Light and Shadows, Waves and Time Gregory Wanamaker

• 1Des ondes et les temps05:57
• 2...Unsettled, Unphased...09:45
• 3Elegy03:58
• 4Ragahoro Breakdown08:21
• 5Of Light and Shadows: I. Luminant Shadows13:23
• 6Of Light and Shadows: II. Flickering Beams, Perpetual Wind06:40
• 7Out of Mind, into Body12:37
• 8Counterpunch01:48
• 9Des ondes et les temps (Remix)06:57
• Total Runtime01:09:26

Info for Light and Shadows, Waves and Time

An exploration of the unique timbral characteristics and technical extensions of wind instruments, Gregory Wanamaker’s LIGHT AND SHADOWS, WAVES AND TIME is comprised of eight compositions that collectively illustrate the composer’s ability to integrate various genre influences into a distinctive whole. His music has been lauded as “pure gold, shot through with tenderness and grace” by the San Francisco Chronicle and “achingly beautiful” by the Palm Beach Daily News.

The album’s first track, “des ondes et les temps,” which translates to “of waves and time,” explores the saxophone’s full range of possibilities. A solo piece performed by Casey Grev, “des ondes et les temps” waxes and wanes and rises and falls, and refers back to the composer’s 1988 work “Two Movements for Solo Flute,” providing what is essentially a more mature third movement of that piece.

Wanamaker expands to a quartet setting for “…unsettled, unphased…,” whose rhythmic roots can be found in genres ranging from Eastern European folk and dance music to jazz and progressive rock. Its animated propulsive motion is halted mid-stream by a vigorous interlude, before reaching a dynamic conclusion. The somber, poignant “Elegy,” written for and performed by the Akropolis Reed Quintet, was originally composed in memory of those who died in the September 11 attacks, while the virtuosic musical fantasy, “Ragahoro Breakdown” intricately weaves elements of North Indian Raga with characteristics of a Bulgarian Horo and subtle hints of American folk music.

The track that represents the second half of the album’s title, “of Light and Shadows,” is a sonata in two very contrasting movements, the first a quiet nocturne, the second its polar opposite, each exploring the extended timbres of the saxophone and extreme ranges of the piano, while the dynamic “Out of Mind, Into Body” travels a similar path, albeit one taken by John Friedrich’s solo bass clarinet. While less than two minutes in length, the spirited “Counterpunch” effectively alternates elements of driving American-style minimalist with a fusion of jazz and funk.

The album concludes with a concrète version of its opening track, transforming it into the form of experimental music in which sound identities – in this case those of the tenor saxophone – are intentionally manipulated to appear unconnected to their source, creating an ambient, layered soundscape.

Casey Grev, tenor saxophone
Robert Young, tenor saxophone
M. Maxwell Howard, piano
John Geggie, double bass
Tim Sullivan, drumset, percussion
Akropolis Reed Quintet
Duo Entrè-Nous
Stephen Page, alto saxophone
Liz Ames, piano
John Friedrichs, bass clarinet
Eos Sextet
Casey Grev, tenor saxophone

Gregory Wanamaker
Combining athletic virtuosity and lyrical expressionism, Gregory Wanamaker’s music has been called “pure gold, shot through with tenderness and grace” (San Francisco Chronicle), “achingly beautiful” (Palm Beach Daily News), “compelling” (Audiophile Audition), “outstanding” (American Record Guide), and “a technical tour de force” (Fanfare).

Gregory’s earliest musical training began at age 6 in professional summer stock theater companies, and continued through both schooled and self-guided explorations through the American folk music of the 1960s, bebop and free jazz, and Western classical music of the late 20th century. He continues his study of sounds to those from around the world, to draw from a variety of musics to inform his continually evolving voice.

His music has been commissioned and performed all over the world by soloists and ensembles including PRISM Quartet, Akropolis Reed Quintet, Trujillo Symphony Orchestra, Capitol Quartet, Timothy McAllister, Robert Spring, Christopher Creviston, Oren Fader, Masato Kumoi Saxophone Quartet, The MAVerick Ensemble, Velocity2, The Donald Sinta Quartet, The Gregg Smith Singers, janus trio, Deborah Bish, The Three Reeds Duo, Lynn McGrath, and The Society for New Music.

Fluent in all musical media, Wanamaker’s best-known works are his chamber works that exploit unique timbral characteristics and technical extensions of wind instruments. To date, his virtuosic Duo Sonata for clarinet and saxophone has received over 300 performances world-wide and is featured on five commercial recordings. His Sonata deus sax machina was one of the required pieces for finalists of the 2014 Adolphe Sax International Competition in Dinant, Belgium.

Gregory Wanamaker’s multimedia collaboration with 2013 MacArthur Fellowship Award Winner Carrie Mae Weems, A Story Within a Story, was commissioned in 2011 by the Syracuse-based Society for New Music, and was supported in part by a National Endowment for the Arts 2011 Access to Artistic Excellence Grant. He also is the recipient of a 2012 Individual Artist Commission from The New York State Council on the Arts and 20 consecutive standard awards from ASCAP in addition to awards from the National Association of Composers/USA and Britten-On-The-Bay.

Gregory also collaborates with the British award-winning director and writer, Garth Bardsley, with whom he has composed several substantial works. Their Adirondack Songs for chorus and large wind ensemble is available on Mark Records. Their new work Laude! for choir and orchestra, was premiered in December 2016 at the Crane School of Music in Potsdam, NY for broadcast on PBS affiliate stations.

Wanamaker currently serves as Professor of Composition at the Crane School of Music at SUNY Potsdam where he has taught since 1997. He studied composition with William Averitt, Thomas Albert, Anthony Branker and Ladislav Kubík.

Booklet for Light and Shadows, Waves and Time