Elton Dean - Unlimited Saxophone Company '1989
Artist | Elton Dean Related artists |
Album name | Unlimited Saxophone Company |
Country | |
Date | 1989 |
Genre | Jazz |
Play time | 64:33 |
Format / Bitrate | Stereo 1420 Kbps
/ 44.1 kHz MP3 320 Kbps |
Media | CD |
Size | 152 MB(+3\%) |
Price | Download $1.95 |
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Pre-order albumTracks list
Tracklist 01 - