Served Two Ways for trumpet and tenor saxophone (2011)
5-1/2 minutes
Written for Chris Gekker and Chris Vadala of the University of Maryland faculty, Served Two Ways is based on a simple notion: The piece opens with a "legit" duo, then both players repeat the exact same pitches (rhythmically different, and generally not coordinated the same way) in a jazz feel. The title indicates that I watch way too much Food Channel.
Served Two Ways appears on a recording, Ghost Dialogues, by the dedicatees, released on the Metier label. In a review in Fanfare, Colin Clarke writes:
Another piece for trumpet and tenor sax is provided by David Heinick (b. 1954). His Served Two Ways celebrates another connection, as Heinick and Gekker were classmates at Eastman in the mid-1970s and often performed as a duo back then. Heinick’s piece is wonderfully, playfully diffuse. On the surface more advanced in language than its bedfellows, this very sense of play from the present performance actually enables it to emerge as remarkably approachable; as the music moves closer and closer to a jazzy feel, the sense of adventure just increases. This must be great fun to experience live; one can imagine how much performers could make of it in terms of body language.
5-1/2 minutes
Written for Chris Gekker and Chris Vadala of the University of Maryland faculty, Served Two Ways is based on a simple notion: The piece opens with a "legit" duo, then both players repeat the exact same pitches (rhythmically different, and generally not coordinated the same way) in a jazz feel. The title indicates that I watch way too much Food Channel.
Served Two Ways appears on a recording, Ghost Dialogues, by the dedicatees, released on the Metier label. In a review in Fanfare, Colin Clarke writes:
Another piece for trumpet and tenor sax is provided by David Heinick (b. 1954). His Served Two Ways celebrates another connection, as Heinick and Gekker were classmates at Eastman in the mid-1970s and often performed as a duo back then. Heinick’s piece is wonderfully, playfully diffuse. On the surface more advanced in language than its bedfellows, this very sense of play from the present performance actually enables it to emerge as remarkably approachable; as the music moves closer and closer to a jazzy feel, the sense of adventure just increases. This must be great fun to experience live; one can imagine how much performers could make of it in terms of body language.
You can buy the recording here.