Dedicated To You But You Weren't Listening, Moonjune (MJR017)

Released US November 2007/UK April 2008

Editors choice/Best of 2007

John Kelman, allaboutjazz

Glen Astarita, jazzreview (see review below)

Karl Lippegaus,Süddeutsche Zeitung (see review below)

Steve Lake, (see review below)

Kevin Lynch, (best jazz-fusion album 2007)

Peter Tush, DJ on WMNF.org

Dave DiMartino,yahoo music

Terry Collins Jakarta-What's Rattlin' (see below)

Badre B Impakte (see review below)

Kalx FM- Berkeley USA (DJ Robin, faves 2007)

Will Romano favorite drumming album of 2007!, Modern Drummer Magazine

Gaglia web radio Top 20 album list (in charts for 7 weeks)

dmme.net *****

Harmonie Magazine - France, album of the month

Pure saxophone ensemble plays gracefully blended English jazz-fusion impurities.

Kevin Lynch, (best jazz-fusion album 2007)   (USA)    

Hushed brass, wild imagination: on, where even Robert Wyatt feared to tread, Hugh Hopper hopping onboard.

Four saxes are what it takes to render beatiful one wonderful idea of a record which works two ways. A casual listener is welcomed to an avant-garde kind of lounge bliss, while a SOFT MACHINE rider is in for a special treat that present these 14 cuts of the band's tunes re-imagined by modern composers and laid out for the reeds quartet. Imagination leads into the deep here, with the deliate "Dedicated" built around the lead-in notes of Hugh Hopper's titular number and the meister himself adding bass to "Facelift", where Chris Caldwell's baritone, Graeme Blevin's soprano, Peter Whyman's alto and Tim Holmes' tenor gentle beasts sing in unison before running amok each on its own to get back in the pack again. Talk about blessing, then, as the London's Kingston University resident ensemble's other guest is MOTT THE HOOPLE's organist Morgan Fisher providing otherworldly vocals and hurdy gurdy for "Outrageous Moon", a handsome bastard son of "Moon In June" and "Out-Bloody-Rageous". Program it all right with the stately "Noisette", and the consise alternative version of "Third" comes into the light.

The most quirky the drift gets when the foursome harness their own wind with the classic spirit to fill the sails of "You". Yet while the soprano solo of "Everything Is You" whispers Faure, the burlesque jive of "Mousetrap" removes all suspicions that the players take it all all too seriously. That's the secret of all the joy here, so there's no excuse now for those who weren't listening the first time around. Bravissimo!

***** dmme.net   

DELTA SAXOPHONE QUARTET With Guest HUGH HOPPER - Dedicated To
You...But You Weren't Listening: The Music Of Soft Machine (Moonjune
017; USA) This is a most extraordinary date and is so much more than
anyone could have imagined. The Delta Sax Quartet feature Graeme
Blevins on soprano sax, Pete Whyman on alto sax, Tim Holmes on tenor
sax and Chris Caldwell on bari sax, plus special guests Hugh Hopper
on electric bass & loops and Morgan Fisher on vocal, hurdy gurdy &
electronics for one track each.

The great Delta Sax Quartet (DSQ),
founded in 1984, and in the recent five years the ensemble in
residence at Kingston Universtiy in Britain, have several fine discs
out - including one on FMR and have covered the music of Terry Riley,
Mike Westbrook, Steve Martland, Steve Reich, Gavin Bryars, Michael
Nyman, Philip Glass, and Karl Jenkins [of Soft Machine/Nucleus fame].
The music of Soft Machine, considered to be England's most
influential progressive/jazz/rock band, was always a work-in-
progress. The personnel and sound changed/evolved on each of their
eleven albums with only one original member (Mike Ratledge) remaining
from their humble beginning in 1967 to the bitter end in 1976. Soft
Machine was influenced by Terry Riley and utilized their own tape
loop experiments, which can be heard on albums 'Third' and 'Six'.
This influence was pervasive and ran like an invisible thread
throughout much of their history. Even when they stopped using tape
loops, the cyclical, repeating or minimal sound remained. Rather than
just play the music from various Soft Machine records ('Volume Two'
through 'Bundles'), the Delta Sax Quartet have written their own
arrangements (often altering and evolving further), as well as
composed a few of their pieces with the Soft Machine sound in mind.
Another magical quality of the Soft Machine sound, was their ability
to float in a dreamlike way and this quartet is the perfect choice to
do this justice.

Opening with an extrapolation of Hopper's "Dedicated
to You, But You Weren't Listening", the quartet sails into Hopper's
incredible "Facelift" with Hugh's electric bass and loops adding
something special. The original version of this piece (which opened
'Third') was live from two different concerts and had some distorted
sounds, like fuzz-organ and fuzz-bass. Here, Hopper's rich and
haunting melodies, as well as his warm, tasty electric bass blend
into a sublime mix, with an excellent soprano solo to make it even
better. The quartet take part of "Kings & Queens' from 'Four' and
rearrange it with layers of echo and repeating phrases, both used to
make it quite hypnotic. Hugh's "Mousetrap" (only found on live
recordings), is rich in layers of complex harmonies and is superbly
performed. On "Everything is You", Blevins' soprano sax is featured
and sounds more like an oboe in the middle of a Baroque string
quartet. One stroke of genius is blending two very different pieces
from 'Third', Robert Wyatt's "Moon in June" with Mike Ratledge's "Out-
Bloody-Rageous". Morgan Fisher guests distant, spooky Wyatt-like
vocals and eerie hurdy-gurdy sounds.

There is too much wonderful
music found here to mention it all and at one hour, it is
consistently fascinating. The Delta Saxophone Quartet do an amazing
job of illustrating the cosmic thread the runs through all of the
great music that Soft Machine provided during their decade-long
transformation. - BLG' (12th October 2007)

(Downtown Music Gallery- New York- USA)

The legacy of Soft Machine continues to be felt to this day through alumni-related projects including Soft Bounds, Soft Mountain and Soft Machine Legacy. But it’s the Delta Saxophone Quartet’s Dedicated to You…But You Weren’t Listening—The Music of Soft Machine that may be the most revelational…and revolutionary look at a legendary British group that ran the gamut from post-Dadaist psychedelia to free jazz and fusion between 1966 and 1981.

Those familiar with Soft Machine can draw a tenuous thread through its fifteen-year run. DSQ brings that line—regardless of period, context or composer—into sharp focus, with arrangements of material as early as the title track, from Volume Two (Probe, 1969), and as late as “Aubade” and “The Tale of Taliesin,” from Softs (Harvest, 1976).

That the two Karl Jenkins tracks from Softs have a pastoral British feel is no surprise, given his post-Softs Ademus projects. But it’s the beauty DSQ find in bassist Hugh Hopper’s material—long considered more idiosyncratic and oblique—that proves the most unexpected. “Facelift,” with a guest appearance by the bassist, remains a quirky, episodic piece, also featuring tenor saxophonist Tim Holmes and soprano saxophonist Graeme Blevins.

“Somehow with the Passage of Time…Kings and Queens 33 Years Later,” on the other hand, refashions this equally abstruse tune from 4 (CBS, 1971) into rich contemporary classicism—at least until its midpoint, when Hopper’s signature figure drives altoist Pete Whyman’s visceral solo. “Everything is You” is dramatic yet beautiful, while “Noisette,” pushed forward by propulsive baritone saxophonist Chris Caldwell, would work equally well with a small chamber orchestra.

That half the material chosen is Hopper’s—with three by Jenkins and only one track referencing keyboardist Mike Ratledge and drummer/vocalist Robert Wyatt—might seem surprising to Soft Machine fans. But DSQ’s combination of innovative commissioned arrangements and greater spontaneity suggest that Hopper’s compositional contributions to Soft Machine may have been unfairly overshadowed. Even the three freely improvised tracks—“Dedicated,” “To” and “You,” find Hopper as their base inspiration.

“Outrageous Moon” combines Ratledge’s “Out-Bloody-Rageous” and Wyatt’s “The Moon in June,” both from Soft Machine’s seminal Third (CBS, 1970); a clever melding of two seemingly disparate pieces. Guest Morgan Fisher’s outré vocals, rather than dominating, become an integrated part of the minimalist-informed first section, while his electronics texturally open up the second half. The near-ambient nature of Jenkins’ “Floating World” also references Soft Machine's sometimes pervasive interest in Terry Riley-inflected minimalism.

While much of Dedicated is acoustic, processing figures strongly on the three improvised tracks, linking DSQ with its plugged-in inspiration. All four saxophonists mesh seamlessly as an ensemble while, at the same time, demonstrating plenty of individuality. Perhaps it doesn’t seem so strange, after all, to hear the music of Soft Machine reworked for a largely classical repertory saxophone quartet. It’s just one more example of how stylistic boundaries are being dissolved, and proof that the best material can be re-imagined into any context. John Kelman (Nov.9th 2007) ,

All about Jazz (USA jazz website)

“... quite sure this is one of the year's best albums. This group is in exceptional form: in tune at all kinds of levels, with each other, with their subject matter and literally - terrific ensemble intonation and purity of tone. They all sound very good (there's an especially touching quality to the character of Graeme Blevins's soprano) and they are convincing as both interpreters and improvisers in a set that is intelligently-produced and thought through. When the quartet want to, as on the strange "Outrageous Moon" (a simultaneous reading of both "Out-Bloody-Rageous" and "Moon in June") they can, between them, get very close even to the phrasing of Ratledge's organ figures. The Delta Sax Quartet has found a historical continuity in the music of the Soft Machine that sometimes escaped its original protagonists.
Steve Lake, What's Rattlin' web-blog.

Although this is a program consisting predominantly of music written by (now) ex-members of Soft Machine, the line taken is about as far from repertory as possible. It amounts to a rethinking of music that was nearly always distinctive. The approach here ensures that it ends up only more so, and not simply because a saxophone quartet is some kind of polar opposite to how that band rendered the music.

The fact that the music is able to withstand such scrutiny is no small testimony, and when the quartet is joined by bassist Hugh Hopper--a stalwart of the most worthwhile Soft Machine lineups some thirty-odd years ago--on his “Facelift,” all sorts of new musical vistas open up, not the least of them being the notion of the piece as an example of chamber music of an idiosyncratic order.

“Mousetrap,” also from Hopper’s pen, has always been a piece that emphasizes his distinctive melodic sense. The fact that it’s taken in such an unadorned fashion here allows the melody to breathe whilst the horns collectively have a ball with it, their empathy as a unit really coming to the fore in the way they seem to phrase as one, the individual selflessly serving the needs of the collective.

Both the group and Hopper the composer reveal much of themselves on the ineffably lovely “Everything Is You,” and again the idea of rarefied chamber music springs to mind. In his solo, soprano saxophonist Graeme Blevins seems also to have absorbed a lesson from the composer in the sense that he never uses two notes when one will do. The effect overall is moving without being mawkish, and that’s something that’s all too rare these days.

This group’s reading of Karl Jenkins’ “Aubade” is out of necessity given the kind of pared-down reading it would never have received in the hands of any of Soft Machine’s later overtly fusion-oriented lineups. Again, the impression is of how lovely an essentially simple, unassuming melody can be. It’s further emphasized by Hopper’s “Dedicated To You,” that also has the effect of underscoring how melancholically English a lot of that man’s melodies are, even when one disregards the potentially contentious issue of national identity in music.

