Delta Saxophone Quartet

Sun Sets on the Pyongyang Express

noreply@blogger.com (Chris) — Wed, 29 Jul 2009 19:01:00 +0000

In April 2009, Chris Caldwell and Pete Whyman joined forces with Frank Van de Kooij (Hugh Hopper saxophonist)on a journey of a lifetime.. to perform in Pyongyang, DPRK (N.Korea).

These couple of shots were taken from the window of the Beijing- Pyongyang express, day 1 of a two week trip. Other posts to follow on this link.

Hugh Hopper RIP/Delta Sax in Europe July 2009

noreply@blogger.com (Chris) — Wed, 29 Jul 2009 18:25:00 +0000

Pete Whyman, Tim Holmes and Chris Caldwell have the honour of playing at the funeral of the Soft Machine legend and close DSQ friend, Hugh Hopper.

Hugh's music was performed in two beautiful locations in July by the DSQ when they made a short tour in Europe,First up was a visit to the intimate Music Festival in Rovinj, Croatia, and then an amazing performance high in the Dolomites at the mountain hut, Rifugio Passo San Nicolo... Beautiful

Images posted here include a short panoramic hand held (sorry about the shakes!) video snip plus:

1. Port of Rovinj
2. Pete, Martin and Tim try the local cuisine in Rovinj...
3. Rifugio Passo San Nicolo, Italian Dolomites, Val di Fassa.
4. The beautiful field in Kent where Hugh was laid to rest..very special..

View from the top of the world- Rifugio Passo San Nicolo

noreply@blogger.com (Chris) — Wed, 29 Jul 2009 18:19:00 +0000

This is the view from where the DSQ recently performed as part of the "I Suoni delle Dolomiti" Festival, 14th July 2009

RIP Hugh Hopper

noreply@blogger.com (Chris) — Mon, 08 Jun 2009 19:19:00 +0000

A new found friend now lost, maybe Elton's call was too strong? Hugh, thank you for being so supportive and inspirational to all of us here in the Delta Saxophone Quartet. It was an honour to work (sorry, this was never work- it was just fantastic) with you. I will never forget the start of our, sadly now, short journey with you, The performance at Etnafest 2007 (19th Jan.)... Your beauitiful wife Christine was also able to share this with us all too - and tease you in such a moving way, about how she also enjoyed Karl Jenkins's piece- Floating World! (grrr) said Hugh with his big smile.. St Georges Bristol and Kettles Yard Cambridge were to follow... both are benchmark concerts for us re- tingle factor, of any Delta performance since our formation in 1984..

We'll never forget you, your wonderful family, and of course your music. We will nurture with care the gift of your music which you were so generous to share with us. I find comfort that now you are out of pain... keep something back for when we all meet up again... with love. Chris/Pete/Tim/Graeme (DSQ performers on album-dedicated to you/Moonjune)

noreply@blogger.com (Chris) — Mon, 04 May 2009 23:34:00 +0000

Turner Sims Concert Review

The dynamic Delta Saxophone Quartet brought an unusual and varied repertoire to Southampton University's Turner Sims Concert Hall on a very wet and stormy Tuesday night. Their new line-up features Martin Robertson, who is associated with several groundbreaking modern saxophone concertos and in particular with the work of Mark Anthony Turnage.

The first half showcased minimalist classics arranged for saxophone quartet, seminal works which, whether you enjoy their style or not, have been very influential in recent musical developments. Michael Nyman's piece takes its name not from the last Prime Minister, but is something of a requiem for a manager whom Nyman worked closely with who died recently. It is a gentle introduction to the genre, with a precise minimalist opening leading into a mellow melody being superimposed upon a rhythmic background. It is a likeable work which made a good opener and was perhaps my personal favourite of the evening.

Philip Glass's "Mishima" (originally for the Kronos string quartet) is a classic hardcore minimalism and features the typical Glass sound world reminiscent of "Einstein on the Beach" and "Sachygraha". I thought this arrangement for saxophone ensemble preferable to the original string version. Gavin Bryars was inspired by the jazz saxophonist Evan Parker and the composer Percy Grainger; Parker is known for multiphonic playing at the extremes of the instruments' range and for using circular breathing. Percy Grainger liked the nasal quality which saxophones can have. The combination of these made for a work which was bizarre, intriguing and technically demanding.

The quartet then returned listeners to a more familiar territory to close the first half of their performance with Steve Reich's "New York Counterpoint" which uses live players alongside a tape recording of them playing the same instruments, so that each musician is able to effectively perform a duet with himself. Originally for clarinets, it worked well here with saxophones.

The second half was inspired by the works of the progressive rock band "Soft Machine" and featured tracks from the Quartet's highly acclaimed 2007 release disc "dedicated to you but you were not listening". The players explained that this album had been conceived at the EtnaFest in southern Italy during the summer of 2006, where they had been working with one of the original band members, who is now sadly battling against leukaemia. The quartet's aim was to continue in the original bands compositional style, rather than simply seek to arrange their tracks for different instrumentation, and they have commissioned work from a wide variety of sources to achieve this. This set was relaxed, creative, upbeat and enjoyable. As with the earlier section, Chris Caldwell, who plays baritone, gave an informal but informative introduction to each work.

It was good to hear this combination of unusual music and excellent playing without the usual journey home from London's South Bank. The Turner Sims to be congratulated on bringing innovative performance like this to the local scene here on the South Coast.

Julie Williams (Musical Pointers)

noreply@blogger.com (Chris) — Wed, 01 Apr 2009 12:45:00 +0000

The Invitation.

Visas have now been issued for China and North Korea...

