专辑简介

Wolfgang Fuchs专辑介绍：by Thom JurekThese Bits & Pieces of Wolfgang Fuchs are merely that. The saxophonist and clarinetist has chosen to release parts and particles of his practice books for public consumption, in somewhat the same manner Steve Lacy has. There is one difference: Lacy warns you about it from the jump. These solo "studies on sopranino saxophone, bass, and double bass clarinet" are nothing more than investigations of tonality for Fuchs. They are not improvisations in the proper sense of the word, but instead are exercises that explore the colors, textures, and tonal realms of his instruments. Unlike the pioneering work done by Roscoe Mitchell and Anthony Braxton in this realm, these outings are anything but interesting. The reason is simple: Fuchs' approach is so tentative, as if he just bought these instruments, has brought them home, and is trying them out. Therefore, the first 43 minutes of this CD is a snooozefest. As for the two improvisations with Parker -- "Cat on a Hot Tin Roof" and "Earuption" -- they are interesting because of Parker's responses to imposed tonalities, such as those of the bass clarinet. His "sheets of notes" style is evident almost from the beginning, but what is so captivating is his manner of shifting around his tonality to try to come at this imposed harmonic monolith from as many angles as possible, rendering it just another part of the palette. "Earuption" is a bit different in that sounds coaxed out of the horns are speaking elements here rather than musical ones. Microtonally, the two saxophones speak back and forth as a babbling brook would to the rocks it encounters on its way, or as the inner ear reacts to stimuli from the outside-in vibrations. Finally, the two pieces with guitarist Jean-Marc Montera are more tonal and sonant studies in possibility. There are no forces to improvise against or with; these two musicians sit side by side or facing each other with no common language to speak from, and their entire 13 minutes together is a trying experience -- for the listener. It is impossible to recommend this title on the basis of the Parker duets alone; the rest is just filler and fodder for those who would -- in this case justifiably -- write off free improv as musical masturbation when there is so much more out there to learn from.