Given the instrumental lineup here this could have ended up as a soporific exercise. The fact that it doesn’t is tribute not only to the musicians involved but also the composers. As such it amounts to a potent case for musical reinvestigation as a valid artistic exercise.
Nic Jones, allaboutjazz (2nd review on this website)

The Delta Saxophone Quartet are the furthest removed from their source originals, even though Dedicated To You...But You Weren’t Listening directly addresses the Soft Machine songbook. Inviting six arrangers to reshape the classic oeuvre for a saxophone foursome, the Deltas have ended up with a diverse set of impressionistic results, slanted as opposed to literal, from harmonious chamber flotations to scrabbling, electrically-doctored rabbles. It’s this very balance that makes the album so attractive. There is real reason to retread old ground when the source material is being so utterly revivified. Morgan Fisher is the best-known of the arrangers and he contributes voice, hurdy gurdy and electronics to “Outrageous Moon”, which is one of the most striking interpretations. His non-corporeal vocal declamations vie with a treated saxophone solo that manages to fuse the mangled sound of a virtual bass, guitar and organ composite into a micro-Soft Machine homage. Hugh Hopper guests on his own “Facelift”, though his bass and loops are a subtle presence. Several chapters lead from abstraction to dense riff-structures, eventually introducing electronics, spreading frosted textures.

All of these albums display a fondness for a past output that isn’t compromised by predictable interpretations. In all three cases, the root material acts as a launching pad for further explorations. Martin Longley Allaboutjazz (3rd review on this site)


The Soft Machine's jazz and systems-inflected rock used to seem very much of its psychedelic time. Yet here's one of Europe's most distinguished new music ensembles with a brand new album based on the band's repertoire. After a long procession of old Soft Machine live recordings and radio sessions - plus endless tribute and spin-off bands - it is refreshing to hear such an intelligent reinvention. The arrangements, by contemporary composers such as Joe Duddell and Paul Englishby, have the precision and intellectual rigour of Soft Machine at their best. Moving the compositions from rock-band format to the more exposed, "classical" sound of the saxophone quartet gives pieces such as Mousetrap, Noisette and Floating World an emotional dimension that is quite different from the originals. Soft's bassist and composer, Hugh Hopper, guests on Facelift, and you are reminded that his famously exquisite title track would sound good on anything, even a nose flute. (****)John L Walters Guardian Unlimited © Guardian News and Media Limited 2007 (UK)

This is a fierce,passionate, yet giddily lyrical evocation of the music of cult psychedelia/prog-jazz band the Soft Machine, with arrangements by a number of composers, including Joe Duddell, Issie Barratt and DSQ themselves. While Soft Machine fans will struggle to whistle any of the tunes, the overall feel seems exactly right, mixing unapologetic experimentalism with yearning English pastoral, as Kentish as Michael Powell's, A Canterbury Tale. Soft Machine bassist Hugh Hopper guests on Facelfit while Morgan Fisher's Outrageous Moon conjures up the shade of Robert Wyatt (exceptional) Phil Johnson, Independent On Sunday,25/11/07 (UK)

The pioneering jazz-rock group Soft Machine finally disbanded in 1984, spawning many a devotee-laden tribute band. But it is The Delta Saxophone Quartet, formed in the same year, who daringly capture the free spirit of the original. Adding their own improvisations to interpretations by seven different contemporary composers, the quartet's rounded sonorities render the Soft Machine's unruly roar into bucolic reveries, panoramas and an occasional free-form thrash. **** Mike Hobart, Financial Times week-end edition (12/13/Jan.2008)(UK)

Formed in 1984, the modus operandi of this saxophone quartet is rooted within performing a select sampling of a given artist/composer’s discography. They’ve tackled and re-stylized works by minimlaist composers, Steve Reich and Philip Glass for example. However, this newly issued product marks my introduction to the U.K., based quartet. And why life sometimes offers unanticipated surprises, I’ll go out on a short-limb by asserting that this new album will be a no-brainer type selection for my 2007 top-ten list.

One of the great progressive/jazz-rock bands of all time gets a personalized makeover here, featuring Soft Machine bassist Hugh Hopper chipping-in on one track. More importantly, the quartet executes these distinctive compositions with a sense of ownership that’s noticeable from the onset. In essence, the musicians offer a bit of tender loving care within the body of these gorgeously crafted reinventions. Much as an artist would carefully dab a canvas. Enamored by a pristine recorded sound, the quartet executes layered choruses and feathery passages while maintaining the Soft Machine’s wistfully melodic aura.

On “Mousetrap,” they render pumping lines, wrapped into a sonorous and melancholic series of movements. With circular phrasings and emotively-generated rhythmic flows, the band’s expansive musical plane comes to fruition here and throughout. No doubt, many of these works boast expansive frameworks amid harmonious group interplay and a mosaic of sentiments. And on “Everything Is You,” Graeme Blevins’ lush soprano sax work could reduce a man to tears. Hence, it’s a powerful statement via the band’s gracefully enacted melodies and intricately engineered outline of concepts and practices.

Guest artist Morgan Fisher performs on a hurdy-gurdy while using subtle electronics and vocalizing during “Outrageous Moon.” In addition, Fisher’s vocals emit notions of a shadowy character lurking in the background to complement the quartet’s weaving ostinatos. And in other regions of this disc, the artists’ soar skyward while offering a counterbalancing set of musical environs. To paraphrase Bob Dylan, the ensemble sounds as though “they’re knocking on Heaven’s door,” within the sum of the parts of this stunningly attractive program. (A newly-found desert island disc, indeed. Glen Astarita www.jazzreview.com (USA)

One of the year's
finest jazz albums--and something of a surprise--is
this Brit quartet's tribute to the UK's pioneering
band Soft Machine, who during the late '60s and '70s
made some of the finest albums in contemporary
music. Featuring an appearance from Soft Machine
bassist Hugh Hopper and 14 colorfully arranged tracks
taken from all stages of the band's career, this album
is melodic, inventive, by no means as harsh sounding
as you might expect from the saxophone quartet format,
and, sadly, not the sort of thing you'd want to
hear before watching a Celine Dion DVD!
(How Now Bow Wow?
Posted Tue. Dec 11, 5:37 AM ET by Dave DiMartino in
New This Week ) (USA)

the Delta Sax Quartet album is destined to be one of my all-time favourites. As the inner sleeve notes say, there is no one track which stands out, although I do prefer the chamber
sounds to chill too ~ occasional sounds of Jan Garbarek at times. I've since
spent hours trawling through the SM catalogue attempting to make a Dedicated to
Delta Sax Quartet tribute album. Terry Collins (Indonesia/Jakarta)What's Rattlin' website

Un improbabile progetto, come quello che vede la musica dei Soft Machine affidata ad un quartetto di sax che si occupa normalmente di musica da camera d’avanguardia, si rivela invece un azzardo perfettamente riuscito e questo eccellente album, pubblicato dalla Moonjune Records, rimarrà certamente una pietra miliare sia per la carriera artistica dei quattro non più giovanissimi musicisti anglofoni che compongono il quartetto di sax, sia per l’eredità artistica del gruppo di Canterbury che ha lasciato tracce indelebili nella musica del secolo che ci siamo lasciati alle spalle meno di dieci anni fa.

Il Delta Saxophone Quartet, fondato oltre venti anni fa, normalmente si muove, come detto, più sul versante della musica di avanguardia che non su quello del jazz e tanto meno del rock. Ma nelle loro capaci mani la musica dei Soft Machine, gruppo che non è mai stato ben etichettabile ma che ha tenuto sapientemente i piedi in questi due generi, prende ulteriore vita e si riorganizza nello spazio come solo le aeree sculture di Alexander Calder e Jean Tinguely sanno fare.

I brani scritti da Hugh Hopper, Mike Ratledge, Robert Wyatt e Karl Jenkins si materializzano come oggetti ‘mobili’ che si muovono e si assestano sotto il soffio del vento. Delicate sculture pluridimensionali che prendono una vita propria e corrono incontro al destino senza alcuna paura. Persino le tre composizioni scritte da Karl Jenkins, nel periodo meno eccitante dei Soft Machine, quello del jazz-rock un po’ schematico e codificato, riescono a brillare di luce propria, lontane dalla meccanicità dei riff, perse nel tempo e nello spazio.

Alcuni brani sono stati scritti appositamente da membri del Delta Saxophone Quartet, ma la fonte di ispirazione è sempre ben focalizzata attorno ai lavori dei Soft Machine. Anche gli arrangiamenti, commissionati a moderni compositori che fanno parte del giro di amici del quartetto, sono caratterizzati da una unità di intenti del tutto rimarchevole. In particolare, vogliamo segnalare la bellissima “Outrageous Moon” che si ispira alla “Moon in June” di Robert Wyatt e alla “Out-Bloody-Rageous” di Mike Ratledge e che mette in campo il momento forse più poetico di un album che è tutto da gustare e da riascoltare. Senza dimenticare la esotica “Noisette” piena di rughette deliziose e la perfetta “Facelift” che vede in campo anche il basso ospite di Hugh Hopper, per una versione che appare e scompare nelle nebbie del tempo. Mauricio Comandini Italia All about Jazz(Italy)

Das Delta Saxophone Quartet aus London ehrt
mit der neuen CD die legendäre Soft Machine.
Die Kultband des psychedelischen Jazzrock
hatte ihre kreativste Zeit zwischen 1968-72.
Momentan werden sie und ihr ex-Schlagzeuger
und Sänger Robert Wyatt auch von der
deutschen Presse gefeiert wie noch nie:
das Musikmagazin ´Rolling Stone` widmete
ihnen unlängst 16 Seiten. Die CD „dedicated
to you…“ ist aber keines von vielen
‚Tribute’-Alben, sondern eine zeitgemäße
Konfrontation, mit dem Nonkonformismus der
‚sanften Maschinisten´. Eine glänzende Idee
war es, berühmte Stücke wie „Facelift“
(mit Gründungsmitglied Hugh Hopper
am E-Bass), „Mousetrap“ oder „Moon
in June“ von jungen Komponisten wie
Adrian Revell oder Paul Englishby für
vier Saxofone neu arrangieren zu lassen.
Perfekt und phantasievoll wie ihre
Hörner beherrschen die Delta Sax-Leute
auch das moderne Tonstudio: für jedes der
vierzehn Stücke schufen sie ein eigenes
Sounddesign - nicht für nostalgische
Remakes, sondern als Begegnungen zweier
Welten, durch die wunderschön Graeme
Blevins’ Sopransaxofon mäandert. Die vier
Briten hauchen Stücken wie dem trance-
verdächtigen „Floating World“ neues
Leben ein. Bestens geschult hatten sie ihr
fesselndes Ensemblespiel schon an Werken
von Steve Reich und Terry Riley, dem
Soft Machine und Robert Wyatt (zuletzt
mit seiner neuen CD „Comicopera“) auch
heute noch viel bedeuten. Wyatt spricht
treffend von „den außergewöhnlichen Orten,
an die Musik den Hörer tragen kann“. Dem
Delta Saxophone Quartet gelingt es mit
dieser intelligenten Produktion, den
vielen Mutationen der sanften Maschine
nachzuforschen. Eine der schönsten
Jazzplatten des Jahres 2007.
Süddeutsche Zeitung (Germany)
CD des Tages
Redaktion Jens-Christian Rabe
Autor: Karl Lippegaus (4/12/07)KARL LIPPEGAUS

