Saxophobia: Celebrating the Sax Craze of the 1920s

Reed virtuoso Chad Smith’s Saxophobia: Celebrating the Sax Craze of the 1920s is nothing short of extraordinary—an exhilarating, 18-track collection unlike anything else currently being played or recorded, that I know of. It’s bursting with joy and musical wonders of a very special kind, and makes a compelling case for Rudy Wiedoeft as the Paganini of the classical saxophone.

Firmly rooted in the musical language of the early twentieth century yet strangely timeless, these lush, brilliantly realized performances possess an expressive breadth that occasionally anticipates later orchestral traditions without ever losing their wild Jazz Age identity. John Wilson and the superb Sinfonia of London are far more than accompanists, shaping every piece with warmth, elegance, and imagination. Chad Smith’s command of Wiedoeft’s legendary tongue-slapped arpeggios, lightning runs, trills, and comic effects is astonishing throughout- from the CD’s dazzling opener, “Sax-o-trix,” (and on) his playing is so fluid and precise that feats which ought to sound merely preposterous instead become utterly convincing—and exhilarating.

The programme traverses a broad emotional landscape. There is gloriously sweeping lyricism in “Valse Vanité” and “Waltz Mazanetta,” shimmering melancholy in “Valse Sonia” and “Danse L’Orient,” where Lynette Wardle’s harp lends an almost otherworldly glow, and irresistible ragtime sparkle in “Saxema,” where Dalton Ridenhour’s masterful piano brings the music’s syncopated character vividly to life. The exuberant slapstick of “Saxophobia,” “Cotton Candy,” and the laughing saxophone of “Sax-o-Phun” shows another side of Wiedoeft’s imagination, while “Rubinola” (a title like many in the collection that hints at its humor) knowingly teeters on the edge of a rural turkey-trot hoedown—complete with delightfully goofy barnyard clucks from the reeds. The newly rediscovered “Cloudy” unfolds with an unexpected breadth and nobility that feels strikingly ahead of its time. Mikaele Bennett brings an equally welcome change of color to “You Forgot to Remember” and “Kiss Me Again,” singing in a beautifully poised, classically grounded grand Broadway style (dare I say e.g. Julie Andrews-ish ) that perfectly complements the period.

Most of these miniatures last only about three minutes, yet each creates its own complete musical world. Beautifully recorded, impeccably played, and enhanced by Doug Caldwell’s concise and illuminating liner notes, this Chandos Records release is a genuine delight—one that continually surprises, enchants, and leaves me marveling at both the music itself and the astonishing artistry required to bring it so vividly to life.

Saxophobia:
Celebrating the Sax Craze of the 1920s
Chad Smith, Saxophones
The Sinfonia of London
John Wilson, conductor
Chandos (www.chandos.net)