Blaise Siwula

Human beings spend their lives trying not to be alone. Once they find company, they begin the elusive search to rediscover their initial solitude. In music, the solo recording reflects this contradictory quest. In many ways it is the most intriguing form, both for fan and artist, and once finally attempted, it is charged with a discernible aspiration to retrieve the ensemble format. First to come to mind on the first track of tenor saxophonist Blaise Siwula’s Live in London, “Stutter’s Waltz”, is Peter Brötzmann in the stammering orgies of deep tones and harmonics. Siwula invokes Albert Ayler on the second track, “On the Plains of Brooklyn”, with a simple, folk-like melody that slowly deconstructs into darker, earthier tones, closing, as Ayler often did, anthemically. “Transparent Dialogue” is a paradigm of what Siwula does all along: he attacks the problem inherent in a single-instrument excursus by engaging in dialogue with himself. Often, as suggested, this involves the play of lighter and darker, of higher and lower tones; but also, as in this tune, short staccato bursts contrasted with longer, legato lopes. Siwula is a master duettist and he has no trouble transposing this knack to a self-on-self context. Again, melody and barrages of sound walls stack up against one another swimmingly, as Siwula always hints at harmony even in his noisiest squawks and his tunefulness is ever tempered by a robust, muscular delivery.

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Human beings spend their lives trying not to be alone. Once they find company, they begin the elusive search to rediscover their initial solitude. In music, the solo recording reflects this contradictory quest. In many ways it is the most intriguing form, both for fan and artist, and once finally attempted, it is charged with a discernible aspiration to retrieve the ensemble format. First to come to mind on the first track of tenor saxophonist Blaise Siwula’s Live in London, “Stutter’s Waltz”, is Peter Brötzmann in the stammering orgies of deep tones and harmonics. Siwula invokes Albert Ayler on the second track, “On the Plains of Brooklyn”, with a simple, folk-like melody that slowly deconstructs into darker, earthier tones, closing, as Ayler often did, anthemically. “Transparent Dialogue” is a paradigm of what Siwula does all along: he attacks the problem inherent in a single-instrument excursus by engaging in dialogue with himself. Often, as suggested, this involves the play of lighter and darker, of higher and lower tones; but also, as in this tune, short staccato bursts contrasted with longer, legato lopes. Siwula is a master duettist and he has no trouble transposing this knack to a self-on-self context. Again, melody and barrages of sound walls stack up against one another swimmingly, as Siwula always hints at harmony even in his noisiest squawks and his tunefulness is ever tempered by a robust, muscular delivery.

Ken Waxman from his review on the Fulgornatus CD released on Konnex 2010 Employing a light vibrato and constricted tone, Siwula’s playing is memorable in that he gets his message across by implying rather than wallowing in emotion…. “Turned Time in Retrograde” for instance, finds Siwula’s saxophone honks and flattement accelerating to a staccato interface, with Gilbert’s dobro-like twangs first chasing then complementing the reed work. Warmer-toned on clarinet, the veteran player’s glissandi stretch upwards to a roughened lyricism that perfectly matches the guitarist’s slurred fingering and ringing strokes.

Wilbur MacKenzie, All About Jazz

Saxophonist Blaise Siwula has been a constant presence in the creative music scene in New York for decades. His ongoing Sunday concert series COMA (Citizen’s Ontological Music Agenda) at ABC No Rio has been a great spot to catch many of the city’s best improvisers over the years.

Recorded a decade ago in Tucson, Arizona, Live at The Matt Bevel Institute, Siwula’s duo with guitarist and composer Dom Minasi, is an electrifying experience, their two instruments blending exquisitely.

Siwula’s “Tendencies in Tandem” opens the album, a quick survey of dense sound clusters, austere unison phrases and quick melodic lines reminiscent of classic Ornette Coleman

Ken Weiss jazzimprov on Big Hearts cd Blaise Siwula and Katsyuki Itakura

Blaise Siwula ia a veteran of the downtown New York City avant garde scene, known for his mean alto saxophonebut also able to shine on clarinet and tenor which he demonstrates on this remarkable recording. He is a master of extended technique, utilizing all elements of his horns to probe harmonies and explore potentially rich areas while never neglecting the song’s imbedded melody

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