Review in English:

The new CD from the London-based DSQ honours the legendary Soft Machine, the cult psychedelic jazz rock band that enjoyed its creative heyday from 1968 to 1972. At the moment, Soft Machine and the band's former drummer and singer, Robert Wyatt, are attracting more praise and attention than ever before, in the german press as elsewhere, with the music magazine Rolling Stone recently devoting 16 pages to them. Yet the CD '' dedicated to you.." is not just another tribute album; it is instead a contemporary attempt to address the non-conformism that Soft Machine represented. In what turn out to be a stroke of genius, famous tracks like ''Facelift'', (featuring founder member Hugh Hopper on bass guitar), ''Mousetrap" and "Moon in June" have been arranged for four saxophones by young composers such as Adrian Revell and Paul Englishby. And the four Delta Saxophone Quartet players prove equally expert and imaginative in their use of modern recording technology as they are in their command of their instruments, creating a distinctive sound design for each of the fourteen tracks - not for nostalgic cover versions but to produce encounters between two worlds, through which Graeme Blevens' soprano saxophone meanders to beautiful effect. The four Britons breathe new life into tracks like the disquieting trance-like "Floating World". Their riveting ensemble playing draws expertly on work by Steve Reich and Terry Riley, to whom Soft Machine and Robert Wyatt (most recently with his new CD "Comicopera") still mean a great deal. Wyatt speaks tellingly of "the extraordinary places to which music can transport the listener". In this intelligent recording the DSQ succeeds in reflecting the many shape-shifts that Soft Machine went through. One of the most beautiful jazz records of 2007. (translation from original review in German by KARL LIPPEGAUS)

Progressive Rock/Avantgarde/Jazz – Ein besonderes Tribute-Album
(CD; Moonjune)
Ich halte die meisten Tribute-Alben für (gelinde gesagt) überflüssig. Entweder sie können den Originalen nicht das Wasser reichen oder sie enden als blasse, blutleere Kopien, überflüssig, wenn man doch das Original haben kann. So sind viele Tribute-Alben eher eine Vergangenheitsbewältigung der musikalischen Präferenzen der beteiligten Musiker. Dieses Tribute-Album ist anders, ganz anders.
Das britische Delta Saxophone Quartet reproduziert auf "Dedicated To You... But You Weren't Listening" nicht den Canterbury-Sound der legendären Formation Soft Machine, die vier Musiker arbeiten ihn von Grund auf neu auf, übersetzen ihn in eine eigene Klangsprache des DSQ. Das Ergebnis ist gleichermaßen vertraut wie radikal neu und präsentiert Klassiker aus dem Soft-Machine-Repertoire in einem ganz neuen Licht, in einer Deutung, die die Originalmusiker weder seinerzeit und noch viel weniger jetzt (als Soft Machine Legacy) hätten produzieren können. Durch die transparenten Arrangements des DSQ eröffnen sich ganz neue Details der Kompositionen.
Ob man mit diesem Album allerdings wirklich neue Hörer für Soft Machine gewinnen kann, bleibt fraglich. Das Delta Saxophone Quartet aber hat sich mit diesem Album besser als je zuvor in Szene gesetzt. [sal: ****](Germany)

Untertitelt ist dieses berauschende Ambient-Album zwischen allen stilistischen Stühlen mit "the music of soft machine", was ihnen auch gleich einen berühmten Partner eingebracht hat: Hugh Hopper ist im zweiten Track "Facelift" mit von der Partie. Ein weiterer Gast ist der Rockmusiker Morgan Fisher, der einst Hardrock und Progressive Rock spielte und wie Hopper lange bereits "im Geschäft ist".

Graeme Blevins (ss), Chris Caldwell (bs), Tim Holmes (ts) und Pete Whyman (as) sind, wenn es das Quartett auch bereits seit 1984 gibt, gewiss keine Nostalgiker, die sich in die fertigen Spuren setzen. Sie sind die Variation. Das besondere an der Besetzung des Ensembles findet sich in den eigenen Arrangements wieder.

Opener "Dedicated" klingt noch etwas verhalten, verträumt. Doch schon "Facelift" reißt sofort mit. Das starke Motiv findet eine komplette Variation, findet nur als Rudiment in den Basen statt, aus denen die Abenteurer zu improvisativen Zielen aufbrechen. So geht es fort. Das Düstere, Komplexe, Melancholische, Epische und Lyrische in den Kompositionen findet eine neuartige Dynamik im freien, melodischen Spiel des Quartetts.
Manchmal klingt es, als spielte der Vierer klassische Vorgaben, so klar ist die Spielweise, so rein und sauber der Ton, der Ansatz, das Spiel. Das sind auch die vielstimmigen Arrangements, die sich wie in der klassischen (und nicht neuen) Musik harmonisch reich ergänzen und zu einem großen räumlichen Klang werden.

Gewiss wird kein Publikum in der Intensität nachvollziehen, wie viel Spaß diese Musik macht, wie es das Delta Saxophone Quartett selbst erlebt. Das gleiche erleben Sänger, die einem großen Chor beitreten und mit dem Reifen des Chorsingens irgendwann merken, was ihnen da Großartiges passiert.
Aber unzugänglich sind diese Songs keineswegs. Free oder Jazz sind hier absolute Fremdworte, Rock und Pop wirken als Begriffe nur falsch. Avantgarde trifft es vielleicht notgedrungen, vielmehr trifft es schlicht: harmonisch reiche, von Stilen unabhängige Musik. Wer den Klang von Saxophonen in der Popmusik oder im Jazz hasst, davon soll es Musikfans geben, wird erstaunt sein, über diese Erhabenheit, diesen ganz anderen Klang.
Das Delta Saxophone Quartet schikaniert und vergewaltigt seine Instrumente nicht, es liebt und hegt sie. Das ist jedem Ton offenbar. Diese Songs, die nicht von Soft Machine zu stammen scheinen, was sie letztlich auch nicht mehr sind, können Sonntagmorgen am Frühstückstisch funktionieren, im Theater, und meinetwegen im Feuilleton der Kulturbeilage jeder Zeitung. Zeitung, nicht Blöd- oder sonst was Dingens, klar doch.
Keine Angst gilt immer. Hier einmal mehr. Ist nicht cool, aber fetzig. (ragazzi-music/Germany)

Ich halte die meisten Tribute-Alben für (gelinde gesagt) überflüssig. Entweder sie können den Originalen nicht das Wasser reichen und die beteiligten Musiker blamieren sich bis auf die Knochen oder sie enden als blasse, blutleere Kopien, überflüssig, wenn man doch das Original haben kann. Ich denke da mit einigem Grauen an die äußerst dürftigen Ergebnisse auf den Magna-Carta-Tribute-Alben Supper's Ready, Tales From Yesterday und Co. So sind viele Tribute-Alben unterm Strich dann eher Vergangenheitsbewältigung musikalischer Präferenzen der beteiligten Musiker, als ernstzunehmende Aufarbeitungen.

Dieses Tribute-Album ist anders, ganz anders. Das britische Delta Saxophone Quartet, das bisher fast ausnahmslos Alben mit klassischer Musik (hauptsächlich Minimal Music) veröffentlicht hat, reproduziert auf "Dedicated To You... But You Weren't Listening" nicht den Canterbury-Sound der legendären Formation Soft Machine, die vier Musiker arbeiten ihn von Grund auf neu auf, übersetzen ihn in ihre eigene Klangsprache, die deutlich weniger Rock und auch deutlich weniger Jazz ist, als die Vorlagen aus den 1970er Jahren. Durch das Arrangement für eine Art Kammermusik-Ensemble entdeckt man viele Strukturen, die sonst im Improvisationssound der weichen Maschine untergingen. Der Sound ist transparenter, klarer, aber auch strenger (fast will ich "ernsthafter" schreiben); er klingt gleichermaßen vertraut wie neu - und das Wichtigste: Es funktioniert wirklich (wenn man einmal von der misslungenen Gesangseinlage auf "Outrageous Moon" absieht). Die Klassiker aus der Soft-Machine-Historie werden in einer wirklich neuen Deutungen dargeboten, die die Originalmusiker weder seinerzeit und noch viel weniger jetzt (als The Soft Machine Legacy) hätten produzieren können oder wollen. Das Album ist zu gleichen Teilen eine Hommage an die Vorbilder, wie auch eine Eigenschöpfung, was auch durch die selbstkomponierten Intermezzi unterstrichen wird. Ob man mit diesem Album allerdings wirklich neue (Prog- oder Klassik-) Hörer für Soft Machine gewinnen kann, bleibt fraglich, so oder so ist die Musik zu kantig, zu speziell, zu wenig mehrheitsfähig. Das DSQ hat sich allerdings mit diesem Album exzellent in Szene gesetzt und schlägt eine Brücke zwischen Canterbury und der Neuen Musik. Sal Pichireddu   Babyblaue music website/Germany

I was blown away that Jazz music this great is still being made today. well worth the price, buy it, you'll enjoy it! (Fantastic Orionmp- on line review- itunes.com)(USA)

Het Engelse Delta Saxophone Quartet beweegt zich vooral binnen de nieuwe gecomponeerde muziek, en gaat daarbij spannende en gewaagde projecten niet uit de weg. Voor de muziek die we op ‘Dedicated To You...’ horen, vroeg de groep een aantal componisten om hun visie te leveren op een stuk van de baanbrekende psychedelische en jazzrock-groep Soft Machine. Door die invalshoek is de plaat veel meer geworden dan een soort ‘greatest hits’ gearrangeerd voor vier saxofoons. De deelnemende componisten stortten zich op elementen uit het typische Soft Machine muziekamalgaam (psychedelica, free jazz, oneven maatsoorten, vamps en grooves, Britse volksmuziek, minimal music, contrapunt). Hierdoor ontstaat muziek die zowel de muziek van de Softs-componisten recht doet als ook een visie geeft van de bewerker. En dat maakt deze cd behoorlijk boeiend. Bovendien is de groep ook niet vies van improviseren, en doet dat in een drietal stukjes ook bijna geheel vrij, slechts uitgaande van de beginnoten van het titelstuk van de cd. ‘Dedicated’, ‘To’ en ‘You’ maken gebruik van de klankmogelijkheden van de groep, uitvergroot met subtiele elektronica.

Opvallend aan het lijstje van elf gecomponeerde stukken, is dat er zeven oorspronkelijk van basgitarist Hugh Hopper zijn (die zelf als gast op één stuk, ‘Facelift’, met zijn karakteristieke fuzzgeluid meedoet). Drie stammen van rietblazer/toetsenist Karl Jenkins, en slechts één van toetsenist Mike Ratledge, in de hoogtijdagen van de band toch de
vruchtbaarste en meest uitgesproken componist. De keuze van een drietal bewerkers voor een stuk van Jenkins is overigens duidelijk, want die leveren in alle gevallen wellui-
dende, melodieuze muziek op. Hoestekstschrijver Duncan Heining verwijst terecht naar de Engelse ‘pastorale’ traditie van componisten als Edward Elgar en Ralph Vaugh Williams.

