Consisting of a dozen brief tracks that showcase the sweep of extended reed playing, Séance also confirms improvised music’s universality. French tenor saxophonist Philippe Lemoine and British baritone saxophonist Simon Rose, both Berlin-based, are on a Canadian label. Geographic considerations aside, the tracks, which last from just over one minute to almost six and a half, demonstrate that saxophone probing can be both penetrating and pleasing.
Hope River is the only track on which expected baritone and tenor tones are displayed with comforting familiarity; the others concentrate on testing as many reed tropes as possible. Sometimes, as on Worm Gill, it is tongue slaps; other times, as on Planchette, air is whooshed through horns’ body tubes without key movements, creating whale-like or bird-echoing textures; or on Now Séance the two fluidly modulate deep pitches to their farthest extensions without losing momentum.
Still it’s the longest pieces that meet the most reed challenges. Veering from squeaky to subterranean timbres during Dans(e) le flux, both burrow deep inside their horns for protracted rumbles that are cleverly harmonized with key percussion. Equally percussive as well as abstract, Medium is an essay in tongue slaps, key rattles, juddering cries and slurps that accede to a concentrated mass, but one in which both horns can be heard clearly.
Whether believing in contacting the deceased through a medium or not, this Séance is one in which many a saxophonist would want to participate.