Depart on Monday 6th April. Exciting times.

noreply@blogger.com (Chris) — Sat, 21 Mar 2009 11:49:00 +0000

Performance at Mawood Theatre Beijing, 19th April 2009

International Modern Saxophone Trio explore the music of Hugh Hopper and Karl Jenkins, (Members of the 1970's prog rock band- Soft Machine).

The concert will be recorded by Henk Weltevreden for a broadcast on the Dutch radio 6arts channel- VPRO

The trio is made up from two founder members of the Delta Saxophone quartet, a British group which for 25 years has presented cutting edge contemporary works drawing inspiration from experimental classical composers fused with jazz improvisation. The Delta Saxophone Quartet performed in Beijing in the late summer of 2005 as part of the European Street Festival, this was with the support of the British Council. For tonight's performance the Delta duo is joined by the Dutch saxophonist Frank Van Der Kooij. This Anglo/Dutch trio was formed to represent the UK and the Netherlands at this year's April Spring Friendship Art Festival held in Pyongyang DPROK between 10th-18th April 2009.

Frank van der Kooij (tenor sax + soprano sax) NL

Frank van der Kooij (1957, the Netherlands, Rotterdam) started his musical career at the age of 5. While his father, brother and sister were forever playing the piano Frank happily turned to playing the recorder until he was introduced to the saxophone when he was 14 and instantly fell in love with it. Three years later he performed at the Rotterdam Concert Centre with the first Dutch-Surinam afro-jazz band Toemoekhoemak (Tumuk humak), a formation that combined fusion and free jazz.

In 1985 he met English bass player Hugh Hopper and he soon joined the Hugh Hopper Band. After many tours and concerts in Europe they produced Carousel (1995).

Meanwhile, Frank started his own improvisation band NDIO in 2001. NDIO, including Hugh Hopper, has been very successful from the very first time they got on stage. The entire mix of musicians and styles involved in this project are typical for van der Kooij. NDIO epitomizes the approach he has had throughout his musical career to date: exploring different musical styles and bringing them together resulting in a fluid and “airy” fusion of jazz with elements of rock, folk, ambient, classical music and sampling.

Chris Caldwell.(baritone sax + soprano sax) GB

Chris graduated from the Guildhall School Of Music & Drama in 1986. As a performer he's been involved with some of Britain's leading contemporary composers and ensembles including The Delta Saxophone Quartet, The Mike Westbrook Orchestra, Michael Nyman Band ,Steve Martland Band, Almeida Ensemble and The Delta Saxophone quartet.

Chris has also performed with many of the UK's leading orchestras including the RPO, LSO, CBSO, Bournemouth SO, and the Philharmonia.

Currently Chris is part of the woodwind section in the West End production of 'La Cage Aux Folles', he has worked in the West End for the last 12 years playing in many productions including Les Miserables, Cats, Chicago, Follies, and City Of Angels.

His commercial work has seen International tours with the Dame Shirley Bassey Orchestra in Russia, Lebanon, Turkey, Cairo and the UK plus tours of Asia, Japan and Europe with the Michael Nyman Band, Grahamophones, and for a variety of Theatre groups.

Between 1999 and 2005 he ran a music management company, Music On The Edge which represented amongst others, Mike Westbrook, Delta Sax Qt, and Steve Martland. The company now is more a one- stop shop for Chris's musical tastes!

The 30th Annual Jazz Station Poll results by Brazil-born jazz historian & jazz educator Arnaldo DeSouteiro

Sax Barítono: 1º James Carter (“Present Tense” – EmArcy); 2º Joe Temperley; 3º Julian Arguelles; 4º Chris Caldwell; 5º Ronnie Cuber

Pete Whyman (alto sax + soprano sax) GB

Peter studied at the Guildhall School of Music and Drama with Yona Ettlinger, Anthony Pay and Tony Coe. After graduating he began working with Mike Westbrook, an association that has resulted in 11 albums and the performance of his saxophone concerto, and continues
to this day. Peter is a member of Between The Notes, Steve Martland Band, Delta Saxophone Quartet, The Barry Adamson Experience and Huw Warren Octet.

Currently Peter is also working with Elvis Costello, Orchestre National de Jazz, Everything but the Girl, Spiritualised, William Orbit and his own trio, recently featured on BBC Radio 3’s Jazz In Britain.

His musical world is extremely eclectic, and while he has played with The Philharmonia, the Royal Opera House Orchestra, Birmingham Contemporary Music Group, Lontano, Music Projects London, Terry Riley, Dawn Upshaw and as the clarinet soloist with Leonard
Bernstein in Prelude Fugue and Riffs, he has also performed and recorded with the likes of Pulp, Tom Robinson, Spiritualised, The The and Ute Lemper. On the other hand he has also appeared at all the major jazz festivals in Europe, and John Fordham, jazz critic in the Guardian has recently written “When Whyman switched to soprano his avoidance of
post-Coltrane cliche and the deft intelligence of his lines didn’t flag. A fine, and under-exposed virtuoso.....the level of technical certainty was awesome.”

Peter is also in constant demand as a recording artist, including two CDs with his Delta Saxophone Quartet, recent solo appearances on Spiritualised, Steve Martland, Elvis Costello and Barry Adamson recordings, and as a featured soloist on the David Lynch film, Lost Highways.

“The real revelation is the playing of Peter Whyman...extraordinarily confident, already something of a virtuoso.” Charles Fox, New Statesman

“...dominated by the remarkable playing of Peter Whyman, a sophisticated and highly accomplished young jazz musician.” Dave Gelly, The Observer

“The instrumental playing of Peter Whyman is thrilling.” The Times

“Peter Whyman’s virtuoso flights contribute enormously.” Financial Times

“...meticulously-crafted saxophone solos.” City Limits

Henk Weltevreden is, for most Canterbury music fans, at least a vaguely familiar name from album credits, interviews with various musicians who praised his concert promoting efforts, etc. But although he now favours writing and his active involvement in music belongs to the past, he has also had a very rich musical career throughout the seventies and eighties in his native Holland.