Veel van het werk van Hopper leent zich ook uitstekend voor de Delta’s, omdat het daarin draait om minimal music-achtige patronen en spannende grooves en vamps. Voor een ritmisch sterke groep zeer bruikbaar materiaal, dus. Toch leidt de asymmetrische melodie van het titelstuk, een grillige ballad uit het vroegste Softs-repertoire, tot mijns inziens het fraaiste resultaat, sober gearrangeerd door Joe Duddell.
Maar verreweg de mafste, en dus leukste herschrijving van de Soft Machine-geschiedenis komt van de hand van Morgan Fisher. De muzikale intrigant, onder de naam Hybrid Kids in de jaren tachtig al verantwoordelijk voor het corrumperen van popliedjes, heeft zich gestort op twee stukken van het magnum opus ‘Third’. In ‘Outrageous Moon’ legt hij ‘Out-Bloody-Rageous’ van Ratledge en ‘The Moon in June’ van Robert Wyatt over elkaar heen, zingt zelf de partij van Robert Wyatt, en speelt op elektrisch versterkte draailier een solo die het midden houdt tussen Jimi Hendrix (in wiens voorprogramma de Softs ooit speelden) en Alan Holdsworth (die eind jaren zeventig in de band schitterde). Het is duidelijk dat Fisher fan is van de muziek, die ook heel goed begrijpt en er de humor in ziet.
(Herman te Loo) JazzFlits nummer 90 14 januari 2008 (Netherlands)

Bien que moins impressionnante que le maelström venteux des grands ensembles tels Urban Sax, la musique du Delta Saxophone Quartet puise dans l’homogénéité de ses textures sonores la même force hypnotique. En adaptant le répertoire de Soft Machine pour cette singulière formation, Graeme Blevins (Soprano), Pete Whyman (Alto), Tim Holmes (Ténor) et Chris Caldwell (Baryton) ajoutent au mélange de rock et d’improvisation du groupe britannique l’étrangeté et la sophistication de la musique de chambre. A la croisée de toutes ces influences Dedicated to You, but You weren’t Listening – The Music of Soft Machine en devient délicieusement inclassable.

Quand le baryton se transforme en basse, scande le rythme et soutient ses alter ego aigus qui partent dans des solos plus sauvages qu’élaborés, le rock prend le dessus. Si les saxophones s’unissent, tissent des thèmes à l’unisson pour mieux les détruire, l’atmosphère s’enfume et rappelle les clubs de jazz, et enfin, quand les souffleurs se changent en concertistes, les mélodies d’origine se perdent dans un entrelacs subtil qui évoque les quatuors contemporains à cordes. C’est au cœur de ces ambiances moelleuses que le plaisir se fait le plus intense, quand les gouttes se changent en pluie et qu’il devient vain d’essayer de suivre un conteur plus qu’un autre, les oreilles s’ouvrant sur une interprétation si personnelle qu’elle rend inédits des morceaux tels que « Noisette » et surtout « Everything is You ».

Trois petites compositions inédites « Dedicated », « To », « You », plus expérimentales se glissent naturellement dans l’ensemble et Hugh Hopper vient même poser quelques boucles et notes de basses sur un « Facelift » malheureusement desservi par sa propre importance, qui rend délicate l’abstraction de la version originale, plus échevelée, tandis que la participation vocale et instrumentale toute wyattisante de Morgan Fischer, remplie d’électronique se révèle être un véritable bonheur.

Profond et englobant ce disque fascine, il porte ces histoires que l’auditeur entendra comme autant de messages personnels. Finalement, le Delta Saxophone Quartet parle un langage d’une simplicité biblique résumé dans le titre si stimulant de cet album : nous vous parlons, écoutez-vous ?

Mathieu Carré   France (Progressia.net)
Originalité :9
I

De prime abord, The Delta Saxophone Quartet est un autre quatuor tant il y’en a tant de nos jours, baignant dans une sphère de Free Jazz assez large pour permettre d’y fourrer autant de formations musicales que de bras cassés au piètre niveau.

Mais ce qui différencie cette formation de la majorité des autres, est cette qualité, voir condition sine qua none qui succombe à tout bon groupe de jazz, à savoir cette ouverture d’esprit musicale qui leur permet d’élargir leur frontières sonores et nous offrir quelque chose d’unique et de d’enchanteur presque. Et pour cela, ils ont choisis de reprendre des titres de Soft Machine, en y rajoutant l’empreinte d’une légende, que dises, d’un dieu vivant à savoir Hugh Hopper, bassiste de cet impérissable band, et qui furent les précurseurs d’un style, le Jazz Rock avec un son progressivement d’avant-garde. Tout cela ne peut qu’augurer d’un album imprégné de cette couleur, mais avec un son savamment orchestré par et avec le style de The Delta Saxhophone Quartet, preuve en est le second titre « Facelift », où l’apparition de loops et une ligne de guitare bass électrique, nous envois littéralement dans un espace clos et sombre, où se mêlent les talents de Hugh Hopper et sa condescendance musicale reconnue, Graem Blevins et son Soprano Saxophone, Tim Holmes au Tenor Saxophone, Chris Caldwell au Baritone Saxophone, et enfin Pete Whyman et son Alto Saxophone. Ne vous méprenez pas en croyant que je débite tout cela fortuitement. Chaque membre apporte un son unique aux compositions de The Delta Saxophone Quartet, ce qui donne au final un rendu sonore d’un capharnaünisme d’une efficacité diablement redoutable. Et cela s’enchaîne ensuite avec une piste dont le titre est d’une longueur maladive, "Somehow with the passage of time…Kings & Queens 33 years later", et avec un titre aussi équivoque, que le son qui y est produit. Et à la mi-galette se trouve la 7iéme plage, "Outrageous Moon", qui vit la participation de Morgan Fisher, qui rapporte une dimension vocale à cet album, et aussi et surtout l’ajout de samplers, de hurdy gurdy et un background électronique, qui lorgne plus vers un son électrique, qu’un simple son de saxophones vierges. Tout cela nous permet de reprendre avec sérénité le reste des titres, qui à partir de la onzième piste jusqu’à la quatorzième, ne dépasse jamais les 2 :58 à son maximum et la 1 :32 à son minimum. Un condensé savamment égoutté !

The Delta Saxophone Quartet, est un ensemble talentueux, preuve en est leur résidence musicale à la Kingston University de Londres, sans oublier qu’il est aussi flexible, ouvert et inspiré. En ces temps morose, cet album est conseillé à tout amateur de bon jazz quel qu’il soit, et à écouter surtout au coin d’une cheminé, tout seul, sans rien d’autre, et profiter de ces 57minutes de pur envoûtement.

En fin de compte, cet album n’est pas seulement constitué d’un best of des meilleurs titres de Soft Machine, performés par The Delta Saxophone Quartet, mais c’est plus ce qu’aurait vraiment pu être ces titres, si à l’origine ces deux formations anglaises avaient été réunies ensemble, dés le début. La musique émanant de cet album est un tribute à Soft Machine par le biais du son unique de The Delta Saxophone Quartet. Cet album est sans doute, un des meilleurs de cette année 2007 qui vient de s’écouler.

CHRONIQUE PAR: BADR B ********* (9/10 stars) (Morocco)Impakte website

Aficionados of the jazz-rock band Soft Machine will immediately recognise the title of this album as bassist Hugh Hopper's celebrated piece, and the recording takes this (albeit only as a starting-point for a collective improvisation in three parts) and other band compositions (by Mike Ratledge and Karl Jenkins) as material to be reworked by the saxophones of Peter Whyman (alto), Chris Caldwell (baritone), Graeme Blevins (soprano) and Tim Holmes (tenor).

The result, while undoubtedly conjuring up the spirit of the originals, is by no means a straightforward exercise in nostalgia, or even a 'tribute' album; instead, the quartet have commissioned various composers, from Issie Barratt and Mike Kearsey to fomer DSQ member Gareth Brady, to arrange Soft Machine pieces as intensely personal vehicles for them.

Hopper himself plays bass on his own 'Facelift', and Morgan Fisher provides appropriately eccentric vocals and hurdy-gurdy for 'Outrageous Moon', but otherwise, it's just the quartet reproducing the sinuous power of Hopper's material and the pastoral elegance of Jenkins's, all delivered with the musicianly precision and odd bursts of fierce joy that characterise the band's approach.

In both uninhibited solo capacities and infectiously rhythmic accompanying roles, all the participants shine, and the album as a whole not only casts an intriguing sidelight on the music of one of the UK's most affectionately remembered bands, but also stands up impressively in its own right. Recommended. Chris Parker (Nov. 13th 2007)

Vortex Jazz Reviews (London/UK)

The Delta Saxophone Quartet have come up with something quite special on this record. As the liner notes explain, this isn’t a straight-up covers collection of the Soft Machine’s better known material, but rather a 'representation of what might have been if these two groups had ever met’. That’s an intriguing approach to any project of this kind, but when it’s two groups such as these, it’s fair to expect musical fireworks. Surely, no one’s disappointed. The DSQ bring something quite unique to the table. While they smooth out many of the rough edges that the Soft Machine used to revel in, they break down the passages to reveal music which is nothing less than beautiful. ‘Dedicated’ and ‘Everything Is You’ are both wonderful examples of their delicate touch, and both can be found on the group’s Myspace page. Rob F, Leicesterbangs website (UK)

Taking its title from a song on Soft machine's vol. 2 album (and later to be adopted by Kieth Tippett for his album) DSQ's lovingly assembled selection of Softs 'covers' is a warm and highly pleasurable, albeit padded listening experience. Although DSQ insist that this cd is not intended as a nostalgic excersise- but more of an imaginery meeting between themselves and the original members of Soft machine ( and what might have happened if such a meeting had taken place)- the lush horn arrangements generously applied here suggest that Soft machine's raucous, quirky compositions would have been eased into a more orthodox, almost chamber music approach. That said, however, the inclusion of Morgan Fisher's Robert Wyatt sounding vocal on 'Outrageous Moon' and Hugh Hopper's elasticated electric bass riffing on 'Facelift' are inspired moments that make a slight return to the bands original creative spark.(***)
Edwin Pouncey, Jazzwise February 2008 (UK)

A superb collection of impressions inspired by some of the legendary Soft Machine songs, performed by DSQ. Although built around Soft Machine's motifs the four musicians create their own aesthetic and sensibility. This kaleidoscopic ensemble of colors and polyphonies arranged to form one fresh unitary vision is certainly not a Soft Machine cover but rather an exquisite contemporary reflection of their avant-garde poetry. What contributes most to the charm of the music, besides the unsurpassed refinement of the execution, is the interpenetration of chamber-jazz-contemporary perspectives in a variety of spontaneous (at times, majestic) architectures Jazzworldquest (website link) (USA)

Re-imaginings of the music of 70s psychedelic rock/jazz group Soft Machine

I should report first off that I may not be the proper reviewer for this CD since the Delta Saxes have dedicated it entirely to the music of the legendary 70s jazz/rock group Soft Machine and I’m not very familiar with them.  The Quartet specializes in the new music area, and its repertory includes works of Philip Glass, Gavin Bryars, and Steve Reich. Their management is named Music On The Edge, and that pretty well describes the thrust of this modern sax quartet.

