Tom Bergeron in many ways symbolizes the versatility required of a late-20th
Century saxophonist. Listeners who already have Bergeron's recent CD Saxophone
Alone know that he is a master of the Western classical music repertoire for the
saxophone, excelling at both modern pieces written for the sax and at earlier pieces
adapted for the instrument. In addition, Bergeron is a pioneer in exploring and
organizing saxophone multiphonics, the challenging technique of producing two or
more tones on the sax. But Tom Bergeron's expertise doesn't end there; he also has
extensive jazz experience and, as this CD attests, he is a highly talented improviser and
a fine composer.
This CD features Tom Bergeron on the soprano, alto and tenor saxes. Bergeron the
composer is represented by five pieces, along with three written by friends and one co-
composition. Because there is often a story behind Tom's song titles and because he
plays and solos on various saxophones, a brief rundown is in order:
Bergeron's compostition "Kudra's Dilemma" refers to a character in Tom Robbins'
novel Jitterbug Perfume. During the melody statement, Tom is heard on both the
soprano and alto saxes. His expressive and wailing solo is on soprano. "Triangle" is so
named because of the rhythmic relationships between and among the instrumental
parts. The guitar plays in a 9/4 meter, the saxophone melody in 9/8 and the acoustic
bass in Bergeron's words "mediates" between the two. Tom plays the melody on
soprano and alto saxes and solos on the soprano. Latarski's opening chords and solo
add a funky flavor to this piece. Israel Annoh's talking drum enriches the musical
texture.
"Ballade #5" is by Oregon pianist and composer Art Maddox. The piece's title is a
wry reference to the fact that composer Fryderyk Chopin wrote just four of his Ballades.
Tom's lyrical alto sax is featured on the piece. During the song's melody, notice
Bergeron's effortless forays above the horn's built-in range, into the so-called
"altissimo" register.
Tom's "Fillip for Phillip" is anchored by Moyer's electric bass. Through
overdubbing, Bergeron is heard playing three alto saxes on the melody statement.
During his powerful solo, Bergeron once again launches into the altissimo range and
during the final tag, he does some of this most angular playing. Bergeron's 12/8-tinged
Afro-Latin composition, "Leopard's Tale," finds Tom making his only appearance on
tenor sax during the melody. After Forrest Moyer's arco bass solo, Bergeron solos on
his main horn, the alto. Dave Storrs plays both his usual drum set and conga drums
here.
Bergeron's gentle "Light Dancer" has its roots in stargazing and the fact that one can
make up one's own constellations int he night sky. Bergeron is on alto sax here. "Free
Whirled" is an improvisation by the group. All the members of the quartet show great
sensitivity and rapport as they let the piece unfold.
The Latin "First Crystal" by Don Latarski features Bergeron on twin altos during the
melody statement. After Tom solo, Don has a fluent solo on acoustic guitar. The final
"Reaching Up" is composed by David Rimelis. After playing the tune on alto and
soprano saxes, Tom launches into his fluent solo on soprano sax. Bergeron's bending
of notes give his horn a haunting vocal quality.
I began with the observation that Tom Bergeron has the qualities required of
today's saxophonist. As Tom's CDs strongly establish, he also has what it takes to help
move the saxophone into the 21st Century. We can all enjoy making that journey with
him.
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Carl Woideck is the author of Charlie Parker: His Music and Life, and has written
liner notes for the Verve, Blue Note, Prestige, and Mosaic labels. He teaches jazz
history at the University of Oregon.