For Henk it all began in late 1967, when purely by chance he attended a Soft Machine gig at the Paradiso in Amsterdam. From then on his interest in music became central to his life. Around this time he formed his first band, the Traffic-influenced Delta 66 and some time later joined Soul Session and Plastic Fantastic Lover, playing organ.

A decisive meeting took place in late 1970 when, once again by chance, he saw a Kevin Ayers & The Whole World performance in Rotterdam. That night he met and started a friendship with saxophonist Lol Coxhill. Soon Henk started organising gigs and tours for Coxhill (solo or in trio format with Jasper van't Hof and Pierre Courbois), and was introduced by him to the rest of the Canterbury family, starting with Phil Miller, for whom he organised countless Dutch tours over the years - with DC & The MB's (July 1971), Hatfield and the North (March and June 1973, March and June 1974, April 1975), National Health (February and October 1977) and finally In Cahoots. Later connections led to similar services rendered to Henry Cow (December 1973, September 1974, May 1975 and April 1977), The Weightwatchers (September 1976), Elton Dean's Quartet (September 1977) etc.

In 1975, Weltevreden, who meanwhile had started travelling extensively around the world, an interest that has remained as strong to this day (he has so far visited 161 countries!), met ex-Henry Cow saxophonist Geoff Leigh, who was touring Holland with his current band, Radar Favourites. He organised further tours for that band, and its spinoff Rag Doll, until in December 1977 Weltevreden joined Leigh in his new venture, Red Balune (featuring bassist Colin McClure) one gig into their debut Dutch tour. That band toured extensively in Holland, and occasionally in Britain and Germany, and released a single, "Capitalist Kid" (1978), and an EP, "Maximum Penalty" (1979). [Some of this material has been included in a CD documenting Geoff Leigh's post-Henry Cow career, released on RéR USA]

In November 1979, having decided to slow down his activities as promoter, Weltevreden formed his own band, Slipover. This featured a line-up with dual keyboards - himself on organ and synth, and Willem Jan Droog -, string bassist Kees Meijlink (who also played the Stick), sax player Rutger van Otterloo, and drummer Gert van Seters. Slipover released a 33rpm EP in May 1980, and in April 1982, after the arrival of a new sax player, Peter van Bergen, recorded a full-length album which was never released.

Already during the Slipover period, Henk began working with texts on stage, reading them during instrumental pieces - texts about philosophy, music and philosophy, chance moments in music etc. He and Geoff Leigh even had a printed magazine, 'Random Art', which was given to members of the audience. "So more and more I became a writer. I'm always telling people that my writing career is an extension of composing and playing music...".

In November 1982, after leaving Slipover (which Willem-Jan Droog continued with a different line-up for a while), Weltevreden embarked on another, short-lived band venture, this time called Fads and Fallacies, whose line-up included guitarist Wim Pop, bassist Kees Meijlink (from Slipover), vocalist Margot Roelofs and drummer Frans Brobbel. Fads and Fallacies sadly never recorded, in spite of playing many gigs. It was briefly revived, with a new line-up (including ex-Slipover drummer Gert van Seters) between November 1983 and July 1984, after Henk came back from extensive travelling in Belize, Guatemala and Salvador.

Eventually, Henk came full circle by joining forces once more with Geoff Leigh. Random Bob was formed in August 1984, again featuring Colin McClure on bass, Ton Verbeek on drums and African percussionist Asad Oberoi. A tape, "Painting By Numbers", came out in early 1985, featuring improvisations recorded shortly after the formation of the band. Other tapes: "Equinox" and "Lubberdubs". Random Bob evolved into Oddjob, a variation of Random Bob featuring prestigious guests such as Phil Miller and Hugh Hopper, as well as second percussionist Tiki Eldridge (from Australia). Most notable was a four-date tour of the Netherlands in May 1985 by that line-up.

Other musical activities until Henk finally decided to quit music in 1988 (having finished his doctorate) included setting up and accompanying Richard Sinclair on a solo tour of Holland in April 1986. The pick-up band for the occasion included Wim Pop on guitar, Henk on keyboards and Coen Aalberts on drums.

By that time, Weltevreden had started work on his doctorate thesis in philosophy at Erasmus University in Rotterdam, which in 1988 led to the publication of his first book, entitled "Toeval als Gebeuren, My mask is my Master" (The Role of Chance in the Creation of Science, Art and Avant-Garde). The next year he left Holland to live in India for one year, working on a development project in Orissa (East India). In 1990-91 he lived in Boston, then Japan (organising tours via Virgin Music and the British Council), and worked in Changsha, communist PR of China (teaching philosophy) and Korea. During this period he still organised the odd tour for Phil Miller - In Cahoots in Japan (1991), and Miller-Baker in Lithuania and Russia (1992-93), also with help from the British Council.

Back in Holland 1993, he got a contract with a Dutch publisher, L.J.Veen, and became a novel writer. He has published the following books so far : "Levensvlagen" (1996), "De bril van Gandhi" (1998), "De Stier van Algeciras" (1999), "Mooi Meegenomen" (1999), "De Stralende Ster van Paekdu" (2000), inspired by his travel through North Korea. Henk's newest book, "Congo Blues" (2005), is an account of his visit to the Democratic Republic of the Congo, a theme that has a very personal resonance for Henk. "We have a Congolese girl, Ngudi, in our family", he explains. "She was born in Holland and has lived 7 of her 9 years in our family, and now the Duch government wants to send her 'back' to Congo, where she has never been. The reason : she is still 'illegal', and the Dutch governemnt has stopped giving permits to stay in many cases".

