Starting with an ultrahigh pitch closely
approaching the audible potential of the human ear
and proceeding downward, Butcher on Invisible Ear
expands the documentation of his solo efforts. His
program reflects two scenarios - one where his solos are created with a close mike or are amplified
with feedback, and the other where he incorporates multitracks with and without
The processes are interspersed on the recording. Butcher's multitracks
suggest symphonic voluminousness, such as
What Remains where five tenor and three sopra-
no saxophone tracks are layered in eerie suspension in space.
Similarly, Atelier resounds to three
soprano saxes played in a resonant room. On The
importance of Gossip Butcher experiments with
the synthesizer to create yet another diverse
soundstage of atonal music.
The pieces produced with amplification/feedback take on reverberant mystic characteristics.
They become cameos of electronic sound experiments complete with ringing echoes of Butcher's
tenor or soprano input. He portrays a kaleidoscopic
tonal quality through the resonate processing of the
reeds through the electronics. The harmonic range
varies greatly on these explorations, often dipping
down to abrasive levels after reaching shrill peaks.
The pure Butcher is also present. Four cuts display
his concentrated ability to express his artistry witH
the horn very close to the microphone but without
any amplification or feedback. These selections
allow his improvising whims to take flight in multiple,
Butcher is a searching,
restless musician who is always looking to the horizon for new challenges. His work on this unique
performance extends his vocabulary many fold.
© Frank Rubolino / Cadence.