The realizations of the 14 tunes from Soft Machine are strong and emotional, often fierce in their transformations for four saxes.  I’m sure fans of the cult progressive rock/jazz band will love the new face they put on the tunes.  My fav track was Somehow With the Passage of Time - a lush impressionistic sort of tone painting. The track I couldn’t abide was Outrageous Moon, in which they perform simultaneously two Soft Machine tunes: Out-Bloody-Rageous and Moon in June.  Sonics are excellent.

John Henry Copyright 2007 Audiophile Audition **** (USA)

The Delta Saxophone Quartet have been around for over 20 years, performing the works of various artists to audiences all over the world. Currently the Ensemble in Residence at Kingston University, the group here tackles and re-works songs from the repertoire of the legendary jazz/rock band Soft Machine. The band features Graeme Blevins (soprano sax, electronics), Peter Whyman (alto sax), Tim Holmes (tenor sax), and Chris Caldwell (baritone & soprano sax, electronics), and the CD has two special guests appearing on one piece each; former Softie Hugh Hopper on bass guitar & loops, and Morgan Fischer on vocals, hurdy gurdy, and electronics.

The British group does a splendid job here taking on these classic pieces as if they were their own, but giving each one a different spin. The highlights are many, such as the savage retelling of the menacing "Facelift", one of Soft Machine's most memorable numbers, here with Hopper in tow, or the bouncy "Mousetrap", which sees all the members weaving their saxes melodically around each other with whimsical abandon. Fans of the Canterbury prog genre will love the quirky "Outrageous Moon", featuring Fisher adding his odd vocal embellishments and hurdy gurdy, and avant-garde lovers will revel in the stabbing fury of "Noisette". However, it's the richly melodic and atmospheric "Floating World" that shows the vast talent of this ensemble, as the four players create all sorts of moods and textures with their instruments, making you forget that this song, and all the rest for that matter, once contained some pretty snazzy organ and drum work some 30+ years ago in their original versions.

dedicated to you...but you weren't listening is charming and classy stuff, and a must hear for Soft Machine and jazz lovers alike.

Pete Pardo **** Sea of tranquility web reviews (USA)

This reviewer grapples with the quartet's soundworld and then is lost for words!

The DELTA SAXOPHONE QUARTET, from UK, present "Dedicated to You But You Weren't Listening", an album consisting exclusively of their interpretations of some of Soft Machine's classic compositions, many of which are changed nearly beyond recognition. It is the first time in my life that I've heard music in which there is almost nothing besides four saxophones. I believe this recording is chamber Avant-Jazz and is of a high progressive value, but its sound as such is so strange to me that the music remains beyond my grasp even after three successive listens to the disc. How can I describe what I can't get into? Hence no rating, either.progressor.net (Uzbekistan)

CONTEMPORARY

The Delta Saxophone Quartet have been around since 1984, but this project involves the group engaging with the music of an even earlier band, Soft Machine. Their approach to the music is no simple reiteration of ground covered in the originals. Rather, it is a creative exploration of possibilities inherent in the music, realised by a combination of the four saxophonists and a variety of arrangers, including Issie Barrett, Joe Duddell and Morgan Fisher.

The current line-up of Graeme Blevins, Pete Whyman, Tim Holmes and Chris Caldwell navigate a creative course through some familiar (and not so familiar) material from the Softs’ evolving and often fractious history, teasing out strands of the music and reshaping it in absorbing fashion. Soft Machine mainstay Hugh Hopper adds his signature bass guitar and loops to a version of ‘Facelift’.

Kenny Matthieson, The List **** (Scotland/UK)

Delta Saxophone Quartet is the official quartet of London's Kingston College, and the money that comes with being funded by an educational institution comes through strongly on this album. The quartet melds bebop-style saxophone stylings with sound effects and synthesizers in a style reminiscent of Pink Floyd. The first track, "Dedicated," brought out an atmosphere quality more common with electronic groups like Orbital than in jazz. The album unfortunately got a little too experimental for my tastes towards the middle.

Deschamps (web-blog) (USA)

Dedicated to the ones they love...

Given that the Delta Saxophone Quartet has been tackling composers as diverse as Louis Andriessen, Steve Reich, Gavin Bryars and Terry Riley since 1984, their interpretation of the music of Soft Machine isn’t too much of a leap.

Whether it’s their periods as da-da popsters, experimental loopers, inscrutable free-jazzers or hirsute fusion-orientated minimalists, the several ages of the Soft Machine have all yielded themes and tunes that are as elegant as they are challenging, and DSQ are certainly up to it on both counts.

Aside from a choice selection from the glory days (“Mousetrap” and “Facelift”) it’s particularly pleasing to note that there are some graceful entries from latter Softs albums not usually given the time of day. “Aubade” from Softs and an exquisitely delicate “Floating World” from Bundles (an especially opulent highlight), suggests the Karl Jenkins-era is slowly coming in from the cold.

Combining the formidable firepower of the DSQ with some remarkably imaginative arrangements, a couple of ace appearances from the head-Softy Hugh Hopper (and even a Wyatt vocal impersonation by a guesting Morgan - Minatures - Fisher), makes for a nostalgic cosiness leavened with the kind of rigour and fastidious detail that made the original music such a compelling earful. In short: out-bloody-marvellous.
Sid Smith (independent reviewer for Mojo/Q/etc..) (UK)

On this disc the music of Soft Machine is not so much covered as it
is reinterpreted. The music is quite avant-garde, heavily jazz
flavoured and quite adventurous, floating between sonic dissonance,
spacey ambience and angular complexity. There are even guest
appearances from Hugh Hopper and Morgan Fischer on a couple tracks.
This is heady music and while not for the casual listener, fans of the
style will I’m sure love-it.Jerry Lucky website (USA)

Delta Saxophone Quartet's album "Dedicated to you...but you weren't listening - the music of Soft Machine" (on MoonJune Records) is out. The band is : Graeme Blevins(soprano), Pete Whyman(alto),Tim Holmes(tenor) and Chris Caldwell (baryton). We also get some Hugh Hopper (bass) and Morgan Fisher (vocal a la Wyatt!). It's no secret that I am more of a Wyatt fan, than a Soft Machine/Canterbury fan, but this is a positive surprise! They do not make straight covers of Soft's music, but make it their own. It's almost too sweet sometimes, but it's a beautiful record! They also made me go fetch the Soft Machine vinyl in the basement (numbers 1-4 are close to the record player of course!). I think I'm going Soft! Wyatt and stuff web-blog

March 27, 2008—This next one is not average fare. If you liked the Progressive Rock group Soft Machine, you know that over the course of their initial run, they were likely to give you intricate compositions that touched on Minimalism while remaining firmly rooted in the Jazz-Rock and Psychedelia modes. There is a new release out that covers some of the best of those pieces, but done by the Delta Saxophone Quartet (“Dedicated to You. . . but You Weren’t Listening”) (MoonJune). It’s a rather vital recreation of some of Soft Machine’s best, only transformed to a different musical medium. As I listened for the first time, I thought to myself, “Hey! We were right all along about these guys.” Because the music still sounds fresh and in the moment. My favorite cut is “Facelift” which joins the quartet with Soft Machine’s bassist Hugh Hopper on his instrument and loops. This is a solid outfit and it’s the kind of CD that sounds good just about any time of day or mood you are in—at least for me. Signing off -- Grego (Grego Applegate's Blogs about guitars, music + musicians)

The concept of transposing the decidedly electric based music of Soft Machine to acoustic saxophone quartet may be a stretch for many. But considering the expansive, orchestral nature of their music, this idea proffered by the Delta Saxophone Quartet makes sense. Their collective sound does not as much tone down the compositions themselves as they were written, but instead gives them a fuller body minus the rock-ish bravado, and is very accessible to both jazz and classical music listeners.

When Soft Machine went from the keyboard-oriented fusion edge of Mike Ratledge to the more symphonic influence of Karl Jenkins, some fans probably thought it was to their detriment. What the DSQ has done is reverse the notion that more was better, and have adapted the instrumentation within a quartet format, which was the strongest and most focused of the Soft Machine bands, minus eventual electric guitar.

This cast of British woodwind players consists of Graeme Blevins on soprano sax, Chris Caldwell on baritone sax, Tim Holmes on tenor sax, and Pete Whyman on alto sax. They play homogeneously, blended together for the most part in tight arrangements with little or no soloing. Hugh Hopper guests on one track only, "Facelift," sporting the dramatic, elongated, industrial-flavored repeated and then developed signature melody lines that Ratledge played and Hopper reinforced. "Outrageous Moon," featuring the other guest, Morgan Fisher, is the most Canterbury style piece that still retains the influence of Ratledge, with watery vocals, live electronics, and the sound of the hurdy-gurdy. A pastoral, baroque style that Jenkins eventually explored is heard quite extensively on "Somehow with the Passage of Time" which is an adaptation of "King & Queens," as well as the dreamy "To," the 7/8 time signature identifying "Dedicated to You," the cricket chirpy "Aubade," "Noisette," where minimalism meets squawk, and "Epilogue." Perhaps in this vein "The Floating World" best represents the transition in the Soft's lineups, a multi-layered texture composition that is a lustrous variation on the original ambient electronic, synth-laden version turned purely acoustic and shimmering. Most like their predecessors the World Saxophone Quartet, DSQ dance in call-and response fashion within the structure of "Mousetrap" with bell-like clarity and precision, and do a short techno improv freebie with "You."

An ambitious project to be sure, kudos to the DSQ for making the timeless '70s sound of Soft Machine sound like it has been around for 100 or more years. ~ Michael G. Nastos, All Music Guide  MSN Music reviews (USA) (3.5 stars)

Leonardo Pavkovic does a great service to music with his Moon June Records. I thank him for letting me hear the DSQ for the first time He thought I might like this CD and he was right! DSQ has done for Soft Machine what they have apparently done in the past for the likes of Steve Reich, Philip Glass and Terry Riley, a ‘remake/ remodel’ in collaboration with a bevy of modern composers. The music opens with a dreamlike Jan Garbarek infused improvisation based on the first few notes of ‘Dedicated..’, a tantalising start! (While Garbarek employs soprano and tenor sax on seminal releases like ‘Officium’, the DSQ has 4 saxes, the baritone supplying the bass end.) On ‘Facelift’ there is some breathtaking tenor and soprano soloing with Hugh Hopper supplying bass guitar and loops. ‘Kings and Queens’ undergoes a metamorphosis as ‘Somehow With The Passage of Time’ (reworked by one of the ‘modern composers’ employed for the project). In true keeping with the Soft Machine tradition, there are some ‘avant garde’ moments notably on two DSQ originals ‘You’ and the experimental ‘To’ which provide nice ‘bridges’. “Outrageous Moon’ is a hybrid of ‘Out Bloody Rageous’ and ‘The Moon in June’ with an electronic recreation of Mike Ratledge’s classic fuzz organ sound and voices by Morgan Fisher who also plays a hurdy gurdy. The Karl Jenkins composition ‘Audabe’ surfaces as charming piece of orchestration with a soprano/ baritone duet. Another Jenkins piece’ Floating World’ is authentically rearranged and features some fluent soprano soloing. There is much more to enjoy of course and it’s hard to argue with Duncan Heining’s sleeve notes when he talks of this recording bringing out the pastoral elements in the music of Soft Machine in a ‘series of miniatures’ with a ‘Baroque elegance’. ‘The five things that are writ large on this record are Jazz, Bach, Minimalism, English Pastoral Music and The Soft Machine’. The atmosphere created by the Delta Saxophone Quartet is simply mesmerising, breathing new life into Soft Machine’s music and encouraging the listener to once again check out the original pieces that provided the inspiration. Highly recommended.Philip Jackson (madasafish.com) Scotland

