and Howard Johnson began to growl and bellow loudly that significant soloing on the baritone horn came to be featured at length. Bluiett also developed a significant catalogue with the World Saxophone Quartet
, Rosenberg's name may not be as well-known as it should be. Now, with Baritonality, he has made a generous contribution to the musical literature of the baritone. The record seems to say that Roger Rosenberg has arrived, with pomp and circumstance. His tone is commanding, but there are times when he can bring a huge velvet breath to the tone of his phrases and lines. This is almost like what Ben Webster
did with his big voice, marked with warm gushes of breath at the end of his musical lines.
There is the other matter of the challenging gravity and linearity of the baritone saxophone. Still, Rosenberg often employs rapid glissandos and an ever-so-gentle vibrato, as he dances and sings his way through the records' striking repertoire. His waltz, "Three for B," and "Someone to Watch over Me"a wonderful solo baritone excursionboth feature some of his most memorable playing on this deeply masculine horn. On "43rd St. Mama," Rosenberg shifts the focus of his breath slightly, so as to play in short, snorting lines, exploring the very bottom register of the baritone. This is an oblique tribute to the bluesy preaching of Ornette Coleman
he exchanges the baritone for the bass clarinet, while on "Paradox," he takes up the soprano saxophone for an elastic journey. Back on baritone, Rosenberg blows his way with beauty and sensitivity through "Spring Can Really Hang You Up The Most." Guitarist Peter Bernstein
's "Someone To Watch Over Me," a tender solo plea from the gravity of the baritone. And "Birds and Tranes" is absolutely breathtaking; an apt closing and showcase for Rosenberg, together with pianist Mark Soskin