NICOLE JOHÄNNTGEN - Solo
Selmabird Records
Nicole Johänntgen (alto & soprano saxophone)
Recorded 1st March, 2019
After receiving Lumens for review featuring Nicole with guitarist Jack DeSalvo (also reviewed this month) I was fortunate to have a copy of Solo also land on my doorstep. As solo saxophone albums go this is a wonderful listen from start to finish. Strong melodies and inventive improvising with the saxophonist having a seemingly limitless imagination and flow of ideas.
Recorded in Zurich's Andreaskirche, which has a natural reverb of five seconds, Nicole introduces a new dynamic to her music as she plays the space within the church. Fully aware of the potential of her surroundings she playfully explores the space, bouncing her ideas off a simply repeated melody, varying the attack and weight of her notes and responding to the reply from the building on 'Lebenlust'. Taking her soprano out of the case for 'Stille Egwigkeit' (which translates as 'silent eternity') Nicole treats us to a delightfully melodic piece of music played with a beautifully full and rounded tone that is totally in touch with its surroundings.
As good as these pieces are, as with Lumens it is the two longest tracks that that say the most about the saxophonist. Both played on alto saxophone, 'Sternenhimmel' and ' Nebelkleid' are stunning examples of invention, discipline and the ability to tell a story. Allowing herself to take her time with her improvisations, and not be afraid to pursue the ideas at their own pace as they progress, she spins out solos of rare beauty.
Using existing melodies within her solo playing, some of which return or discarded as the improvisation develops, Nicole lets the lyrical invention flow with each idea considered carefully before moving on. She plays with a light and gentle tone that sings effortlessly throughout the entire range of the horn. With very little recourse to extremes of register or pitch, even the occasional use of multiphonics is kept to a quiet volume, melody is the key to the success of each piece performed.
Quite simply this is an exceptional album, and for those that have hither to found the solo saxophone recordings a daunting prospect then this is perhaps an ideal place to start.
Reviewed by Nick Lea
Selmabird Records
Nicole Johänntgen (alto & soprano saxophone)
Recorded 1st March, 2019
After receiving Lumens for review featuring Nicole with guitarist Jack DeSalvo (also reviewed this month) I was fortunate to have a copy of Solo also land on my doorstep. As solo saxophone albums go this is a wonderful listen from start to finish. Strong melodies and inventive improvising with the saxophonist having a seemingly limitless imagination and flow of ideas.
Recorded in Zurich's Andreaskirche, which has a natural reverb of five seconds, Nicole introduces a new dynamic to her music as she plays the space within the church. Fully aware of the potential of her surroundings she playfully explores the space, bouncing her ideas off a simply repeated melody, varying the attack and weight of her notes and responding to the reply from the building on 'Lebenlust'. Taking her soprano out of the case for 'Stille Egwigkeit' (which translates as 'silent eternity') Nicole treats us to a delightfully melodic piece of music played with a beautifully full and rounded tone that is totally in touch with its surroundings.
As good as these pieces are, as with Lumens it is the two longest tracks that that say the most about the saxophonist. Both played on alto saxophone, 'Sternenhimmel' and ' Nebelkleid' are stunning examples of invention, discipline and the ability to tell a story. Allowing herself to take her time with her improvisations, and not be afraid to pursue the ideas at their own pace as they progress, she spins out solos of rare beauty.
Using existing melodies within her solo playing, some of which return or discarded as the improvisation develops, Nicole lets the lyrical invention flow with each idea considered carefully before moving on. She plays with a light and gentle tone that sings effortlessly throughout the entire range of the horn. With very little recourse to extremes of register or pitch, even the occasional use of multiphonics is kept to a quiet volume, melody is the key to the success of each piece performed.
Quite simply this is an exceptional album, and for those that have hither to found the solo saxophone recordings a daunting prospect then this is perhaps an ideal place to start.
Reviewed by Nick Lea
