John Klemmer Albums (26)
'Solo Saxophone II: Life'
Release Date 2/26/2008
Tracks 13
Label Wounded Bird
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What The Critics Say
Released the same year as Hush, Solo Saxophone II: Life was John Klemmer's third release for Elektra in two years. Interestingly, he followed the same formula he did with MCA: score a big single (in this case "Let's Make Love" from Hush) and strong arm the label into letting you do a more experimental outing. Self-produced and cut very quickly, Life is not so entrenched in the soft meditative vibe that his solo saxophone album Cry had been three years earlier. It begins with the sound of a kalimba as the prologue/intro into "Humanesque," which is an actual melody with a solo structure built in. Given Klemmer's signature echoplex saxophone, and the new-ish digital delay technology, he could multitrack harmonics in ways that weren't possible just a few years before: listen to the contrast between middle and lower registers on the various thematic interludes on this cut and it becomes readily apparent. His technical skill is superb, and his ability to roll notes in full voice (just the way his mentor John Coltrane did) as he moves in and out of phrases is quite remarkable. But the most important thing is that there is real soul in Klemmer's playing, not only on this cut, but on all of them. The kinds of impressionistic emotions that appear on most of his full band recordings of the period, where tunes and feelings are drowned out by production are almost absent here. In fact, as Klemmer moves into the true masterpiece on this set, "The Journey from Life to Death," it feels like he's actually trying to show the listener his insides. The primal sounding "Deepest Need of the Human Heart" is another such moment, where Clint Holmes gets to sing wordless falsetto with Klemmer's horn. The hard blowing on "Yes to Life" is startlingly fine and is pushed to near extremes in "The Mystery of Being," when a pitch bender and other electronic devices are added to the sparser lyric lines in the tune. While it's true the titles are sappy and pretentious, there are only two such moments on the entire album, and both of them involve Holmes and both are played on the Rhodes piano instead of on the saxophone: "The Rain Is the Tears of My God for Me," and "All I Ever Wanted Is My Life." While the feelings these songs express may indeed be authentic and real, they feel wildly out of place here. The last track proper on this set, "The Struggle to Be Free," is another killer Klemmer space sax workout where he plays around scales, and plays as if he turned a specific melody inside out. Its emotion, which is rather more suggestive than overblown, feels truly authentic and vulnerable. There is no talking any listener into actually enjoying a record like this one: she either will or won't. That said, even if this is perceived as an exercise in ego, Solo Saxophone II: Life should be appreciated for what it is, a very naked and vulnerable statement by a musician whose love for both his horn and the spiritual nature in his own heart is elusive, enigmatic, and all but inexpressible, but at least he tries. ~ Thom Jurek, All Music Guide
What The Critics Say
With the exception of one record, John Klemmer had not recorded as a leader in 17 years when he cut this atmospheric CD. Actually, his sound and style had not changed much from the days when he recorded superior and popular mood music. On this set, Klemmer probably plays all of the instruments which include tenor, synthesizer, keyboards, some electronic efforts (including adding the sound of rain and quiet thunder) and narrating his poem, "Making Love," twice. Whether the guitar, bass, drums and percussion are played by Klemmer on synth or by other unidentified musicians is not mentioned. Klemmer's tone sounds strong and romantic (a bit reminiscent of Stan Getz) but he does not stretch much at all during this project. The results are meant to be background music and, on that level, this outing succeeds. It's available through Chicago Records www.chirecords.com, and Klemmer's own Touch Records (at www.johnklemmer.com). ~ Scott Yanow, All Music Guide
What The Critics Say
When the music on this CD was released for the first time in 1997, it had been a long time since anything had been heard from John Klemmer on records. A superior improviser who was one of the few innovators on the electrified sax (along with Eddie Harris), Klemmer had great commercial success in the mid-1970s with some ballad-oriented mood music recordings that were close to pop. However, during the '80s and early '90s he focused on composing and stayed out of the studios, except for the 1989 date that resulted in Music. On this very enjoyable session, Klemmer sticks to his acoustic tenor and is heard performing a set of duets with acoustic guitarist Oscar Castro-Neves. Other than the inclusion of some beach and seagull sounds here and there (added because the duo often played in the Malibu area at the time), the music is unedited and quite spontaneous. Klemmer's pretty tone is often reminiscent of Stan Getz, which is obvious even before getting to his versions of "Early Autumn" and "Moonlight In Vermont," yet his style was always a bit more advanced, and he often pushes himself. Castro-Neves is mostly in a supportive role, adding Brazilian rhythms and his own brand of beauty to the lyrical date. Recommended. ~ Scott Yanow, All Music Guide
'John Klemmer'
Release Date 1/1/1995
Tracks 6
Label Universal Special Products
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'Arabesque'
Release Date 1/1/1995
Tracks 9
Label Universal Special Products
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What The Critics Say
