Customer Reviews

Pink Slimy Worm

5 star:		(2)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

"Your solo CD is pensive, clear, and directed towards a larger horizon. It sounds like a melody line for a big band with muscular rhythm abundant throughout. There is a disciplined freedom that avoids chaos and disorder and stimulates the listener into a creative partnership. I really enjoy the CD. You manage to share a wider aspect of your immense talent with this offering."
--pianist Bertha Hope

"I listened to Pink Slimy Worm on the way home last night--it is great! You rock! And I laughed out loud at the redheaded kid story--that was so hilarious and so perfect! Perfectly written, and perfect delivery. Gonna give Pink Slimy to my husband to listen to now."
--Erin Hill, Gridley Records

"I listenend to your CD last night. . .it was fantastic! Very coherent and thoughtful. It reminded me of Charlie Haden--who is one of my favorites. I'm thinking of the way his solo work--and yours--is so tonal and melodic and very grounded and compelling. No wasted notes--every note is thought through and careful."
--pianist Mikael Elsila

"Your playing is great, and the compositions are intriguing and very enjoyable. I'm also very impressed by an entire CD of solo horn playing. Only someone whose musical resources flow as deep as yours could carry that off!"
--trombonist Erick Storckman

"Your sax playing is one of the wonders of the world. I'm so glad you captured it on disc--pure, without interference of any kind, just barenaked sax playing. And your compositions are daring. It's full of soul."
--clarinetist Margot Leverett

"Beautiful. And a serious lesson for anyone who plays the saxophone."
--bassist Tim Metz

"Your CD is great! It reminds me of why I like your playing. The tunes are really creative as is your playing. Your use of cool melodies, interesting intervals, tonalities, harmonics.....very creative!!!"
--saxophonist Mark Friedman

"Beautiful tone, really unparalleled, only approached by very very few -- like Weidoff, Getz, Desmond. A clear center, full metallic roundness (bell like ringing), resonance, clarity and strength.Seldom used and mastered by others, the low register is used beautifully and also the extreme high register. The tone is consistent throughout, and you could have the best low register in saxophone. Lovely compositions with feeling, line and intellectual structure. Always interesting. I love the "Water Wheel" A beautifully consistent CD, one can play it when in the appropriate mood and not be jarred into different emotions. A peaceful, sometimes meditative experience."
-pianist/composer Derwyn Holder

"Your worm is beyond words--I am stunned."
--saxophonist, woodwind artist and author Tim Price

"I've always felt doing a completely solo album was venturing into dangerous territory and not for the faint of heart. I must admit that I was questioning your sanity! Well, I guess you showed me. This is wonderful . . . I want to thank you for your creation. It is a sonic treat. "
--saxophonist Sal Spicola

First and most important, this is a wonderful saxophonist, with extraordinary command of her instrument and a range of tonal qualities covering everything from Sigurd Rascher to Earl Bostic and lots in between. Her improvisations (whether one calls them "jazz" or not is unimportant) tend to the slow and meditative, but there's no doubt she could play anything she chose to, in any mood and at any tempo. The prospective buyer should be aware that this is unaccompanied solo sax (mostly alto, with a few soprano tracks). For this listener, that's a problem that isn't overcome. Sonny Rollins is famous for his solo cadences at concerts (there are a few on record), but when he tried to play an entire concert/album this way, it was generally felt that he had attempted the impossible and failed--I know I felt that way, and I love his playing. If one of the greatest improvisers in the history of jazz couldn't pull it off, well, draw your own conclusions. Similarly, the only classical pieces for unaccompanied wind instrument I can think of that I actually enjoy listening to are knock-em-dead virtuoso showpieces, and few of those. It just isn't a sufficiently complex sound environment; the whole element of responding to what others are doing is missing.

I am, of course, criticizing Sue Terry for having recorded a different sort of CD from the kind she wanted to and did record, but I hope I've made my own views clear enough that they can be discarded by anyone who thinks this sort of criticism is unfair or irrelevant. This CD will be a joy to anyone who admires saxophone mastery--or artistic bravery! Others may also enjoy it-I have,in some places-but should know what they're letting themselves in for. I'm looking forward to anything Sue Terry records with at least one other.