Henk has also produced many more small other publications and has contributed to various radio programmes for the VPRO, KRO, RVU and NPS.

--------------------------------------------------------------------------------

Appendix:

Henk Weltevreden's published books:

"Toeval als Gebeuren, My Mask is my Master - The Role of Chance in the Creation of Science, Art and Avant-Garde" (Erasmus University, Rotterdam - 1988) [NB: the book opens with 'Why are we sleeping?'] "Levensvlagen" (Uitgeverij Aspekt - 1996) "De bril van Gandhi" (Bureau Obelon - 1998) "De stier van Algeciras" (L.J.Veen, Amsterdam/Antwerp - 1999) [NB: the title story 'De stier (bull) van Algeciras' is based on 'Don Alfonso', sung by Lol Coxhill on his album 'Ear Of The Beholder', and the story 'Verkeerde beweging' is based on 'Wrong Movements', the biography of Robert Wyatt] "Mooi meegenomen" (L.J.Veen, Amsterdam/Antwerp - 1999) "De Stralende Ster van Paekdu - a trip through North Korea" (The Shining Star of Paekdu) (L.J.Veen, Amsterdam/Antwerp - 2000) "Het Grote Water" (SKVR Schrijversschool, Rotterdam - 2001) "Congo Blues" (RVU, Hilversum - 2005)
More web-information:

www.henkweltevreden.nl www.boekenwereld.com (type author: 'Weltevreden', and you will find the publications) www.vpro.nl/noordkorea (his work at the VPRO national radio, Hilversum) www.rvu.nl/berichten/weltevreden.html (his work at the Radio Volks Universiteit, national radio, Hilversum) www.skvr.nl - click: 'Schrijversschool' and search for 'reisverhalen' (information about his teachings, writings etc.)

noreply@blogger.com (Chris) — Mon, 09 Feb 2009 18:44:00 +0000

Some nice words about the DSQ's performance at Hugh Hoppers benefit, which was on 14th December 2008 @ the world famous 100 Club, Oxford St, London....

" .. The excellent DSQ set was all too short and hugely well received, in fact their take on Everything Is You was one of the night's top moments." Jazzwise Live Reviews Feb 2009.

noreply@blogger.com (Chris) — Tue, 03 Feb 2009 15:57:00 +0000

Something from the sunny south to warm us all up! A review from the Sydney Morning Herald... enjoy

Jazz Station - Arnaldo DeSouteiro's Blog: The 30th Annual Jazz Station Poll - The Best Jazz of 2008!

noreply@blogger.com (Chris) — Fri, 02 Jan 2009 12:37:00 +0000

Check Out the following poll to see the Delta sax Quartet mentioned in the top ten plus Graeme Blevins and Chris Caldwell making the listings in their own instruments catagory!

Jazz Station - Arnaldo DeSouteiro's Blog: The 30th Annual Jazz Station Poll - The Best Jazz of 2008!

Obama

noreply@blogger.com (Chris) — Wed, 05 Nov 2008 18:55:00 +0000

Welcome back to civilisation America- the world needs you. What a win for Obama. Congratulations from the 'creative sector' in the UK.

Press release for ICA event

noreply@blogger.com (Chris) — Sat, 13 Sep 2008 11:12:00 +0000

Press release for ICA/Music to silent film event: Delta Saxophone Quartet plays at the ICA, London

28th September 2008

Live Original Music set to silent film. Free workshop event run by Sergio Lopez

Free: booking details below:
Price:
Free; booking deadline 26th September, 5pm. You need to book separately to attend the workshop or the performance by email on a first come first served basis workshop@bigbang-lab.com (name, email, instrument)performance@bigbang-lab.com (name, email). Contact number for more information: +44 (0)20 7930 0493.

INVITATION TO A JOURNEY, A NEW EXPERIENCE OF CINEMA: Composing music to bring collective memories alive using film archives. LIVE SOUNDTRACK WORKSHOP: Have you ever performed live for a silent film? Big Bang Lab’s energetic musicians will be leading two workshops to produce new musical pieces. Bring your acoustic instrument or your voice to create and perform together live original compositions for silent films. First you will join forces with Elders Voice Community Choir to create a choral piece to a contemporary digital film. In the second workshop we will create a new instrumental piece for Unseen Voices, a film created by young students using archive footage from London 1940´s newsreels (www.unseenvoices.org). LIVE PERFORMANCE: We invite you to participate in a live musical chat show in a relaxed environment. Rikki Tarascas will introduce different sides of the world of new music for silent films in conjunction with the outstanding Delta Saxophone Quartet which will performing for the film L’invitation au voyage by Germain Dulac. We will be screening the iconic ‘Un Chien Andalou’ with a new recorded award winning score by Sergio López Figueroa produced for the Dalí Exhibition at Tate Modern. This eclectic programme of short silent films with live music includes early Tom & Jerry 1930´s cartoons, a contemporary animation with a prepared piano and a hilarious balloon orchestra performance for a comedy film fantasy made in 1904! You will get an insight into the issues around new music for silent films and the process of creating films re-using digitized archives. Big Bang Lab production in partnership with Lounge Event Co.

