- Paul Winter, "Callings" (Living Music, LD0001, CD). The track "Blues'
Cathedral" includes a duet for E Flat and C Contrabass Sarrusophones.
The solo is at the lower end
of both instruments and you really have to turn up the volume to hear
well, but the duet is quite long. The music is 'new age' and meditative.
- Paul Winter Consort, "Icarus" (Living
Music, CD). The sarrusophone is used on at least one track, for pedal
tones. This CD is some of the "earlier" PWConsort music, including
on guitar, and Paul McCandles on oboe/cor anglais/bass clarinet.
- Paul Winter Consort, "The Man Who
Trees" (1990 Living Music, LD0030). The CD is essentially a short
story narrated over music by the PWC. The musicians include Mark
, and Paul Cohen on Eb contrabass sarrusophone, both clearly
recognizable where they appear.
- Sextuor de Sarrusophones. -
Performance tape from IDRS
Frankfurt 1992. They
play pieces by Gounod and others specially arranged. The sound is good
live, and the ensemble sounds a bit like a renaissance reed consort.
sarrusophones used are Bb soprano, Eb alto, Bb tenor, Eb baritone, Bb
and Eb contrabass.
- Clarence Williams Blue Five 1924. Sidney
Bechet plays a (famous or notorious - take your pick) solo for
contrabass sarrusophone in E Flat on the track "Mandy Make up your
CD reissues of the original 78). Clearly the sound is scratchy and it
sounds as though the instrument was a doubling one but it is still an
solo and the instrument can be heard clearly above (and below) the
- Roscoe Mitchell and the Sound and
Space Ensembles (self titled)(Black Saint, BSR 0070 CD (1984)).
This is mainly jazz, with Roscoe Mitchell on saxophones, and Gerald
Oshita on F mezzo, tenor, and bari
saxes, and contrabass sarrusophone. The sarrusophone appears only on
two ("You Wastin' My Tyme"), along with bass and
sax, so you may find it difficult to distinguish the two. The
is audible as the pedal note under the chorus.
- Roscoe Mitchell "Four
Compositions" (1987, Lovely Music Ltd., LCD2021). This CD is
mainly avant-garde classical, all composed by Roscoe Mitchell. It
includes one track ("Prelude") which
is a quartet for voice, bass saxophone
, contrabass sarrusophone, and triple contrabass viol. The liner
notes include a picture of the quartet on stage.
- Doctor Nerve, "Every Screaming
Ear" (1997, Cunieform Records, Rune 88). The first track on this
CD (Nerveware #8) is performed by the NewEar ensemble, and features a
very prominent contrabass sarrusophone part. The rest of the
ensemble includes clarinet, bass clarinet, bari sax, violin, piano,
percussion, and accordian. Sarrusophone is not part of the
standard Doctor Nerve lineup, and appears only on the one
- Scott Robinson, "Thinking Big"
(1997, Arbors Records, ARCD 19179). Nice jazz, backed by piano,
guitar, drums, trombone, and trumpet. Scott Robinson plays most
of the saxophone family on this
(including a lot of bass and contrabass sax
), and here does a remake of "Mandy, Make Up Your Mind" (without
vocals) on the Eb contrabass sarrusophone. He has not copied
Bechet's solos, except for the tag at the very end of the song.
- Marty Grosz & Keith Ingham,
"Going Hollywood" (1997, Stomp Off Records, CD 1323). Over an
hour's worth of jazz from the 1920's and 30's, including Scott
bass sax on
a number of tracks, and Eb contrabass sarrusophone on one ("I Like To
Things For You"). The disc is fun to listen to, and Scott's solos
on clarinet and other saxes) are perfectly in character. Can't
bass sax or sarrusophone in a small ensemble ;-)
- Frank Zappa, "The Grand Wazoo"
(concert). The late great Frank Zappa did a series of concerts
called "the Grand Wazoo" and "the Petite Wazoo", including Earle Dumler
on oboe, bass oboe, saxophones, and sarrusophone. I think a
commercial CD was released, but haven't yet been able to determine if
the sarrusophone appears on the CD.
- BBC Scottish Symphony Orchestra under
Jerzy Maksymiuk, "Symphony in B minor (Polonia)" by Paderewski
(1998, Hyperion Records, CDA67056), . This work calls for (and
was recorded with) three sarrusophones. The liner notes
unfortunately don't say which three, but it is scorred for
three contrabasses. There are several passages where the
sarrusophones are obvious, in most cases simply playing a low chord.
- Bruce Boughton "Tombstone"
(soundtrack, 1993, Intrada MAF 7038D). The excellent musical
score for this movie includes both contrabass sarrusophone and contrabass
- Allen Ginsberg "The Lion For Real"
Mouth Almighty Records, 314 534908-2). This CD consists of Allen
Ginsberg's poetry, read by the author with a musical (mainly jazz)
background. The musicians include Bill Frisell, Lenny Pickett,
Steve Swallow, Rob Wasserman, and other well-known players. One
track ("Stanzas: Written at Night in Radio City") has a funky
background by Lenny Pickett (alone),
which includes contrabass sarrusophone, tenor sax, alto sax, soprano
Eb clarinet, Bb clarinet, bass clarinet, contrabass
clarinet , flute, piccolo, oboe, sopranino recorder, soprano
recorder, alto recorder, tenor recorder, hambone, and drum.
- Brian Slawson, "Distant Drums" (1988 CBS
Records, MK 42666) is primarily light jazz/new age with lots of
percussion, but includes one track ("In the Hall of the Mountain King")
in which Lenny Pickett plays bass clarinet and Eb contrabass
sarrusophone. Both are clearly recognizable, although not really
- William S. Burroughs "Dead City
Radio" (1990 Island Records, 422-846264-2). This CD
is primarily some of the writings of WSB, read by the author over
musical backgrounds. Lenny Pickett contributed the
backgrounds to several tracks, one of which (#10, "The Sermon on the
Mount 2") appears to have contrabass sarrusophone half-burried in the
- They Might Be Giants "Mink Car"
(2001 Restless Records, 73744-2). This CD includes one track
("Older") that features Scott Robinson on contrabass
sarrusophone and Wayne Evan Hankin on rauschpfife.
- Ned Sublette, Lawrence Weiner & The Persuasions
"Ships at Sea, Sailors & Shoes" (1993 Triple Earth,
TRECD112). This CD is worth hearing, just for the vocals.
It includes Lenny Pickett playing contrabass
sarrusophone on one track (#4, "Just Over There (Silver)", not track 1
as it says in the liner notes), where it is easily identifiable
(competing only with guitar, percussion, and the vocals). I'm
sure that there must be a story behind this CD, but the notes are not
- SPACE, "New Music for Woodwinds and Voice" and "An
Interesting Breakfast Conversation" (2000, Mutable Music, 17501-2)
is a double CD release of two prior 1750 Arch records releases.
Most notable is the first disc, on which the late GO played
sarrusophone for 3 of the 4 tracks (and played Conn-O-Sax on the
played variously Eb clarinet, bass sax and tenor sax, while TB is
with "extended voice." GO played sarrusophone on only one track
second CD ("Live at the Public Theatre, II"), otherwise playing mainly
sax and straight alto sax, vs. RM's soprano and alto sax (with bass sax
the last track). The music is interesting, right on the fuzzy
boundary between avant garde jazz and experimental classical.