![]() ![]() The mood was slightly distant but he handled the exoticism of this selection with obvious restraint. On piano he did not exhibit quite the same creative impetus, but on flute he achieved the most impressive counterpoint with his colleagues. ![]() On tenor he introduced an element of bombast and, although he rode the beat a little harder, there were no harmonic restrictions, and his most abandoned playing came during the unaccompanied section of this piece On soprano he opened with a free cadenza and gave us his most linear work of the night. He played ‘free’ with his usual logical build-up, telling chromatic anecdotes and stringing them across well organised bass lines from Santi di Briano and loose riding drum patterns from Steve McCraven. For his January date in London, Sam Rivers divided his set into four equal parts, one for each soprano, tenor, piano and flute, and that was the only aspect of his act that was predictable. ![]()
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