http://www.visitlondon.com/events/detail/3982345

noreply@blogger.com (Chris) — Sun, 07 Sep 2008 14:37:00 +0000

Leer- DSQ/Soft machine concert review

In Wirklichkeit noch besser als auf der CD
Konzert Delta Saxophon Quartet gastierte mit Musik der Rockjazz-Legende
Soft Machine in Leer
Das Ensemble ist in Großbritannien eine Institution. Mit Jazz hatten die
Musiker bisher nur privat zu tun.
Von Norbert Fiks
Leer - Das Delta Saxophon Quartet ist in Großbritannien eine Institution
in Sachen zeitgenössischer „klassischer” Musik. Moderne Komponisten wie
die Minimalisten Terry Riley und Steve Reich haben für das 1984
gegründete Ensemble Stücke geschrieben, als Botschafter ihres Landes
haben die vier Bläser schon in Usbekistan und Taiwan hochoffiziell
musiziert. Mit Jazz hatten die Musiker bisher nur privat zu tun bis
sie sich an die Musik der Stil prägenden Rockjazz-Band Soft Machine machten.
Vergangenes Jahr brachten sie eine viel bewunderte CD mit dem Titel
„Dedicated to you.\x0f.\x0f. but you weren‘t listening” heraus, am
Sonntagabend konnten ostfriesische Jazzfreunde das Delta Saxophon
Quartet (DSQ) im gut gefüllten Kulturspeicher in Leer erleben und
feststellen, dass diese vier Saxophonisten live noch besser sind als auf
Platte (was ein wenig auch an der Akustik des Raumes lag). Nach dem
ersten Stück, das die zahlreich im Saal sitzenden Soft-Machine-Kenner
unschwer als „Facelift” erkannten, erklärte Ensemble-Gründer Chris
Caldwell das Prinzip: Man nehme ein paar musikalische Phrasen, einen
Basslauf, die ersten vier Töne eines Stücks oder einfach nur „die Idee
von Soft Machine” und mache daraus etwas Neues, etwas Ungehörtes. Damit
beauftragte das DSQ junge britische Komponisten. Herausgekommen ist
Musik, die ein bisschen nach Soft Machine klingt und ganz viel nicht
oder genau umgekehrt.
Dieses Spiel mit dem Tonmaterial trugen Christian For\-shaw
(Sopransaxophon), Tim Holmes (Tenorsaxophon), Pete Whymann (Altsaxophon)
und Chris Caldwell (Baritonsaxophon) mit der Intensität und Leichtigkeit
von wahren Könnern vor. Da stimmte jeder Ton, jeder Einsatz, jede Geste,
jedes Detail der Ausführung. Auch wenn man noch nie etwas von Soft
Machine gehört hatte, war es Musik zum Genießen: mal locker und
verspielt, mal kraftvoll und dynamisch, mal liedhaft-harmonisch, dann
wieder tief in den Freiheiten des improvisierten Jazz eingetaucht.
Schade nur, dass das Delta Saxophon Quartet keine Zugabe spielte. Dafür
verabschiedeten sich Chris Caldwell und Co. mit dem Wunsch, wie viele
andere Künstler der Reihe „Jazz live im Speicher” von Stadt und VHS Leer
noch ein zweites und drittes Mal auf dieser Bühne stehen zu dürfen. Als
nächstes spielt dort übrigens am Mittwoch, 24.\x0fSeptember, das
Klaviertrio Braff, Oester und Rohrer.

--

Norbert Fiks
Ostfriesen-Zeitung
Zentralredaktion

Tel. 0491/9790179
Fax. 0491/9790201
n.fiks@ostfriesen-zeitung.de

noreply@blogger.com (Chris) — Sun, 07 Sep 2008 14:27:00 +0000

Music to Silent Film/ICA- 28th September 2008

Check out the start of a 'work in progress' for the DSQ and Sergio Lopez with this open rehearsal at the ICA, part of the Cultural Olympic 2012 for the UK + London.

mercury

noreply@blogger.com (Chris) — Wed, 23 Jul 2008 10:01:00 +0000

Sadly, even though we've had some fantastic reviews, the DSQ's latest disc proved a little too Mars for Mercury this year... Mercury Awards shortlist 2008

noreply@blogger.com (Chris) — Wed, 23 Jul 2008 09:51:00 +0000

Japan Calling... Can anyone translate this? (web link here)

