One of the main threads running through this project is the audible love and sincerity that Scott devotes to championing the saxophone. Passion, lyricism and tonal landscape are all compelling through the virtuosic ensemble provided by saxophonist Tim McAllister and pianist Liz Ames.

To open, is Three Letter Word: a dedication to the memory of the Swedish composer-pianist Esbjorn Svensson. This work is a challenge of technical flurry and rhythmic vitality, and McAllister excels in his interpretation. Seamless transitions across registers to extended range make demands posed against the more riff-based stability provided by his duo partner, creating an emotional outpouring of jazz-influenced turbulence. Rhythmic accuracy is key to make this piece work, and it did.

Fujiko begins with a melodious, folk-like simplicity, and grows organically, weaving delicate tendrils through subtle chord changes reminiscent of those heard in Aaron Copland's tonal palette. It pushes through changes in dynamic intensity, urging the listener to… listen. This is definitely a shorter piece that I would recommend as both a teaching tool and as a beautiful recital addition.

The third offering is Sonata for Alto Saxophone and Piano: a three-movement work derived from Scott's Sonata for Flute and Piano. Funky piano left-hand walks bass in Movement 1 and anchors the soloist, who, in fine melodic fettle, has space to demonstrate his instrumental and musical prowess through strong, dynamic melody. Movement 2 opens far more experimentally, creating an aura of mindful space and presence. Solo saxophone floats, sings, and patiently awaits entry of its piano partner, until both reward the listener with a slow, legato sense of beauty through simplicity.

A playful interruption by Movement 3 brings a vibrant, swift and witty vignette that seems to borrow from Francaix, Dubois, Tomasi, Milhaud… all while retaining its air of originality and distinct scherzo-like character.

Track four, Everything is Still, was written after Lemn Sissay's poem of the same name. Gently pulsing and leaving space for expression, we are invited to enjoy an enveloping sense of calm. McAllister's saxophone sound has been very nicely produced on this recording, and the empathic relationship he shares with the excellent Liz Ames, makes for a sonorous and delicate rendition.

MHP: this one is short and sweet. Scott tells us in the programme notes to his disc that this work is built around a Bulgarian folk-like riff, and its urgent twists, turns and undulations take the listener on a heady ride through timing shifts and rhythmic dynamism. In contrast, Respectfully Yours is a saxophone song, for want of better description. Simply said, just like the title, it is sincerely dedicated to the late Sir Richard Rodney Bennett.

Now, Paquito… what‘s not to like? A wonderful frenzy of Cuban colour, urgency of melody and rhythm; but while McAllister certainly grabs and shakes up the essence of the piece, I have to confess, I‘d love to have heard this performed by the great Paquito D‘Rivera himself.

Title track Westland sees Andy Scott revert to his first love, the tenor saxophone. An experimental celebration of the capabilities of the saxophone‘s tenor voice, we are treated to a quasi-improvisatory sounding soundscape that develops from multiphonics; featuring tonal textures, percussive rhythmic device and colouristic flurries, all delivered with panache.

To end this fine selection of repertoire is My Mountain Top. This evocative work for saxophone and electronics features the poetry of Lemn Sissay, and at last receives this excellent recording, albeit on soprano saxophone, and not as usually performed, on tenor. I was somewhat sceptical as to how this emotive piece would work using soprano saxophone due to the tenor sounding more akin to the tonal range of the human voice, yet McAllister approaches the work with great sensitivity. He achieves sounds of satisfying resonance and depth, and some tasteful production must be commended for the final result here, which is a warm, sinewy interweaving of lyricism and texture from both instrumentalist and narrator.

What a feast of fine repertoire and performance. Thank you, Andy Scott.

Review by Lara C. James ©

Purchase sheet music heard on the Westland CD here: www.astute-music.com