Excellent English sax quartet revisits Soft Machine’s music

L’ensemble Delta Saxophone Quartet è un quartetto di sassofoni nato nel 1984 in seno alla Guildhall School Of Music and Drama di Londra.
Composto da Graeme Blevins, Chris Caldwell, Tim Holmes e Pete Whyman, l’ensemble unisce quattro musicisti dotati di capacità tecniche straordinarie, che sommano al virtuosismo nell’esecuzione, nell’interpretazione e nell’improvvisazione anche la capacità di affinare ed elaborare bellissime sonorità complessive come quartetto.
La loro volontà di lavorare intorno alle potenzialità espressive del quartetto li ha portati a valicare spesso i confini di genere, affrontando un repertorio che spazia dal jazz alla classica contemporanea di Steve Reich, dall’ambient di Philip Glass a questo bell’album “Dedicated to you…but you weren’t lsitening”, tributo alla musica dei Soft Machine.
Nell’album il quartetto rivisita celebri brani come Facelift, The tale of Taliesin, Mausetrap (di cui offrono una bellissima versione). Alle registrazioni di Facelift ha preso parte, al basso, anche Hugh Hopper dei Soft Machine.
Notevole per la pulizia di suono e l’attenzione ai dettagli, questo quartetto merita grande considerazione.Giulia Nuti Italy

Nell’immaginario jazzistico d’avanguardia i Soft Machine hanno un posto indiscutibilmente “alto”. Quello che hanno saputo creare le menti eccelse dello storico gruppo è talmente grande che dai cassetti continuano ad uscire inediti, versioni live, versioni alternative, rimasugli e ritagli di incisioni e chissà che altro. Ecco l’altro: un quartetto di straordinari sassofonisti che decidono di riproporre i loro brani arrangiati per l’esecuzione a quattro fiati (più qualche sorpresa).
Il quartetto Graeme Blevins (sax soprano), Peter Whyman (sax alto), Tim Holmes (sax tenore saxophone) e Chris Caldwell (sax baritono) non è fresco, anzi esiste dal 1984, ma normalmente è dedito a musica d’avanguardia, free, cameristica e minimale. L’esperimento in questione, che potrebbe dare adito a dubbi di sorta per l’improbabilità espositiva è invece un atto di devozione qualitativamente elevatissimo e riuscito in maniera completa.
I brani “trattati” percorrono idealmente tutta la carriera della grande Macchina Soffice a partire dalle prime cose tardi anni ’60 fino al periodo di Jenkins e, considerato che non credo corrano dubbi sul fatto che tutti brani trattati siano capolavori, direi che la disquisizione potrà vertere esclusivamente sulla bontà dell’operazione e dell’esecuzione degli arrangiamenti.
Il primo ascolto di questo disco l’ho fatto in cuffia, in piena notte, quando in casa tutti dormivano e non potevo permettermi un volume decente. Credo però che la scelta, seppur coatta, sia stata perfetta: c’è un tale lavoro d’organico che consente ai 4 sax di compenetrarsi, completarsi e scambiarsi le parti,che merita veramente l’ascolto attento, concentrato e definito che solo una cuffia di qualità, grazie al suo isolamento dall’esterno, può dare. Quel che è uscito dal primo ascolto è stato, stranamente per me, già sufficiente a darmi un quadro perfetto del disco e gli ascolti successivi non hanno fatto altro che definire, lasciando intatta la bontà di giudizio del primo. Non che voglia riempire la recensione di sensazioni personali, ma l’ascolto in notturna mi ha dato la possibilità di definire questo disco come fosse composto da tanti piccoli sogni, elementi di puzzle il cui collante è questo soffio epidemico che sinuosamente scorre sui lembi a mo’ di cucitura e va a creare un quadro onirico altrimenti non percettibile.
La scaletta prevede anche alcuni brani scritti appositamente dai componenti del quartetto, brani che comunque non si discostano dallo stile e che, presumo, siano stati scritti con gli spartiti dei Soft Machine in bella evidenza. Tranne lo strano connubio “Outrageous Moon” nata dalla fusione di due brani tratti da “Third”, “Out-Bloody-Rageous” di Ratledge e, ovviamente, “Moon in June” di Wyatt gli altri brani “cover” vedono tutti la firma di Hugh Hopper o di karl Jenkins. Tra i brani di Hopper brilla in maniera immensa “Facelift” che vede, sorpresa, proprio la presenza dell’autore al basso e ai loop sonori. Bella la versione di “Noisette” che presenta un arrangiamento aspro e minimale. Ben centrati i tre brani di Jenkins (“Floating World”, “Aubade” e “The Tale Of Taliensin”), che persino guadagnano in serietà e rigorosità musicale. Tra i brani del quartetto spiccano lo schema free di “You” e l’eterea spaziosità dell’introduttiva “Dedicated”.
Un disco non facile, anzi a tratti piuttosto duro da masticare, ma che una volta sistemato nell’orecchio dà un’ora di grandi soddisfazioni sonore, sintomo che dei Soft Machine sentiremo parlare ancora, ancora e ancora. Roberto Vanali/Arlequins.it/Italy

Delta Saxophone Quartet: “Dedicated to You... But You Weren’t Listening – The Music of Soft Machine” (Moonjune)
Quarteto de saxofones sediado em Londres, este constituído por Blevins, Whyman, Holmes e Caldwell utiliza as técnicas mais avançadas no manejo dessa família instrumental (microtons, multifónicos, etc.) e tem dividido a sua actividade entre a interpretação de música escrita, por compositores conotados com o minimalismo como Gavin Bryars, Philip Glass, Steve Reich e Louis Andriessen ou por nomes do jazz como Mike Westbrook, e a improvisação livre. Desta feita, pegou no repertório do grupo de jazz-rock Soft Machine para lhe dar uma perspectiva totalmente diferente. Passa esta pelo arranjo de peças compostas a pensar no núcleo de órgão, guitarra baixo e bateria dessa formação, convertendo-as para uma fórmula em tudo distante com instrumentos melódicos. A participação do baixista da Máquina Mole, Hugh Hopper, em um dos temas (“Facelift”) firma o elo com a música original, e a intervenção de Morgan Fisher em “Outrageous Moon” introduz um entendimento da electroacústica que, se não corresponde aos conceitos aplicados pelos Soft Machine (conhecidos pela forma irreverente e experimental como manipulavam em estúdio as suas gravações – evocada apenas em “You”), pois serve para o estabelecimento de um “drone” de fundo e para o reforço do desenho melódico em uníssono dos saxes, tem pelo menos a vantagem de vestir uma música marcada pelo tempo com as cores e os figurinos da actualidade.
A influência da escola minimalista nestas versões está bem patente tanto na valoração que se faz do timbre dos saxofones como na atenção aos ambientes criados, não sendo errado dizer que ocupa em “Dedicated to You...” o lugar de que se retirou a referenciação rock. De facto, nunca a banda de Canterbury soou tão pouco rock como nesta recriação das suas composições. Uma coisa é certa, no entanto: o Delta Saxophone Quartet soube reproduzir aqui a abordagem psicadélica que caracterizou a melhor faceta dos Soft Machine. Numa altura em que o psicadelismo musical é uma prática retomada, e levada até a desfechos não explorados na década em que despontou, a de 1960, a pertinência desse facto é óbvia. Só é pena que não se tenha resistido a imitar a voz de Robert Wyatt, e exactamente na mesma canção (ainda “Outrageous Moon”) em que uma sanfona electrificada substitui de modo deveras interessante a sonoridade retirada por Mike Ratledge ao seu Hammond.

Web review Portugal

"dedicated to you but you weren't listening ", el quinto disco del delta saxophone quartet está dedicado a la música (una selección, claro) de soft machine (mayoría de temas de jenkins y hopper, que colabora en un tema). su anterior disco estuvo dedicado a compositores minimalistas, pero ya en su segundo disco habían incluido material "serio" de jenkins. cuidadas adaptaciones para cuarteto de saxos en las que lo mejor viene cuando se dejan llevar, clavando el tiempo y la sonoridad machine. entonces realmente logran ponerse estupendos. el resto no desmerece y es un buen homenaje. una puesta en valor.o-zurret.blogspot.com, Spain

A strange one this, our worst mark yet but a funny review- double Dutch ??

English:

This English saxophone Quartet happens to exist from 1984. They recorded 6 albums, all of them with the music of different modern composers, such as Gavin Bryars and Philip Glass. In this latest edition they play music of Soft Machine. That’s why it is produced on Moonjune records. Moonjune supports different projects that have something to do with Soft Machine.

Actually, this interpretation of Soft Machine music is quite far from the original. Saying this doesn’t mean it is bad. I like Soft Machine, but this is absolutely not bad as well. It is much softer and airy. Gone is the sharp edge, gone is the original sound, but also gone is sometimes endless improvisations of Soft Machine… On this record you will find more thought-over structure, of course played virtuoso, but on some limited sound palette and less exciting than the original. Well, we’ve got here 4 times saxophone! Plus once in a while some bas guitar and a little background electronics. Actually it works relaxing and doesn’t distract. It’s a record that you can put on when filling in the tax declaration. One can also look at it as a clear and user-friendly manual for Soft Machine. If one needed any…


Nederlands:

Dit Engelse saxofoon kwartet bestaat al sinds 1984. Zij hebben een 6-tal albums uitgebracht, alle gevuld met de muziek van diverse, soms bekende componisten, o.a. Gavin Bryars en Philip Glass. In deze laatste uitgave spelen de heren de muziek van Soft Machine. Dat is ook de reden dat het op de Moonjune records is uitgebracht. Moonjune steunt diverse projecten die verband met Soft Machine hebben.

Eigenlijk is deze interpretatie erg ver van de origineel. Dit zonder waardeoordeel. Ik vind Soft Machine erg goed, maar dit is ook zeker niet slecht. Wel is het veel zachter en luchtiger kost. Weg is het scherpe kantje, weg is de originele sound, maar ook weg zijn de soms eindeloze improvisaties van Soft Machine… In de plaats daarvan kwam de uitgedachte structuur, wel virtuoos gespeeld, maar op een wat beperkt geluidspalet en een stuk minder spannend. Tja, wij hebben het hier over 4 maal saxofoon! Plus af en toe basgitaar en wat elektronische effecten op de achtergrond. Het werkt eigenlijk zelfs ontspannend en leidt in ieder geval niet af. Een cd dat je best kan opzetten als je de belastingaangifte gaat invullen. Of bekijk het als een overzichtelijke, gebruiksvriendelijke handleiding voor het gebruik van de Zachte Machine. Mocht iemand zo iets nodig hebben…Misha 5/10

Delta Saxophone Quartet
dedicated to you…but you weren’t listening
the music of soft machine
featuring Hugh Hopper

This is the latest addition to a catalogue of innovative recordings by the Delta Saxophone Quartet, and after a silence of half a decade, their most groundbreaking release to date. The recording marks a new musical direction for the ensemble following significant changes to the line-up in 2006, when existing members Pete Whyman (alto) and Chris Caldwell (baritone) were joined by ex Itchy Fingers tenorist Tim Holmes and Australian Graeme Blevins in the soprano chair.

