A member of several important modern music ensembles, from Steve Reich's in the late '60s to Philip Glass's up to the present day, saxophonist John Gibson uses this solo album to repay the composers he has had a chance to work with, as well as play a few of his own compositions. Reich's "Reed Phase" is a variation on his "Violin Phase" wherein Gibson plays a repetitive phrase over and over against a taped recording of the same, gradually going out of phase with the tape. Philip Glass's "Bed" and John Adams's "Pat's Aria" are transcriptions for saxophone from their respective operas. "Terry's G Dorian Blues," by Terry Jennings, is exactly what it says, with Gibson and LaMonte Young trading licks in an awkward 12-bar blues. Gibson's own compositions range from the Reich-influenced "Song 3," which demonstrates Gibson's circular breathing technique, to the exotic atmosphere (bird sounds and all) of "Extensions II."
In Good Company Review
by Ted Mills