An extremely intimate album of solo saxophone improvisation from Chicago tenor saxophonist, improviser, and composer Gerrit Hatcher, known for his work with Mars Williams, Julian Kirshner, &c., in his second solo album, playing music that can be embraced and understood, sharing his vulnerabilities and conviction alongside his strength on the horn.
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Label: Astral Spirits
Catalog ID: AS083
Squidco Product Code: 26772
Recorded at Music Garage Chicago, in Chicago, Illinois, on February 19th and 20th, 2018, by Bill Harris.
Gerrit Hatcher-tenor saxophone
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• Show Bio for Gerrit Hatcher
"Gerrit Hatcher is a Chicago-based tenor saxophonist, improviser, and composer. Born in Boston and raised in Normal, Illinois, Hatcher grew up studying trombone, and switched to tenor saxophone at 20 while attending the University of Illinois. Hatcher graduated from UIUC in 2013 and received a Masters in Arts and Politics at Sciences Po the following year. He moved to Chicago in 2015, and, inspired by Chicago's rich improvising music scene, soon began to make music with Chicago musicians, forging new improvising collaborations, and leading ensembles of his own.
Hatcher's own work typically engages with free jazz both as a set of experimental practices, and as an idiom with a history unto itself. He also participates across the diverse spectrum of experimental and improvised music being made in Chicago today. Gerrit has many active projects including his duo with Anton Hatwich, as well as a duo with Julian Kirshner, a solo saxophone practice, the improvising trio Devouring the Guilt with Eli Namay and Bill Harris, a trio with Mars Williams and Lia Kohl, and his organ quartet Refunction."-Experimental Sound Studio (https://ess.org/esscalendar/2018/3/15/option-gerrit-hatcher-and-anton-hatwich)
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1. Fanfare For The Bankrupt 7:58
2. The Offer 7:17
3. Processional 3:27
1. A Dream From Sleep During Sunrise 4:18
2. The Measures 8:49
3. Learn Alternatives To Mercy 4:41
sample the album:
"Parables for the Tenor is my second solo saxophone album, and, though it was recorded in the studio, largely the product of having played a series of live solo shows over the past year. It is a record of my encounter with solo saxophone performance as a format that can be both charismatic and alienating in the extreme to the listener, and which can feel to the player like pure instinctual creativity, treading water, or performing a series of emotional gestures as rote instrumental tricks, depending on the moment.
Any given idea that I run through my instrument here comes from that unaccountable well of personal aesthetics, influences, and beliefs that is usually best left unobstructed by precise naming, but I will say that to make art for liberation, which can be grasped as such, I believe I must include frailty (not just softness), senselessness, and even bluster alongside conviction and strength. Counting on the inevitability of both association and estrangement with my solo playing has become central to the organization of my ideas in this format.
I play pieces that are meant to be followed and understood by the listener, in terms of both tone and form. I do not intend, however, to make music for the establishment of mood, or music to envelope the listener. Bill Harris helped me produce a record with a saxophone sound that is dry and close, intimate in the trickier sense, hopefully as if you were sitting next to me, with little to soften the silence when I run out of air or momentum."-Astral Spirits
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