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Swedish, Stockholm-based free improviser, saxophonist Per Gardin continues to expand his solo art on this, his sophomore album which follows In Situ (released on his own label, Ibn Musik, 2010). This album is a set of improvisations for solo saxophone Gärdin's musical resume includes collaborations with other prominent Swedish improvisers such as the pianist Lisa Ullén, and guitarist David Stackenäs, and also a recent tour with the Portuguese RED Trio.
loos is a set of 15 solo improvisations for soprano and alto saxophones. It is a methodical study of the sonic spectrum of these instruments with a conscious effort to present a personal language and sound, incorporating the innovative developments of sax players such as Evan Parker and Steve Lacy but not shadowed by their unique language. Gärdin has an impressive control on both instruments and his playing is associative and free flowing. He moves between the intense and urgent mode as on "Nan II" to the exploratory on "Skox (for s.l.)" (referencing Polish science fiction writer Stanislaw Lem as well as Lacy) to the fragile and contemplative series of the seven short "K" improvisations, with a subtle use of overtones, and the strict minimalism of "Re: call II."
The two longest improvisations, "Nan III" and "Dr Trana" feature Gärdin using extended breathing techniques in order to weave a dense mosaic of sounds, changing tempos, and feelings in an arresting manner, tough the demanding spirit of the entire album.
Track Listing: Re: call I; Nan I; Nan II; Skox (for s.l.); K II a; K VI; K V; K VII; K
VIII; K IX; K III b; Nan III; Re: call II; Dr Trana; Ibn.
Personnel: Per Gärdin: soprano saxophone, alto saxophone.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...