind of Lonesome Out Tonight," all backed by a stellar group of jazz musicians led by pianist Emmet Cohen, who also did the arrangements with Reno. "I have a very personal relationship with these songs," says Reno. "Somehow I believe that the music of Ellington & Strayhorn understands me. This is why I want to honor it." Acclaimed jazz historian Will Friedwald, who has written the liner notes for the 12-page booklet, comments that "At 16, Anaïs achieved what precious few adults ever accomplish: namely, to actually enhance our appreciation and enjoyment of the Ellington-Strayhorn canon. Whether working together or separately, the two of them were always on the same page, both metaphorically and literally. And now, so is Anaïs Reno."
Reflections of France
Nobuya Sugawa Plays Yoshimatsu, Honda, Ibert, Larsson / Sado, Bbc Po, Et Al
The present release is very nicely programmed, starting with two premiere recordings of works written for him by fellow countrymen, and concluding with two repertoire pieces with strong links.
The two familiar works were written within a year of each other and both come from that heady 1930s period of Stravinskian neo-classicism. Both were commissioned by Sigurd Rascher and both featured in the repertory of the influential French teacher and pioneer Marcel Mule. There are textural and rhythmic similarities but both have their own stamp of individuality. The Ibert is actually for soprano sax and 11 instruments, giving it a transparent, occasionally jazz-like feel. It’s a short, engagingly colourful work typical of its composer, and it’s no surprise that it crops up many times in competitions and student practical exams. The dreamy central larghetto is memorable, especially given Sugawa’s honeyed tone and supple phrasing.
The Larsson Concerto has a bit more backbone and sinew, though still only accompanied by string orchestra. The spirit of France hovers again here, with a Poulenc-like first subject and a motoric allegro scherzando finale that is thrillingly played by all here. It’s a slightly more serious work, but still full of life, vigour and contrast.
The two other concertos maybe of more interest to the curious and both explore the familiar traits of the instrument as well as taking it to further boundaries. In the booklet note written by the respective composers, fellow-saxophonist Honda writes that he was ‘entrusted with the task of writing a concerto that would represent a tribute to jazz…’vent’ is the French word for wind, so please think of the Concerto du vent as a Concerto of the wind’. It does have a pleasingly ‘open air’ quality to the melodic line, with Sugawa given plenty of opportunity to play ‘around’ the phrase – not strictly improvising but using portamento and blue note phrases to embellish the chords in a jazzy fashion. It works quite well, linking nicely with the older pieces, and is again given stunning advocacy, but I’m not quite sure Honda knows what sort of piece this is, so maybe we don’t. It’s certainly undemanding listening and doesn’t particularly outstay its welcome.
Sugawa has collaborated with Yoshimatsu before on the 1994 Cyber Bird Concerto, and Chandos continue their championing of this composer with this latest premiere. Using once again soprano sax, this strikes me as an eclectic work, having a moody, post-Takemitsu Impressionistic first movement - which clearly suits this instrument’s timbral character - some wilder, Berio-like improvisatory shrieks around 3:45 and 7:50 into track 2 before going off into some fairly predictable blues/ jazz doodlings around 6:05 –a homage to Brubeck’s ‘Take Five’? – before dissolving into Garbarek territory towards the end. Again, it cleverly explores the instrument’s unique and versatile sonorities without being especially memorable or groundbreaking; in fact, at times we seem to be in a world of background mood music, but it is superbly performed and recorded.
Altogether, an interesting survey that will be welcomed by those with a liking for this sort of repertoire.
-- Tony Haywood, MusicWeb International
Legends of Gypsy Music from Macedonia
Out of This World / Barnfield, Wallace-Boaz
Selmer Paris endorsed artist Cory Barnfield enjoys a busy and successful career. His playing has been described as: “having a warm and expressive sound that speaks melodies easily with complete control of the full range of his instrument. There is a unique intimacy to his playing that is a delight to the listener. His fingers are precise, and rapidly allowing the music to flow unimpeded to the listener’s imagination no matter how difficult or easy. His articulation on saxophone is superb.” (Saxophone Journal) He frequently performs with the Kentucky Opera and the Louisville Symphony Orchestra, and his recordings can be heard on multiple labels. He is a champion of new music and has commissioned several pieces from composers. One such work is included on this album: Peter Felice’s “Shadows of Paris.”
Penderecki: Concertos / Tworek, Polish Sinfonia Iuventus Orchestra
Born in Debica on November 23, 1933, Krzysztof Penderecki studied composition with Artur Malawski and Stanislaw Wiechowicz at the State Higher School of Music in Krakow (1954-58). In 1959 three of his works won him the top prizes at the Young Composers’ Competition of the Polish Composers’ Union. A year later, he captured the attention of Western critics with Anaklasis, performed at the Donaueschingen Festival. Penderecki’s international position was consolidated in the 1960s thanks to such pieces as Threnody for the Victims of Hiroshima, the St. Luke Passion, and Dies irae. This release in the Polish Sinfonia luventus Orchestra’s Penderecki series features his Concerto per viola ed orchestra (version for saxophone, 2015), and his Concerto per violin ed orchestra no. 2 Metamorphosen (1995).