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Pink Noise Saxophone Quartet

NY City’s Pink Sound Saxophone Quartet is led by Australian tenor and soprano saxophonist Tim Otto, who in addition has performed with Misconception Research, Joe Gallant, as well as the Virgil Moorefield Outfit. Otto produced the quartet in 1994, applying the “Green Sound” name towards the group within a reference to both lush harmonies of mixed saxophones as well as the abrasiveness of low regularity static. Definately not abrasive, nevertheless, the PNSQ juxtaposes road marches, funk, freewheeling jazz, blues, and Middle Eastern music, executing parts with both single and collective improvising aswell as ambitious ensemble writing. The initial quartet included Peck Allmond — an alto and tenor saxophonist in the SAN FRANCISCO BAY AREA Bay region who in addition has used Don Cherry, Peter Apfelbaum as well as the Julius Hemphill Sextet — Nathan Salant, and Blaise Siwula furthermore to Otto. Through the past due ’90s, the quartet experienced several personnel changes, generally keeping Otto in the driver’s chair while evolving right into a device characterized by strenuous compositions and preparations furthermore to free-blowing improvisation. Additional members from the PNSQ also have included Andy Laster — of Hydra, Interpretations of Lessness, the Julius Hemphill Sextet, New and Used, Ballin’ The Jack port, and Erik Friedlander’s Topaz — on baritone saxophone, Canadian Michael Blake — of John Lurie’s Lounge Lizards, Groove Collective, and Kamikaze Floor Team — on tenor saxophone, and Briggan Krauss — of Babkas, Wayne Horvitz’s Pigpen, Great Kitty, Andrea Parkins’ Solid Iron Truth, and his personal latest trio with Horvitz and drummer Kenny Wollesen — on alto saxophone. The Red Sound Saxophone Quartet released its 1st Compact disc, The Jig Can be Up, for the 3rd party Red Tomato Music label in 1998. The Compact disc features Otto, Allmond, Laster, and either Blake or Krauss augmented from the rhythm portion of bassist Dom Richards and drummer Aaron Alexander within an enthusiastic live session documented on two times in the summertime of 1998 in the Knitting Factory’s Touch Pub in NYC. The high spirits and laughter from the documenting are apparent in the game titles from the eight Tim Otto compositions, such as “Move the Cous Cous,” “Seafood Eats Pet,” and “Love in Underpants.”

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