MOORE, MAGUIRE, HELIAS, BENNINK – White Widow (2001)

Label: Ramboy Recordings – Ramboy #16

Format: CD, Album / Country: Netherlands / Released:2001

Style: Free Jazz, Contemporary Jazz, Free Improvisation

Recorded on January 30, 2001 at Gateway Studios, London, England

Art – Han Bennink

Design – Isabelle Vigier

Recorded By – Steve Howe

Michael Moore / alto saxophone, clarinet, bass clarinet

Alex Maguire / piano 

Mark Helias / bass 

Han Bennink / drums, percussion

''From the opening notes of "Moffat," White Widow is a powerful, moving musical experience that is restless in its free spirit and soulful in its unassuming conviction."

"White Widow splendidly showcases Moore's charms. With a mix of original compositions, free improvisation and a single standard (Gershwin's "I Loves You Porgy"), the quartet designs an eminently appealing disc. Of course, these men's musical lives have intersected for years. English pianist Alex Maguire, who recently joined Moore in duo (Mount Olympus), is a kinsman: Like Moore, he's a purveyor of grace, even in the rough. American Mark Helias fills his bass lines with strength and intelligence-a rich, engaging sound that sets off Moore and Maguire's flights. Dutch percussionist Bennink, however, is remarkably restrained here. Still, he is smart and sharp and demonstrates an uncanny and delightful sense of swing, whether he's tied-up or thrown into the mosh pit. The quartet itself swings softly or in convulsions, dynamics breathe and shift easily. In a number of cases-Moore's "Manuel's Party" and "Coyote", as well as in parts of Maguire's "Parma Suite"- there are superior melodies and elegant improvisations stirred into a fetching brew. "Peabody", a bouncing, wisp of a line bubbles with energy. As Moore's alto winds through a taut, brisk accompaniment, the band pick up steam before closing with Helias soloing over a severe piano-saxophone coda. It's another instance of White Widow's attractions, where a muscular sense of motion feeds moment of genuine lyrical beauty."

_ By Greg BUIUM, Downbeat, November 2001

Ramboy Recordings:

http://www.ramboyrecordings.com/catalog.htm

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ELTON DEAN – QED (2000)

Label: Blueprint (Voiceprint) – BP339CD
Format: CD, Album Country: UK - Released: 2000
Style: Free Jazz, Free Improvisation
Tracks 1, 2, 4, 7 recorded 20.01.00 at Eddie Mander's studio in Stoke Newington, London 
Tracks 3, 5, 6 recorded 17/18/21.01.00 at the Red Rose Club, as part of the 'Wireless' Festival
Artwork by – John Gardiner (Abstract Flight')
Design by – L-Space Design
Mastered by – Dave Bernez

QED features saxophonist Elton Dean in various contexts, from a duet with bassist Paul Rogers to trios, quartets, and a quintet with Jim Dvorak (trumpet), Nick Evans (trombone), Rogers, and Mark Sanders (drums). Other players include Alex Maguire (Hammond organ and piano), Tony Bianco (drums), Paul Dunmall (tenor sax), Simon Picard (tenor sax), and Robert Bellatalla (bass). The seven improvisations were recorded during one studio session and three live dates, all in January 2000. Even though collaborators and configurations change from one track to the next, this set forms a more cohesive (and interesting) whole than Moorsong, another Dean hodgepodge released around the same time on Cuneiform. These are all free improvisations with jazz roots. Highlights include the opening and closing numbers, two energy-filled trios with Maguire and Bianco on which Dean also plays electric piano (a wink to his Soft Machine days?). Bianco's Rashied Ali-inspired drumming and Maguire's funky Hammond playing turn these two tunes into exciting free-form fusion numbers. The horribly titled "Sax.com" is a nice sax quartet with Dean, Dunmall, Picard, and Jason Yarde. It makes a great contrast with "Sheepdogs," the aforementioned duet, where Dean reminds us how soulful his playing can be. The longest track is the quintet improv, "Deep Crease," the most textural of all. QED is a healthy dose of Elton Dean and a release his fans will not want to pass on.

_ by François COUTURE

Elton Dean’s recent associations with Hammond organ specialist Alex Maguire (as heard on HUX’s excellent release Psychic Warrior) have been gradually building over time. QED is one of the first recording dates with Maguire and drummer Tony Bianco that capture a return of sorts to the inspired signpost of Dean’s Soft Machine days. This trio gets two cuts on the recording: the first song, “ Hammond X ” is informed by the ghost of Tony Williams Lifetime as Dean spends time on Fender Rhodes against Maguire’s pensive but effective tones. The trio’s other piece ends the disc, “ New Roads ” which is perhaps a bit more into Brian Auger territory but the trio are playing at breakneck speed to end the recording on a substantial high note. Maguire is retained on piano for two freer excursions with Roberto Bellatalla and Mark Sanders handling the rhythm duties. Their first performance, “ Quartered, ” is a loosely structured piece with Maguire comping against Sander ’ s loose tempo and Bellatalla’s adept anchoring. The latter piece, “ Altored Saint, ” is a saner improvisation with Dean and Maguire introducing an intuitive dialog before the upright bass enters with a few careful brush strokes on the snare. On “ Sax.com ” Dean is joined by three fellow sax men (Paul Dunmall, Simon Picard and Jason Yarde) for a somber English take on San Francisco’s Rova sax quartet. Jim Dvorak and Nick Evans join Dean and Sanders on the longest improv, “ Deep Crease, ” which is the definitive performance on the disc. In summary Dean has rarely delivered anything but high quality collaborations between various configurations across the years.

_ By JEFF MELTON, Published 2005-09-01



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