　今回紹介するアルバムは、ロンドンを拠点に活動する『デルタ・サクソフォン・クァルテット』の新作で、ジャズやロックという境界を飛び越えた意欲的な作品群をNYより発信しているMOON JUNEレコード２００７年度作品である。レーベル・オーナーのレオナルド・パヴコヴィッチ氏は、旧ユーゴスラビア（現ボスニア・ヘルツェコビナ）出身でイタリア在住歴が長く、プログレッシブ・ロックとジャズをこよなく愛する。彼は、コンサート・プロデューサーとしての顔も持っていて、アラン・ホールズワースやミロスラフ・ヴィトゥス、さらには往年の“イタグレ”（イタリアン・プログレッシブ・ロック）の名グループ達、PFM、バンコ、アル・ティ・エ・メスティエレ等の日本及びアメリカ・ツアーを計画／実行してきている。おりを見てもっと詳しく紹介したい。
　プログレ好きは直ぐにピーンと来るだろうが、本作は、カンタベリー派の最重要バンド『ソフト・マシーン』へのトリビュート作だ。１曲に元ソフト・マシーンのヒュー・ホッパーも参加。自作の“ジャズ・ロック”の名曲「フェイス・リフト」で得意のファズ・ベースとループを聞かせてくれる。ホッパーは、『ソフト・マシーン・レガシー』という元メンバーを中心にしたバンドで、MOON JUNEレコードを中心にコンスタントにアルバムを発表してきている。もう一人のゲストとして、『モット・ザ・フープル』を始め、７０年代ブリティシュ・ロックを代表するバンドを遍歴したキーボード奏者モーガン・フィッシャーも参加している。しかし演奏の中心は、あくまで『デルタ・サクソフォン・クァルテット』の４人である。
　実を言うならば、過去に聞いた“サクソフォン・クァルテット”の作品群でこれといって感動した例は無いし（このジャンルを牽引してきた『ワールド・サクソフォン・クァルテット』や『ローバ・サクソフォン・クァルテット』の“代表作”は一通り聴いている）、トリビュート作という企画モノは余り趣味に合わない。まして『デルタ・サクソフォン・クァルテット』の名を目にするのは、今回が初めてとあって、このアルバムに対する期待はほとんど無かった。
　しかしである。手に入れて数ヶ月、僕はこのアルバムをもう何度となくCDプレイヤーにかけた。もう少し前に知っていれば、絶対２００７年度のベスト・アルバムに選んだであろう。
　先ず、このクァルテットが持つ “典雅”とでも形容したくなる気品を決して損なわないアンサンブルに耳を奪われる。インターネットで見つけた資料によると、彼らの結成は、１９８４年。フィリップ・グラス、スティーブ・ライヒと言ったミニマリズムの作曲家や、イギリスのジャズシーンを代表する作曲家・バンドリーダー=マイク・ウェストブルックの作品を取り上げた意欲的なアルバムを発表してきたらしい。
　その素養と経験は、収録曲の自発性を損なわない効果的なアレンジ、また色彩感に飛んだ多彩なヴァリエーションに直結している。特に、ヴァリエーションの豊かさは「表現に幅を着けるのが難しい“サクソフォン・クァルテット”というフォーマットによる作品」と言う事実を考えれば、賞賛に値する。
　具体例を挙げれば、ECM的静寂間を慕ったフリー・インプロヴィゼーションの小品（「Dedicated」他）、サイケデリックな攻撃感を慕ったジャズ・ロック風演奏（「Facelift」他）、バロック的なクラシシズムを感じさせる作品（「Outrageous Moon」他）。そんな中で、特に印象に残ったのは、（個人的に）これぞ『ソフト・マシーン』といえるミニマリズムな「Floating World」と、イギリス以外からは到底現れ得ないであろうパストラルなリリシズム（田園風景的情緒）を切に感じさせる「Aubade」と「Everything Is You」。特に「Everything Is You」は、近年稀に見る名アレンジ・演奏だと思う。同じくイギリスの生んだプログレの巨人『キング・クリムゾン』の最もジャズ／クラシック色の強いアルバム『アイランド』中のオーボエと弦楽器による前奏曲「Song of the Gulls」（名曲です）を思い出した。
　ECMのスティーブ・レイク氏が最大限の賛辞を送っているが、それに大いに納得できる素晴らしいアルバムだ。ECM／プログレ／クラッシック・ファン及び、その他のJT誌読者の皆さん、是非トライして見てください！NOBU STOWE JT

（須藤伸義／在バルチモア）

*『Delta Saxophone Quartet − Dedicated to you… but you weren’t listening』は、アマゾン／ディスク・ユニオン等で購入可能。
**バンド／レーベルの詳細は、以下のホーム・ページで：
DELTA SAXOPHONE QUARTET (www.deltasax.com)
MOON JUNE RECORDS (www.moonjune.com)

Japanese/Greek + Amazon UK review for Delta sax quartet/dedicated to you CD

noreply@blogger.com (Chris) — Wed, 02 Jul 2008 13:07:00 +0000

New Delta sax quartet reviews for CD dedicated to you but you weren't listening>

(http://blog1.musicfield.jp/du_do8/archives/progressive_rock_recommend_discs/british/index.html)

2008年MOONJUNE輸入盤　MJR017　2,300円）

　ソプラノ、アルト、テナー、バリトンのサックス４重奏によるユニークな編成の４人組は、1984年から英国の現代音楽～ジャズ・シーンで活躍するベテラン・グループ。
　これまでは現代音楽/ミニマル・ミュージックを基調に作品を発表してきた彼らですが、2007年に録音された本作はタイトル通り、ソフト・マシーンへのトリビュート作品!!サックス４管のみでカヴァーするという基本軸があるからこそ、DSQによるアレンジの妙がひときわ際立っています。特にソフツの名盤「Third」の1曲目「Facelift」や、同時期に書かれた「Mousetrap」のようなアグレッシヴな原曲も、そのパワーと構成美を力強く保ちつつ、４管編成ならではのフリーなアンサンブルで再構築。その根底を支える、音なきリズムの存在感には歯が折れそうです。
　本作にはソフト・マシーンのヒュー・ホッパー本人と、元モット・ザ・フープルで現在は東京で活躍するキーボーディスト・モーガン・フィッシャーがゲスト参加。面白所は7曲目の「Outrageous Moon」で、「Third」の名曲「Out-Bloody-Rageous」と「Moon In June」を合体してしまい、さらに「Moon In June」のヴォーカルをモーガン・フィッシャーがとっています。意外なほどソフトなハイトーン・ヴォイスのため、原曲のワイアット声にソックリ！この曲と「Facelift」のベースはホッパーが弾いています。
　さらに2人は08年6月に予定されていたHUMI（Hugh Hopper+Yumi Hara Cawkwell）の来日公演時に再度共演する予定でしたが、ホッパー氏の坐骨神経痛のため来日は延期に…。無事の復活を願っております。

A Worthwhile Makeover, 30 May 2008 ***** (5 star Amazon UK review)
By
pjr (London, England) - See all my reviews (http://www.amazon.co.uk/gp/pdp/profile/A2TLX0ZA4IDG9N/ref=cm_cr_dp_pdp/203-0900361-3733566)

I purchased this on a whim having recently discovered how good "Third" and "Fourth" are. This is something different and highlights the beauty and complexity of the compositions.

