By Martin Schray

Over the last two years I have hardly listened to another artist as much as John Butcher (okay, except for Dave Rempis). No wonder, since the 71-year-old saxophonist sets an almost relentless pace when it comes to his releases, with ten in 2025 alone and another CD already scheduled for 2026. One could actually just listen to his music and be quite busy with that. One of his latest projects is a trio with vocal artist Ute Wassermann and drummer Martin Blume - an unusual lineup, but then again, what about John Butcher’s projects is usual? Wassermann studied fine arts at the University of Fine Arts in Hamburg and also completed classical voice training. Her work combines composition, improvisation, sound, and performance art. Blume has been one of the most important drummers in improvisational music for around 40 years. Through the use of numerous objects, including those not typically associated with music, he constantly expands the sound, distinguished by his pronounced quasi-compositional sensitivity. The musicians’ openness to all possible soundscapes naturally provides excellent conditions for interesting music.

What is immediately striking Leaflight: Close Callsis the incredible range of Wassermann’s voice, which at first is not necessarily recognizable as such. It oscillates between a second saxophone, bird whistles, wind noises, a singing saw, a synthesizer, or even a plectrum running along the strings of a guitar. This makes the music seem powerful and exciting, but also mature and well thought-out. Martin Blume contributes to the improvisation as an equal solo partner, his drumming carrying the other two on his hands as if he was a magician. Of course, this all sounds more like new classical music, especially when Wassermann’s voice is clearly recognizable as such at the end of the first piece. But who cares about categories or genres, if everything is so wonderfully refined and elegant, but completely delicate and restrained. Especially “Call 2”, the longest piece, is a perfect example of this.

Most of all, the backbone of this album is Butcher’s saxophone playing. In “Call 8” it also presents itself as powerful and earthy, though not loud at all, testing the limits of hearing as so often (even more clearly in combination Wassermann’s voice), but there is an undeniable emotional depth and sheer beauty in his playing that goes beyond technique and concept. He is therefore often compared to Evan Parker, and not without reason. Like Parker, he has revolutionized saxophone playing with his sonic explorations in solo recordings, but also in other formations. Butcher’s music is always connected to the space around it (here the LOFT in Cologne). In the case of Leaflight: Close Calls, the music has almost esoteric, even psychedelic moments. It floats through the room and carries you away without the listener noticing. A truly wonderful recording.

Martin Schray: Free Jazz Blog, 2026