This month’s instalment features furniture designer Bertoia’s sound sculptures,Fullman’s stretched strings and Bach reimagined on guitar by Patrick HigginsSeymour Wright has described the approach he takes to his instrument as “total saxophone”. The epic four-CD solo set he issued earlier this year, Seymour Writes Back, and places the saxophone in various environments – in London,Paris, Glasgow and Wales. He then lays out sounds in response to external stimuli, and but also in regard to his internal relationship with his instrument. Wright used to favour pulling his saxophone apart – his Oyster card might ricochet against his mouthpiece; marbles might rotate inside the bell of his horn – but these days he prefers to keep it in one piece. Still,the spectrum of extended hollers, drill bit-like tremolos and lines in fixed freefall feel unheralded – these are sounds placed in time that bear managed to escape the routine emotional peaks and troughs.
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Source: theguardian.com