I confess I'm not all that familiar with all of the originals of these pieces but it does not in any way dispel the pleasure of these recordings. Here the works are given not so much a new arragement, more a reimagining. The new setting suiting the pieces well.

The playing throughout is excellent with the players entwining themselves around both the music and each other. Many of the pieces are slower and thoughtful but occasionally they burst out. Whilst pieces like "Everything Is You" have a wonderful meadative quality "Mousetrap" manages to burst free. It has a dynamic feel and also feels a lot more like a piece of classical minimalism than an jazz-rock piece.

The sound is clean and the playing uniformly excellent. It is not the most straightforward of records but there is much to enjoy here. The original fans of the band (especially the stuff from "Third" onwards) are quite likely to like this. A surprisingly excellent work.

(http://www.dprp.net/reviews/200828.php#delta)

Delta Saxophone Quartet seem to have discovered rather late the heritage of a band so diverse, so dynamic and prolific as The Soft Machine. Apparently also being characterised by perpetual shifts in style, philosophy and direction, they have started doing thought provoking covers (I'm using their MySpace words!) of minimalists Steve Reich and Philip Glass and ended up trying to introduce law and order in the music of a band whose career before Seven showed significant despise for order. In this effort they are also assisted by original Soft member bassist Hugh Hopper. The band consists of Graeme Blevins on soprano sax, Chris Caldwell on baritone sax, Tim Holmes on tenor and Pete Whyman on alto - you guessed it - sax. Four daring mature musicians about to engage in an endeavour of unmatched challenge. And you know what? Who dares wins.

Most of the material covered here is from the "not so early Soft Machine period" - Noisette and Third (both from 1970) are the most represented albums. If you remember or know about these albums, they consist in very lengthy tracks that are not really homogeneous and that mix witty and smart ideas with lots of background themes that do not really make it to the first league and, as one might expect from the era, contain a fair amount of psychedelia. What these guys did here is smart: they filtered this amalgam of useful and useless things twice: once by eliminating the really unnecessary experimentation and a second time by adding a more jazz-oriented dimension to the music. Does that mean that imagination gets suppressed? Not at all: they recreate the rich dynamics inherent in Soft Machine's music with different means: 4 saxophones that alternate in solo's and in song building. Pretty smart if you ask me and very, very convincing. In fact, after hearing this album countless times from the day I got it into my hands for review, I have developed a clear preference for THEIR approach to Soft's music, when comparing to the original - at least when we are talking about these early tracks.

Let me give you some concrete examples here: The chamber music feel that was hidden in Kings And Queens (out of Fourth) original version; I only discovered this side of the song after I heard DSQ's Kings & Queens 33 Years Later. The incredibly turbulent dynamics of Facelift that tend to get lost due to the prohibitive length of the original (thumbs up here for the incredible work of the alto sax...) emerge triumphant in DSQ's version. Another example: Outrageous Moon which integrates and summarises two songs summing up to more than 25 minutes of music into an almost 6 minute beauty, by smartly concatenating the names of the two original tracks (Ratledge's Out Bloody Rageous and Wyatt's Moon In June). Not only the most juicy ideas from the originals are preserved, but also the band shows how they can merge ideas originating from two competing composers. Tough stuff but so well done!

Concerning Mousetrap, even if it's a good piece of work, it makes me miss a little bit the drums that I find an indispensable part of the original song construction. At this point I really want to raise a complaint: why is Six not represented here? For me, Six stands for the period of the band where the experimentation and wealth of ideas of the past are brewed together with a more mature style and approach, producing a more funky/jazzy effect. Pity! Then, there are also some picks from Soft's more tidy and more fusion era: Floating World, and Aubade and The Tale Of Taliesin from Bundles and Softs, respectively (my favourite Soft Machine albums). How do DSQ score here? Well, the result this time is less impressive, since the original works do not lack in coherence; the re-workings sound extremely well played and honest, but this is exactly an example where the original has a beauty that the cover cannot match. Also, the Soft's tracks are haunted by the majestic guitar works of Holdsworth/Etheridge, but of course that's another story! Still, I can't help hallucinating on the idea of four saxophones trying to reconstruct Hazard Profile's frantic fusion guitar work! - Maybe an idea for a future project?

The Delta Saxophone Quartet have been engaged in an extremely hard task: to revisit music that is hard to describe, categorise or even recreate. The band Soft Machine Legacy have lately tried to do something of a kind, but according to me the approach of these brass-only guys yields even better results. This is an album that complements both i) Soft Machine's legacy (literally), ii) Soft Machine Legacy (the band). It is also an album that can be heard by fans of The Soft Machine - or not. Pure jazz fans that never knew the Softs or that considered them out of the jazz repertoire might also be convinced to give all those 70's great records a try. I know many people that dislike Soft Machine's free form improvisation and psychedelic influences. It is here that DSQ come in and offer a tidy, jazz-oriented version. However, I feel like stressing that even if I might essentially disagree with those that like the idea of getting to the point via 100 detours, that like a track of a nucleus of 7 minutes to be stretched to 17, I can still understand them if they say that this is a bit too clean. All in all, this is a record with an extraordinary flow, that one can enjoy from beginning to end and, for the vast majority of its moments, simply wonder from time to time: Do I know this tune from somewhere? That's something rare for cover albums, ain't it?

