"Uneven Same – Saxophone Quartets" by Thomas K.J. Mejer, released by Wide Ear Records in 2022, is a compelling exploration of the saxophone's sonic possibilities. This album isn't just music; it's a philosophical dialogue, a metaphysical saxophone symposium. The recording, featuring the quartet Uneven Same, showcases the talents of Manuela Villiger, Eva-Maria Karbacher, Vera Wahl, and Silke Strahl, who deftly navigate the varied landscapes of Mejer's compositions, weaves through scores that are as challenging as they are rewarding.

Imagine, if you will, a universe where saxophones converse not just in melody but in existential queries. Opening with the "Sulpizianische Bilderwelt" series, the album immediately immerses the listener in a world where traditional saxophone timbres are both honored and subtly subverted. The quartet's interplay is seamless, creating a soundscape that is as lush as it is precise. The compositions often hover between harmony and dissonance, reflecting Mejer's penchant for blending the familiar with the avant-garde. "Sulpizianische Bilderwelt I" opens with a texture that feels almost tactile, a soundscape that is both abstract and deeply human. The saxophones, like philosophers in a smoky jazz club, debate themes that range from the nature of reality to the essence of being.

Mejer's compositions are technically demanding yet executed with an ironic lightness that belies their complexity. Each piece in this quartet is a study in contrast and cohesion, dissonance and harmony, chaos and order. The musicians navigate these dualities with a deftness that can only come from profound understanding and synergy.

Tracks such as "Sulpizianische Bilderwelt II" and "III" delve deeper into these explorations, the saxophones' voices intertwining and diverging in a dance that feels both rehearsed and spontaneous. The recording quality captures every nuance, from the breathy whispers to the bold declarations, making the listener feel as though they are eavesdropping on an intimate conversation.

One of the standout features of the album is Mejer's use of the contrabass saxophone in "Resonating Voids," where he himself performs on multiple tracks. This section of the album is a testament to Mejer's innovative spirit, pushing the boundaries of what a saxophone ensemble can achieve. The contrabass saxophone adds a profound, almost tectonic layer to the music, making the listener feel as though they are traversing the very bedrock of musical expression.

Ironically, for an album titled "Uneven Same", there is a remarkable cohesion in the quartet's performance. Each saxophonist brings their unique voice to the ensemble, yet the overall effect is one of unity and purpose. This is particularly evident in tracks like "Endless Pleasures – Endless Pressures," where rhythmic intricacies and melodic lines intertwine effortlessly, creating a tapestry of sound that is both complex and accessible.

The album's philosophical undertone can be seen as a reflection on the nature of sameness and difference, a meditation on how individual voices can come together to create something greater than the sum of their parts. Mejer's compositions often play with this idea, using repetition and variation to explore the themes of identity and community.

In summary, "Uneven Same: Saxophone Quartets" is an album that is deeply thoughtful and meticulously crafted, yet it carries an ironic lightness that makes it accessible and engaging.

The second act of Uneven Seven was planned for 2024. I will try to intercept it and let you know when available.
In the meanwhile, for more details and to listen it, you can visit Wide Ear Records' Bandcamp.