Based on a concept by Pete Whyman, the CD represents the quartet’s response to the music of legendary progressive jazz rock group of the 60s and 70s, Soft Machine. It includes commissioned contributions from an international list of composer/arrangers including Soft Machine band members, contemporary jazz musicians and current and former members of DSQ, interspersed with three short improvisations. The quartet is expanded on a couple of tracks by singer Morgan Fisher and Soft Machine bassist Hugh Hopper, both also involved as arrangers.

Complex in its concept and its realisation, the album has a strong coherence and great integrity. What struck me on first listening was the incredible range of musical influences from baroque to rock, with elements of jazz, minimalism and English contemporary music, courtesy of one-time Soft Machine member Karl Jenkins, all present in a melting pot of creativity and originality. Classic tracks such as Facelift, Noisette and Floating World are reinterpreted from a new perspective. Here there are funky grooves and inspired improvisations, the music at times dreamlike and hypnotic, at others spiky with staccato interjections; in places stately, elsewhere frantic. There are quiet flourishes, layered fragments, echoing phrases, contrapuntal episodes, funky bass lines. Much of the music has a timeless, almost other worldly quality.

Despite the time gap of over 30 years Soft Machine and Delta Saxophone Quartet share a pioneering approach and an expansive musical vocabulary. This recording promises to be a classic of the new century. While not to everyone’s taste, it should appeal equally to saxophone enthusiasts and fans of the Softs, as well as anyone with open ears and an open mind. “Out–Bloody–Standing!”
Alison Owen-Morley CASS (Clarinet + Saxophone Society, UK)

The oppressive windmills of commerce, complacency and callous disregard could take a good tilting against now and again. And while four saxophones won’t save the world, or five, to hear them charging up the hill irregardless and stop to smell the flowers along the way is the sort of lovely idealism that makes “ignorant of the world’s true ways” a lovely and fitting epitaph. Soft Machine assailed the self-same towers, ten, twenty (was it really?) forty years ago, then grew daisies from its feet. The Softies have always soldiered on in some form, it seems, but they were fighting for their own survival and didn’t pay the windmills so much mind. Delta Saxophone Quartet raises the fallen, mossy standard, bringing their minimalist and marvelous eye to bear on a body of work too-long neglected. Armed with almost a dozen baked oldies, re-arranged by more than half a dozen guest composers, Dedicated To You is an interpretive homage. Surprisingly, the arrangements for four saxophones are liberating rather than limiting: the airy “Floating World,” the pastoral “Everything Is You,” the swinging “Mousetrap” (my favorite track on here) never lack for a rich and expressive lexicon. As often happens in the music of Soft Machine, an intricate riff or colorful flutter of notes catches your eye for an instant, perhaps lingers lovingly for a moment, only to dart behind a bank of clouds. The importance of light and dark is underscored with four saxophones, though the dominant tone is one of pastoral beauty (as evinced in Duncan Heining’s liner notes who didn’t use the word “evince,” ha ha). In fact, I’m often most reminded of Brian Eno’s Discreet Music, as the songs have a dreamy, faraway feel, as if recorded in another place, where men walk tall and windmills tremble.Connollyco.com Ireland

Facing Death FMR RECORDS FMRCD 104-C0502

All of the music featured on this new CD from the Delta Quartet has a link to the Dutch composer Louis Andriessen, and the result is a programme of music which is styilistically very coherent, whilst allowing each piece to maintain its own identity. Graham Fitkin's 'Stub', is a fast, furious, driving and articulate opening which sets the pace for the music to come. Javier Alvarez and Joe Duddell contribute intriguing and quirky pieces to the CD.

Christopher Fox's 'Concurrent Air' provides a perfectly placed (and paced) antidote to what is, for me, the crowning achievement of this disc which is the title track, Andriessen's 'Facing Death', an 18 minute romp through Charlie Parker riffs. Here the Deltas harden up the quartet's sound and approach to the relentless be-bop lines that this huge work is structured around and pace this work expertly - no mean feat in such a large scale work!

The CD is stylishly presented, and the Delta's performance maintains great energy throughout. The liner notes struggle to find a suitable label for the style of music on the CD - when the music and performance are as strong as this, who needs labels!? Buy it!

Rob Buckland,
Musician Magazine Dec. 2002
(Rob Buckland is the leader op the Apollo Saxophone Quartet & professor of Saxophone at the Northern College Of Music) (UK)

Contemporary
DELTA SAXOPHONE QUARTET
Facing Death (FMR) ••••
The Four members of the excellent Delta Saxophone Quartet share a musical pedigree which takes in both classical music and jazz (among other things), and have a common interest in performing the work of contemporary composers, rather than mining the already limited historical classical repertoire of music for their instruments (one each of soprano, alto, tenor and baritone).
The centrepiece of this disc is Louis Andriessen's wonderful, fast-moving 'Facing Death', inspired by his love for Charlie Parker, but Graham Fitkin's relentlessly energised 'Stub' and Joe Duddell's more diverse 'Circle Square' are equally compelling. Shorter pieces by Javier Alvarez and Chris Fox complete an exciting collection.
Kenny Mathieson,
The List 4-18th July 2002 (Scotland/UK)

John L Walters On the edge
Share and Share alike
A bunch of saxophonists and the biggest names in bossa nova make two unusual collaborations.
A century ago, the saxophone was seen as a violin you could blow - only useful for playing the stringy bits in marching bands. Jazz soon changed that, but the evolution of the saxophone quartet has been slow compared with that of the string quartet. Facing Death (FMR), the new CD by the Delta Saxophone Quartet, is a good indicator of recent progress, thanks in a large part, to the Delta's own efforts in commissioning and touring new repertoir.
The line-up - soprano, alto, tenor and baritone saxes - can be brash and loud without amplification. They can sound hushed and sensitive, too, but rarely cool and beautiful like a string ensemble. When the Deltas are in full flight, as on the rapid rhythmic figures of Graham Fitkin's Stub, you become aware of the mechanical nature of the saxophone's rods, levers, keys and pads, and the physical effort and precision required to tongue short, repeated notes. At one point they sound like a wheezy old squeeze-box; Accordeon de Roto Corazon, by the under-rated Javier Alvarez, takes the analogy further. Christopher Fox's Concurrent Air goes to another extreme: long, quiet, slow-moving parts wrap around each other, creating distant traces of Londonderry Air. But you neber forget that the music is made by blowing: the physicality of the saxophone is what makes it exciting.
Louis Andriessen's Facing Death is based on a bunch of Charlie Parker tunes, quoted and worked into a tangle of quasi-minimal counterpoint, some of which is lifted from the De Stijl section of Andriessen's De Materie. The Deltas handle it brilliantly, adding enough insider knowledge to make bebop phrased flow, but with an understanding of Andriessen's hard-edged style that resists any temptation to make the piece sweet or overly jazzy. This is a danger confronted daily by sax ensembles: facing death by syrup.
While the Delta Saxophone Quartet hammer at your front door, Vinicius Cantuaria wanders in at the back and sits quietly in the kitchen......... (the article continues with a review of the CD Vinicius Cantuaria)
John L Walters.
THE GUARDIAN
June 28. 2002 (UK)

The Wire (Aug.2002) (not so Rave but Scathe I feel!)
The World Saxophone Quartet have a lot to answer for. This British foursome open with Stub by Graham Fitkin, and close with Joe Duddell's idiotically hectic, unintentionally comic Circle Square. At least there are two pieces of substance in between. Louis Andiessen's Facing Death originally translated Charlie Parker's lines into an unlikely string quartet medium; here,though, there's the familiar problem of classical saxophonists trying to sound jazzy. Chris Fox's Concurrent Air turns out, improbably, to be based on ''Londonderry Air'' (''Danny Boy''). It might be superficially euphonious, but there's little familiar to latch onto, furthering his reputation for writing some of the most inscrutable music around.

Andy Hamilton (UK)

Minimal Tendencies (Clarinet Classics CC024)

BBC Music Magazine
Chamber Pick of the month March 1999

This group, which specialises in contemporary repertoire, has established itself as among the leading ensembles of its type and is responsible for commissioning several important contributions to the genre. Among these is Gavin Bryars's 'Alaric I or II' and their performance of this exceptionally difficult piece is especially welcome since the only other available version, recorded by eminent but highly individual jazz players (on the ECM label), is not entirely successful.The Delta Quartet makes light of the extraordinary technical demands of this work and its forays into the extreme altissimo registers and control of multiphonics are most impressive. This piece is quite unlike anything else written for the medium and contains a wealth of fascinating sounds.

Reich's 'New York Counterpoint' is wellknown in its original clarinet form, but this authorised arrangement for 12 saxophones was first recorded by the Rascher Quartet. Here too the Delta Quartet gives a more satisfying rendition, bringing greater intensitiy and energy to what is rapidly becoming one of the most popuular minimalist works. The pieces by Glass and Riley are also transcriptions made by the group but both work extremely well, especially Glass's 'Mishima', originally conceived as a string quartet but which, in some respects, benefits from the added power of saxophones.
PERFORMANCE ***** SOUND *****

Tim Payne (UK)

THE INDEPENDENT ON SUNDAY, 21.March 1999

Beautifully recorded versions of Reich, Nyman, Glass, Bryars and Glass's 'Mishima' performed by this hip sax quartet.

Phil Johnson (UK)

An excellent, crystal-clear recording of some of the finest pieces in the so-called minimalist genre, Minimal Tendencies features work by Terry Riley, Steve Reich, Philip Glass, Gavin Bryars, and Michael Nyman. All pieces but one are performed with four saxophones, whether originally scored for them or not. An excerpt from Glass' Mishima film score appears here, originally scored for string quartet. Reich's "New York Counterpoint" was originally scored for clarinets and tape. The performances are flawless and beautiful -- the quartet is a well-oiled machine. Bryars' "Alaric I or II" explores the extended playing techniques of the saxophone itself, notably multiphonics, circular breathing, and playing in the extreme harmonic registers. And it's beautiful music, transcending its potential status as merely a clever exercise. Of particular interest on this recording is Riley's "Tread on the Trail," composed in the mid-'60s but previously unreleased on any recording. For this piece, the quartet followed Riley's directions for the piece, but overdubbed two "quartet" versions of it to make one "octet" piece. This one is by far the most adventurous in terms of tonality -- and it is refreshing to hear his work performed since few of his pieces seem to see the light of recording tape. For aficionados of the minimal genre, this recording is a must-have, for these performers are able to take the music and bring it to a whole new level. For aficionados of the saxophone, this disc is also required listening; this is a satisfying listen on all fronts.

