As I noted in my review of Kamen's (electric) Guitar Concerto, instruments that have been developed more recently are hard to write "serious" music for because their sounds have been type cast into a certain genre of music. The saxophone has actually been in existence for longer than might be imagined, but many classical composers were not fond of it's sound and probably deemed that they would prefer brass or softer woodwind, the sax has a little of both, but perhaps too much of either. About the only serious classical composer I can think of who regularly used the sax family was Prokofiev who often added it to bolster both brass and woodwind. As a result, there are very few serious classical works for the instrument, but since the world doesn't really need yet another violin, piano or cello concerto, a less traditional choice seems a good one. Perhaps most used as a swing, big band or jazz instrument, Kamen largely avoids those genres, almost writing the concerto as if it were for a more punchy clarinet and as they are closely related, this seems a sensible choice.

One problem that is does need to be considered when writing for saxophone is that it's a fairly penetrating tone can cut through denser orchestral textures quite effectively. This is certainly obvious as the opening movement takes flight from it's rather subdued opening. Kamen has the orchestra play the main material, with the sax almost riffing over the top in striking counterpoint, not of course an entirely original device for a concerto, but it's nice having an instrument capable of piercing the orchestral texture and not being subordinate to it. The slow central movement allows the sax to return to a more traditional idiom with a soulful elegy, with the orchestra playing a more supportive role. Without a break, Kamen launches the final movement with a striking, rhythmic fanfare that returns to the vigour of the opening movement which sets into the movement's main pulse which faintly recalls the opening of Robin Hood: Prince of Thieves. Although the textures are busy with plenty of striking counterpoint, the orchestra's role is much more subordinate compared to the opening movement, allowing the saxophone to ultimately lead the way to the rousing conclusion.

The remaining tracks are, unfortunately, a touch disappointing and aren't really any more than a set of jazzy instrumentals. The orchestra is largely in the background in favour of a small ensemble of percussion and guitar. It seems a bit mean to be down on these vignettes, all inspired by Kamen's family - hence the titles - but they don't really compare to the complexity of the main concerto, even if they are a nice bonus all the same. There is a companion DVD which has contributions from Kamen, soloist David Sanborn and others that Kamen has worked with, notably Eric Clapton. Unfortunately, the actual performance is of the latter vignettes and not the main Concerto itself, but the interviews are interesting and any fan of the composer will get a thrill from seeing him speak about his work and composition process. Kamen's concert music is largely similar in style to his film music and so if you like one, you'll like the other and the same goes here. Great stuff.

Unfortunately, the CD is long out of print and unlikely to reappear any time soon. However, the DVD is still available, but probably won't be for long, but should you feel so inclined, you can acquire that here.

Rating ~

Concerto for Sanborn and Orchestra
1. 1st Movement (14:25)
2. 2nd Movement (7:06)
3. 3rd Movement (5:48)

4. Helen-Claire (3:34)
5. Sasha (3:52)
6. Zoe (3:14)
7. Sandra (5:13)
8. Waiting for Daddy (3:03)
   Contains the theme from Brazil by Ary Borroso

Total Time ~ 45:35