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>Title of CD


Title of CD
HatART CD 6184, 1996

Guillermo Gregorio, alto sax, clarinet
Mat Maneri, violin
Eric Pakula, tenor and alto sax
Pandelis Karayorgis, piano
John Lockwood, bass

Recorded June 1995

1. Approximately
(G. Gregorio) 5:00
2. Two Ambiguities 
(G. Gregorio) 4:49
3. Aural 
(G. Gregorio) 6:12
4. In Absentia  
(G. Gregorio) 1:23
5. Caution
(G. Gregorio) 5:46
6. The Other Notes 
 including 17" of Turmoil
by Pete Rugolo
(G. Gregorio) 1:09
7. Four Shapes On Yellow Paper
( Art Lange) 3:15
8. The Cloud
(G. Gregorio) 5:36
9. Equilibrium
(G. Gregorio) 1:53
10. Cambridge Excavation 
(G. Gregorio) 5:03
11. Some Reflections on "Marionette"
(William H. Bauer, arr. G. Gregorio) 5:48
12. The Other Side Of The Charles
(G. Gregorio) 3.02
13. Kromos #2   
(G. Gregorio) 4:14
14. Composition With Gray & Blue
(G. Gregorio) 1:33

Audio sample track

Real Audio







available on Bandcamp

A quite lovely Free Jazz album, led by a pleasingly restrained alto saxophonist and composer, whose obvious love for pan-tonal melody produces some of the most quietly compelling and spacious music this side of Anton Webern.

Gregorio is a 54 year -old Argentinean immigrant to the U. S. An architect by trade, his carefully constructed tunes and improvisations lend themselves to a manifest parallel with his vocation. On both of his horns, Gregorio plays the part of a more consistently dodecaphonic Lee Konitz; he has every bit of the latter's gentleness of tone and asymmetry of rhythm. His Boston-based sidemen are a group unto themselves. In 1994 Pakula and Karayorgis (along with drummer Eric Rosenthal) led a record date that produced Between Speech & Song, a wonderful, more straight-ahead album of their own, on Cadence Jazz. Here they serve the Indiana-based saxophonist as something of a repertory ensemble, reading down his compositions and providing him with the necessary backing to realize his vision. All fulfill their roles notably well, particularly pianist Karayorgis whose sense of displaced tonality and rhythm complements perfectly the leader's overall vision.

The absence of a drummer throws the group's improvised free-counterpoint into vivid relief, almost as if Silence was the quintet's sixth member. Gregorio is an uncommonly effective (and affective) musician; Approximately embodies exactly the type of original musical thought that one wishes were more common.
Chris Kelsey, Cadence, October 1996


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