Saxophonist and composer John Klemmer was restlessly following some inner call in the late 1960s through the late '70s. Aside from his big-boned tenor sound and his trademark unique Echoplex on certain tunes, he was making music that crossed numerous jazz, pop, rock, soul, and Latin genres. 1977's Arabesque is a case in point. Co-produced by the saxophonist and Stephan Goldman, Klemmer used a pool of studio players on this date in addition to a small band. Drummer Lenny White and bassist Abe Laboriel made up his trio, while pianists Roger Kellaway, Pat Rebillot, and Victor Feldman alternately held down the piano chair. The most telling thing about this date is Klemmer's employment of some of the best Brazilian percussionists in the game in Airto Moreira and Alex Acuña. The brilliant guitarist Oscar Castro-Neves also appears on a couple of cuts. The musical fare here reflects the new urban jazz at the time -- which would eventually give way to smooth jazz. During this period, inspired by the breakthrough success of Herbie Hancock's Head Hunters, and Grover Washington's Feels So Good and Mister Magic albums, this new urban sound was polished, funky, breezy, and meaty. The tunes here walk an interesting line between deep melodic midtempo ballads such as "Paradise" and "Falling," that both make use of strings and shift dynamically from introspection to slightly more expressive forcefulness; airy, exotic, Latin-flavored workouts such as the title track and "Picasso"; and cooking full-scale workouts such as "Nothing Will Be the Same Forever" and "Mardi Gras," with funk backbeats and breaks. What ties such a seemingly disparate set of tunes together is rhythm. White in concert with Acuña, or Moreira -- or both on a couple of cuts -- lends a criss-crossing, very diverse set of Latin rhythms to virtually every track here, whether it be samba, light salsa, or Afro-Cuban rhumba. Klemmer, a wonderful melodic improviser who knows his way around the outside margins, keeps it focused and tight here, but his tone is so large and rich that the tunes can't help but soar when he's actually blowing. The album did very well upon its initial release, and served to spread Klemmer's ever-growing fan base while cementing the place of the new urban jazz on the radio as well as on automobile cassette decks. ~ Thom Jurek, All Music Guide
'Nexus One (for Trane)'
Release Date 10/25/1990
Tracks 5
Label Bluebird/RCA
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What The Critics Say
This CD reissues five of the nine selections from what was arguably tenor-saxophonist John Klemmer's greatest recording session. In addition to forceful versions of "Mr. P.C." and "My One and Only Love" that feature the artist joined by bassist Bob Magnusson and drummer Carl Burnett, there are three lengthy explorations (of "Softly as in a Morning Sunrise," "Impressions," and his original "Nexus") that are taken as tenor-drum duets. The music is so powerful that listeners should search for the original double LP which includes three additional trios and a duet on "Four." Klemmer, who was becoming very popular as a melodic pop saxophonist, must have surprised many of his fans with this very explorative document. ~ Scott Yanow, All Music Guide
What The Critics Say
Finesse features John Klemmer's saxophone and his trademark Echoplex (debuted so wonderfully on 1978's Cry. Finesse was released in 1983 and places the saxophonist in the company of bassist Bob Magnusson, keyboardist Russell Ferrante, drummer Ron McCurdy, and percussionist Steve Forman. This is pop-jazz with real style and emotion in the light airy grooves. Check the title track with its sensual, sweet lyricism, or the sheer crystalline beauty of "Heart." This is not a blowing date, but Klemmer's lyricism and commitment to his material is complete, and the soul in his playing shines through. The band is unobtrusive, but in the pocket. The relaxed open feel of the proceedings is refreshing considering some of the material out there at the time. ~ Thom Jurek, All Music Guide
What The Critics Say
Hush was John Klemmer's second album for Elektra, following the commercially successful Magnificent Madness recorded a year earlier. While the previous album focused on covers and vocal tracks, Hush moved back toward the silkier sounds of his soft-sounding electric jazz. While Grover Washington, Jr.. is often credited as being the father of smooth jazz, his records were far funkier and reflective of raw emotions. Beginning with 1975's smash Touch, Klemmer began making records that went for atmospheric vibe and slick production values, rather than troubling himself with the ins and outs of composition or improvising -- with the exception of his two solo saxophone offerings, Cry and Solo Saxophone II: Life. As an album, Hush is more realized, sophisticated, and satisfying than any of post-Touch offerings for MCA, his own Nautilus imprint, or Magnificent Madness. While still drenched in icy production (courtesy of Gary Borman) Klemmer focused on actually writing and arranging for this one rather than just blowing his Echoplex tenor over a rhythm section. For starters, there's the hit single from this set, "Let's Make Love," with Clint Holmes on vocals. It's a great quiet storm track and reflects Klemmer's obsession with romance while still focusing on a serious groove. On Magnificent Madness he collaborated with Danny O'Keefe on two tracks but the great singer and songwriter's beautiful hook, poetic lyrics, and signature voice were buried under layers of saxophone and production gimmicks. That's not the case here, the song is a natural single, with a memorable refrain and slightly funky backbeat not unlike some of Rodney Franklin's better numbers from the period. Another winner is "Hot," with its Caribbean flavored backbeat, the backing vocals of Maxine Anderson and Phyllis St. James, and the killer pianism of Russell Ferrante. Klemmer's own blowing has some nice raw touches, especially when playing the lower register. In other words, it's a track with a number of parts that shouldn't add up but do. "Taboo" has a rubbery funk bassline by Abe Loriel and some very tasty guitar work by Larry Carlton and Lee Ritenour. Klemmer also doubles on alto flutes on the cut, something he hasn't made a practice of in years. While there is a tendency for some of these cuts to bleed into one another, the sense of musicianship and sweet '80s soul comes through nicely and doesn't get bogged down in repetition. It should also be noted that the title cut that opens and closes the album has some of Klemmer's more subtly nuanced blowing. It's smooth, but there is real feeling in the lyric line and in the way he plays off Lenny Castro's hand drums. Ferrante and Carlton fill spaces beautifully with nocturnal, minor-key flourishes, and Klemmer actually allows for the gift of his melodic improvisation to make its way into the tune. While Hush is not a classic by any stretch, it is a satisfying and very consistent entry in his catalog. Along with 1983's funkier Finesse, it is his best effort for Elektra. ~ Thom Jurek, All Music Guide