Mark W. B. Allender,

All Music Guide **** (USA)

NUEUE ZEITSCHRIFT FüR MUSIK, JULI/AUG 1999

Eine hochinteressante und bemerkenswerte Produktion ist kÜrzlich bei Clarinet Classics erschienen: Unter dem Titel 'Minimal Tendencies' stellt sich das Delta Saxophone quartet mit Werken von fÜnf anglo-amerikanischen Komponisten vor.

Warum für diese Werke ein nicht gerade vielsagender Aufmacher wie der Begriff << minimal music >> gewählt ist, soll hier nicht weiter nachgefragt werden. Der Begleittext bleibt in dieser Hinsicht ungenau genug, und so tun wir gut daran, einmal mehr Namen Schall und Rauch sein zu lassen, dies unso eher, als die Musikalität wie auch das hervorragende KÖnnen der vier saxophonisten dieses Ensembles: Stephen Cottrell (soprano), Peter Whyman (alto), Gareth Brady (tenor), ind Chris Caldwell (baritone), ohnehin größte Beachtung verdienen.
Seit der Gründung der Gruppe 1984 in Großbritannien haben sich die vier Virtuosen nicht nur einer Reihe bedeutender Konzerte, sondern auch durch Einspielungen für den BBC einen Namen gemacht. Auch in anderen europäischen Festivals haben sie sich hervorgetan. Sie haben sich der reizvollen Aufgabe verschrieben,das Repertoire für Saxophonequartett zu erweitern. Dazu haben sie einige Komponisten um Arbeiten speziell für sich gebeten, die sich gern bereit fanden, das Ensemble bei seinen anspruchsvollen Plänen zu unterstützen.

Und dabei ist nun wahrhaft Erstaunliches herausgekommen, wobei es- wie in der Idee bereits angelegt - durchweg zu wechselseitiger Befruchtung gekommen ist: Gerade durch seine herausragende Interpretation und die Vielfalt klaglicher Differenzierungen macht das Delta Saxophone Quartet in vielen dieser Werke eine edle Schönheit offenbar, ja, es hat den Eindruck, als fänden unter den Händen dieser Gruppe die Werke erst zu ihrem wirklichen Leben.

Dabei haben die verschiedenen Kompositionen von Steve Reich (New York Counterpoint), Philip Glass (Mishima), Gavin Bryars (Alaric I or II), und Terry Riley (Tread On The Trail) jeweils höchst unterschiedliche Gesichter: In den auf dieser CD vorgestellen Arbeiten stehen neben rhythmisch sehr anspruchsvollen, sich an Vorbildern aus dem Jazz orientierenden Werken andere, in denen es vorwiegend darum geht, die vielschichtigen Klangmöglichkeiten cines solchen Ensembles sensibel auszuloten, wie in jenen Stücken, in denen sich beispielsweise durch prägnantes Ausnutzen des instrumentalen Saxophon-Ansatzes eine fast schlagwerkartig anmutende Wirkung erzeugen lässt. Wiederum andere Werke sind in der Nähe der pressionismus angesiedelt. Eines der avantgardistischeren Werke ist zweifellos Gavin Bryars' Alaric I or II mit seinen stellenweise an John Cage erinnernden experimentellen Ansätzen. Auch Collaagetechniken, in denen mit bemerkenswerter Präzision zum Beispiel zwei zuvor aufgenommene Partien mit einer dritten - vermischt werden, bringen eine klanglich sehr überzeugende Variante ein. Aus solcher Vielfalt ersteht hier ein faszinierend reich haltiges Kaleidoskop unterwarteter Farbigkeit.

Musikalische wertung 5, technische wertung 5, repertoirewet 4,
booklet 3, gesamtwertung 4. (beste wertung 5, schlechteste wertung 1)

Wolfgang Fricke (Germany)

MUSICIAN MAGAZINE SUMMER 1999

The Delta Quartet's 'Minimal Tendencies' is a challenging and brilliant CD featuring two generations of minimalist composers- the forefathers: Reich, Riley and Glass, and the second wave: Nyman and Bryars. The intonation is fantastic throughout, and the accuracy of the rhythmic interlocking and shifting patterns of the music becomes mesmerising. Steve Reich's 'New York Counterpoint', with four live saxes alongside eight pre-recorded parts, provides some particularly evocative moments. Roll on more original music for this under- exploited format.

Jamie Anderson

!

live reviews

Kettles Yard, Cambridge, 8th February 2008 (Soft Machine Set)

Graeme Blevins- sop sax/electronics

Pete Whyman - alto sax/sop sas/electronics

Tim Holmes - tenor sax/sop sax/electronics

Chris Caldwell - bari sax/sop sax/electronics

Simon Pearson- drums

Hugh Hopper- bass/loops etc..

Thanks for a great evening Chris, I really enjoyed it
and, by the way, you did a great job as the Master of
Ceremonies! Also thanks to the rest of the Deltas and
Hugh, Simon and Yumi Hara. Living in Cambridge and
knowing the venue as an art gallery I wasn't sure how
this would work. But it did. I can only liken it to
having the music played at a private viewing.
Fantastic!

For those that weren't fortunate enough to be there
I'll try and do a brief summary. The Deltas were
joined by Hugh Hopper on bass, Simon Pearson on drums
and, for one number, Yumi Hara Cawkwell. Most of the
recent Delta album was played - although I noticed
that "Outrageous Moon" was missing, presumably because
no one fancied stepping into Morgan Fisher's shoes for
the vocals!

The beautiful ensemble playing of the quartet was an
absolute delight. Whilst the new arrangements remain
true to the spirit of SM there is no doubt that the
harmonic possibilities of a virtuoso saxophone quartet
can and do add new textures. Some of the pieces have a
chilled out classical feel, but there's also plenty of
out and out blowing going on!

Hugh and Simon didn't play on all the numbers but they
did contribute to the latter part of "Kings and
Queens" and to storming full blown versions of
"Facelift" and "Esther's nose job". The latter was a
roaring new arrangement by Hugh. It incorporated
"Pigling Bland" as SM used to do but there were a few
other tweaks and twists along the way.

Yumi Hara Cawkwell's appearance was on her version of
"Box 25/4 Lid". I loved this. From a beginning that
could be described as minimalist it gradually built,
going through a (to my ears) Terry Riley/Poppy Nogood
phase before ending with the whole band playing the
familiar theme from the first SM album.

There were a couple of comic moments. Pete Whyman was
ripping into his alto so hard on his solo on "Esther"
that his glasses flew off. And Hugh had a senior
moment in the middle of the same number as the rest of
the band waited expectantly for him to lead them into
the next section. I could write more but hopefully
that gives an idea of what happened.

Maybe another rattler was present and could add some
more?

Stuart Mott, What's Rattlin web blog (posted on 10th February 2008)

LA NAZIONE Domenica 28 Ottobre 2001, Perugia

''Musica minimalista, i britannici Delta Saxophone brillano nella pagina di Andriessen''.

PERUGIA - Sarà anche musica minimalista, ma non è detto che l'accompagne-mento anote ribattute debba essere più marcato dell'esile melodia.
Com questi tremuli bozzetti di Michael Nyman prende corpo il concerto del quartet- to Delta Saxophone per gli <<Amici>>. Nella sala dei Notari era prevista un'altra apertura, ma il rumore delle percussioni cosiddette <<mediterranee>> che proviene da quel teatro cher sono le scalette del duomo è cosi assordante che il pezzo di Globokar sarebbe risultato inudibile.
Ancora una volta la maleducazione e la prepotenza vincono sulla civiltà. Per tutto il concerto dei sassofonisti albionici il ribattere delle membrane entrerà nelle orecchie degli ascoltatori che hanno pure pagato un biglietto per ritagliarsi un' oretta di bella vita. i saxofonisti britannici fisico e prestanza da teste di cuoio, non battono ciglio. I loro oricalchi hanno suono bronzeo scolpito, quasi eccessivo per una sala che è sempre più malinconicamente sorda.
E dopo la sciocchezza di Purceli, arrangiata in modo orribile dall'originale per viole, quando arriva il Facing Death di Andriessen, i musicisti ospiti si revelano esecutori semplicemente grandiosi: il pezzo è difficilissimo, è intellettualoide, provoca tensione. Nessun diaframma rispetto all'originale per archi, anzi quasi una seconda destinazione più felice della prima. Dopo una silloge di Philip Glass noiosa come parte della sua musica, Il Circle Square di Joe Duddell presenta un' opera di un giovane autetre inglese che appare dotato di intelligenza.
Applausi scroscianti.

STEFANO RAGNI

Club Zo, Catania, Jan 19th 2007

Delta Saxophone Quartet live @ Zo
di Stefania Placenti

Centro Culturale Zo, 19 gennaio 2007. I Delta Saxophone Quartet suonano ancora a Catania, in omaggio a uno dei gruppi storici della scena psichedelica degli anni '70, i Soft Machine, accompagnati da uno dei suoi più singolari protagonisti, il bassista Hugh Hopper
- Ritorno alla psichedelia (classica) di Valentina Miraglia

Li avevamo visti due anni fa al Teatro Sangiorgi di Catania, anche in quell’occasione impegnati in un workshop con gli studenti catanesi. Li ritroviamo quest’anno al centro culturale Zo, all’interno della rassegna “Etnafest”. Stiamo parlando dei Delta Saxophone Quartet, un quartetto di fiati il cui alito spira sulla scena musicale mondiale.

Guidati dai Saxophone, la prima esibizione tocca ai giovani strumentisti catanesi, alcuni provenienti dal conservatorio, altri semplicemente attratti dal progetto di workshop musicale. La collaborazione dei Delta con gli studenti, anche quest’anno riuscitissima, è ormai una prerogativa del gruppo che da tempo porta avanti un progetto di “musica partecipativa” in cui l’improvvisazione e la creatività hanno come risultato un cocktail di estrosità musicale.

Un set di percussioni, due bassi, uno xilofono e soprattutto strumenti a fiato: un’orchestra di giovani musicisti guidata dal quartet la cui performance non è affatto male. 

È la volta del grande quartetto che da solo cattura l’attenzione di un pubblico davvero numeroso. Quattro strumenti, tutti fiati: un sax soprano, uno alto, un tenore e un baritono, eppure non sembra mancar niente ai loro suoni. Ci regalano lunghi pezzi, fra jazz e psichedelico, fra il classico e  il rock melodico, azzarderei.

Uno di loro presenta al pubblico il secondo brano: “Floating words”. Qui gli strumenti sembrano rincorrersi in un’elegante danza di suoni. Sembra quasi di poter vedere figure di note danzanti: un sax-donna rincorso da tre corteggiatori impertinenti: le altre tre trombe. Ritmi veloci e incalzanti si trasformano poi in tocchi leggeri, timbri carezzevoli, dolci note.

È la volta di un pezzo “Quite German”, così  ce lo presentano, annunciando al pubblico che è ora “to wake up”. E ci svegliano e come, fra suoni che ricordano schiocchi di dita e colpi di tip tap . Sconvolgente, incredibilmente unico.

Un pezzo che annuncia un gusto dichiaratamente ispirato a un gruppo degli anni ’70, i Soft Machine, è il preludio all’ingresso, applauditissimo, del grande Hugh Hopper, l’eccezionale special guest, basso dei Soft Machine. Solo un paio di pezzi col bassista, e questa è l’unica delusione: ci salutano troppo presto, ma con la sensazione di aver assistito ad un concerto davvero straordinario.