Conclusion: 8.5 out of 10

CHRISTOS AMPATZIS (http://www.dprp.net/credcon/index.php#christos)

This Delta CD has also been entered for this year's Mercury Music prize so keep your fingers crossed for a shortlisting!!....

noreply@blogger.com (Chris) — Mon, 16 Jun 2008 19:23:00 +0000

Latest DSQ review from Greece.

http://www.dprp.net/reviews/200828.php#delta

Delta Saxophone Quartet seem to have discovered rather late the heritage of a band so diverse, so dynamic and prolific as The Soft Machine. Apparently also being characterised by perpetual shifts in style, philosophy and direction, they have started doing thought provoking covers (I'm using their MySpace words!) of minimalists Steve Reich and Philip Glass and ended up trying to introduce law and order in the music of a band whose career before Seven showed significant despise for order. In this effort they are also assisted by original Soft member bassist Hugh Hopper. The band consists of Graeme Blevins on soprano sax, Chris Caldwell on baritone sax, Tim Holmes on tenor and Pete Whyman on alto - you guessed it - sax. Four daring mature musicians about to engage in an endeavour of unmatched challenge. And you know what? Who dares wins.

Most of the material covered here is from the "not so early Soft Machine period" - Noisette and Third (both from 1970) are the most represented albums. If you remember or know about these albums, they consist in very lengthy tracks that are not really homogeneous and that mix witty and smart ideas with lots of background themes that do not really make it to the first league and, as one might expect from the era, contain a fair amount of psychedelia. What these guys did here is smart: they filtered this amalgam of useful and useless things twice: once by eliminating the really unnecessary experimentation and a second time by adding a more jazz-oriented dimension to the music. Does that mean that imagination gets suppressed? Not at all: they recreate the rich dynamics inherent in Soft Machine's music with different means: 4 saxophones that alternate in solo's and in song building. Pretty smart if you ask me and very, very convincing. In fact, after hearing this album countless times from the day I got it into my hands for review, I have developed a clear preference for THEIR approach to Soft's music, when comparing to the original - at least when we are talking about these early tracks.

Let me give you some concrete examples here: The chamber music feel that was hidden in Kings And Queens (out of Fourth) original version; I only discovered this side of the song after I heard DSQ's Kings & Queens 33 Years Later. The incredibly turbulent dynamics of Facelift that tend to get lost due to the prohibitive length of the original (thumbs up here for the incredible work of the alto sax...) emerge triumphant in DSQ's version. Another example: Outrageous Moon which integrates and summarises two songs summing up to more than 25 minutes of music into an almost 6 minute beauty, by smartly concatenating the names of the two original tracks (Ratledge's Out Bloody Rageous and Wyatt's Moon In June). Not only the most juicy ideas from the originals are preserved, but also the band shows how they can merge ideas originating from two competing composers. Tough stuff but so well done!

Concerning Mousetrap, even if it's a good piece of work, it makes me miss a little bit the drums that I find an indispensable part of the original song construction. At this point I really want to raise a complaint: why is Six not represented here? For me, Six stands for the period of the band where the experimentation and wealth of ideas of the past are brewed together with a more mature style and approach, producing a more funky/jazzy effect. Pity! Then, there are also some picks from Soft's more tidy and more fusion era: Floating World, and Aubade and The Tale Of Taliesin from Bundles and Softs, respectively (my favourite Soft Machine albums). How do DSQ score here? Well, the result this time is less impressive, since the original works do not lack in coherence; the re-workings sound extremely well played and honest, but this is exactly an example where the original has a beauty that the cover cannot match. Also, the Soft's tracks are haunted by the majestic guitar works of Holdsworth/Etheridge, but of course that's another story! Still, I can't help hallucinating on the idea of four saxophones trying to reconstruct Hazard Profile's frantic fusion guitar work! - Maybe an idea for a future project?

The Delta Saxophone Quartet have been engaged in an extremely hard task: to revisit music that is hard to describe, categorise or even recreate. The band Soft Machine Legacy have lately tried to do something of a kind, but according to me the approach of these brass-only guys yields even better results. This is an album that complements both i) Soft Machine's legacy (literally), ii) Soft Machine Legacy (the band). It is also an album that can be heard by fans of The Soft Machine - or not. Pure jazz fans that never knew the Softs or that considered them out of the jazz repertoire might also be convinced to give all those 70's great records a try. I know many people that dislike Soft Machine's free form improvisation and psychedelic influences. It is here that DSQ come in and offer a tidy, jazz-oriented version. However, I feel like stressing that even if I might essentially disagree with those that like the idea of getting to the point via 100 detours, that like a track of a nucleus of 7 minutes to be stretched to 17, I can still understand them if they say that this is a bit too clean. All in all, this is a record with an extraordinary flow, that one can enjoy from beginning to end and, for the vast majority of its moments, simply wonder from time to time: Do I know this tune from somewhere? That's something rare for cover albums, ain't it?

Conclusion: 8.5 out of 10

CHRISTOS AMPATZIS (http://www.dprp.net/credcon/index.php#christos)

Hungarian to me

noreply@blogger.com (Chris) — Thu, 01 May 2008 10:08:00 +0000

Help, a new review for DSQ album but in Hungarian, even Babelfish can't help. Any translations??

Italian review- Delta Saxophone Quartet

noreply@blogger.com (Chris) — Thu, 17 Apr 2008 11:06:00 +0000

Another review for the CD Dedicated to you but you weren't listening, in Italian. can anyone translate? Ciao! Delta sax quartet

noreply@blogger.com (Chris) — Wed, 09 Apr 2008 21:12:00 +0000

Dedicated To You But You Weren't Listening, Delta Saxophone Quartet with Hugh Hopper, Music Of Soft Machine:

Reviews scanned as jpegs in French/Dutch and Norwegian!

Click the image and zoom in.

noreply@blogger.com (Chris) — Wed, 09 Apr 2008 20:25:00 +0000

Welcome to the Delta Sax Quartet Blog.

Check out the quartet's webpage or myspace by clicking the links.

A variety of Delta CD and concert reviews can be found here.

Click and enlarge these jpegs for some magazine reviews.