1. Plenty Mirrors 04:382.

2. Radiate 02:133

3. Juju´s Dream 03:59

4. Asteroids 07:11

5. Crystallise 03:08

6. Cave Moans 01:42

7. The Nerves 03:40

8. Walk Down 05:04

9. Rising 03:11

10. Epicylces 06:56

Geminga is a ten piece album for soprano, tenor and baritone saxophone. It was recorded in February 2019 inside the chapel of Oficinas do Convento, Montemor-O-Novo, Portugal and released by Lisbon based label Creative Sources Recordings in 2020.

"Performing on Geminga (Creative Sources CS 637 CD, German Julius Gabriel uses the spatial dimensions of an ancient chapel in Montemor-o-Novo, Portugal to expand his improvisation on soprano, tenor and baritone saxophones. That means that sometimes not only is he creating a thematic line and a vibrated secondary commentary but echoes from the chapel add a third aural element. Hear this at work on the extended Asteroids, as lively tones spill from his tenor saxophone augmented by a lower-pitch continuum and, following an upwards pitch shift, are joined by moderated trills that seem to vibrate from a second distant tenor saxophone. During ten tracks, Gabriel works his way to Epicycles, the circular-breathed soprano sax finale. Characterized by a surge from presto to prestissimo, his tone extensions and detours sputter and soar irregularly and broadly, but never interrupting the narrative flow. Briefer tracks are displays of blindingly fast key percussion or, on Cave Moans, just that, with gravelly razzing wails reflected by the spatial situation suggesting the noise of cave people shouting into the void. Other pieces are more focused. The Nerves finds layered baritone saxophone reed vibrations moving from nephritic honks to altissimo squeaks while displaying split-tone fluctuations. Meanwhile Juju’s Dream confirms that running through reed changes and affiliated chamber echoes with the harshest and most jagged tenor sax buzzes can climax with screaming multiphonics without abandoning a straightforward hidden melody. Jagged and smooth, sweet and sour, Walk Down’s andante exposition overlaps a jumpy theme to renal slurs and splatters before sliding to a smooth final interchange." Ken Waxman ( &