The art of the solo album has changed over the years. Here are a couple interesting excursions.
Violinist Yuki Numata Resnick mixes freedom and form here, combining the worlds of classical and modern. He displays a rich tone and sense of tradition on the collection of Bach “Partita’s” and is gallant as he sighs on Caleb Burhans’ “Remembrance.” He tells a story on Matt Marks’ “Trunket’s Sarabrand” and as the album starts winding down, gets more adventurous as he scratches through Andrew Greenwald’s “Bouree’.” Feels like you’re entering various rooms in a modern art museum.
Peter Saltzman brings his piano for 28, count ‘em, 28 pieces of a four part (with Prelude) work that mixes improvisation with form to be used as the soundtrack for a book of his growing up in Chicago. The songs range from just over half a minute to a whopping five and a half, ranging from percussive fragments to deep sketches. He’s got a rich touch, and is quite playful on his ”Star Spangled Minor” as well as reworking of some Bach pieces for modern ears. His rapid note runs are impressive, but few things the first half are drawn out and explored . Maybe in concert.