Sharing common ground in improvisational language and extended techniques but approaching these materials in diverse and disparate ways, alto saxophonists Tim O'Dwyer and Georg Wissel, both using preparations on their sax and distinguished in separate stereo channels, present a singular concert of reed interactions live at the Peter Kowald Ort in Wuppertal, Germany
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Label: Creative Sources
Catalog ID: cs311
Squidco Product Code: 28905
Packaging: Jewel Case
Recorded live at the Peter Kowald Ort in Wuppertal, Germany, on June 18th 2014.
This is a USED (previously owned) item
Georg Wissel-alto saxophone, preparations (left channel)
Tim O'Dwyer-alto saxophone, preparations (right channel)
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• Show Bio for Georg Wissel
"Georg Wissel *1964, Improviser, Composer, Sculptor of compressed air via (prepared) saxophones, clarinet and other soundsourcesWissel made his first important experiences in Improvised music recording and touring in the late 80ies in Germany, France and Southamerica as guest musician of 'Pöhlmusik' along with Jon Rose.Inspired by collaborations with electronic musicians, he began also (beside working on instrumental playing-technics) searching for new sounds by preparations,which by the time has become an integral part of his playing.
He is working internationally, performing solo under the title 'The Arte Of Navigation' and together with numerous exponents in Improvised music whilst he maintains long term collaborations with his duos along with Paul Lytton, Joker Nies and Tim O'Dwyer and ensembles like 'the WisselTangCamatta', 'Cajlan-Wissel-Nillesen', 'BlankDisk Trio' and 'Canaries on the Pole', Simon Rummel Ensemble, Wuppertaler Improvisations Orchester, La Grande Banda Metafisica... Wissel has been regular member of Frank Koellges' Adam Noidlt Missiles until his death in 2012.
Collaborations with ... Liz Allbee, Lawrence Casserley, Nicolas Collins, George Cremaschi, Gunda Gottschalk, Matthew Goodheart, Lou Grassi, Tomaz Grom, Carl Ludwig Hübsch, Erhart Hirt, Peter Jacquemyn, Miako Klein, Frank Köllges, Matthias Müller, Dan Peck, Tim Perkis, Melvyn Poore, Manja Ristic, Alan Silva, Lukatoyboy, Michael Vorfeld, GeSuk Yeo, LondonImprovisersOrchestra, Norbert Stein's Pata on the Cadillac ... Festival appearances at e.g. "Moers Festival"; "Schumannfest", Düsseldorf; "RingRing new music Festival", Belgrade; "Humanoise Congress", Wiesbaden; "Triennale", Köln; "Free Music Festival", Antwerp, "TransArt", Bolzano, "Jazz and More", Sibiu, "Irtijal", Beirut, "Audio Art", Krakow, "Relincha", Valdivia, Chile"-Georg Wissel Website (https://georgwissel.wordpress.com/bio/)
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1. Authentic City 9:43
2. Whistling Maid 4:18
3. Morse 7:33
4. Arthropod 6:25
5. Equinox 7:25
6. Wind Makes Weather 6:06
7. Old Believer 5:00
8. Howling Through Marram Grass 4:14
sample the album:
Previously played Squidco store copy, used for cataloging and samples, in excellent condition.
"Devising a concert for unaccompanied improvised saxophone is difficult enough; expanding the idea for two reeds presents even more challenges; and when both reeds involved are from the identical saxophone the potential for failure mixed with adventure puts the show in the category of climbing previously unexplored mountains. Yet within seven months of one another two German based duos created these live shows which provide some of the thrills and chills of an adventure in uncharted territory along with breath-taking satisfaction when they reach their goals. But like 19th century explorers who came up with conflicting paths to the Arctic, each CD is a triumph in a unique fashion.
Perhaps it's the results of the "preparations" on the other hand, but Wissel/O'Dwyer appear more preoccupied with saxophone property exploration. Each part of the instrument(s) gets its due with the metal body and keys as much a part of the show as air blown into the horn's body tube. Periodically as well the two are involved in musical ping-pong matches, lobbing similar notes, tonal, phrases and cries back and forth between them. A signal-processed fuelled arrangement as on "Old Believer" may winnow its way from broad tongue slaps to pinpointed whines, but it's still a 21st Century variant of traditional cutting contests of Jazz lore. Otherwise the experimental textures are most prominent, with sounds including those resembling percussive flatulence, wolf cries, dog whistles and sibilate hoots glazing the interaction on such tunes as "Morse", as door-stopper-like resonation from the processes add more percussiveness. Besides that passages are given over to reed snuffles and tongue fluttering, with both players miniaturizing their concepts enough to probe the innermost parts of their horns and the metal that surrounds them. Eventually after gurgles, silences and stratospheric tones have all been exhibited, the climax comes with the oddly named "Howling through Marram Grass", which contrarily doesn't howl but instead finds them discharging more common reed tones as they relax into an ending.
[...]"-Ken Waxman, JazzWord
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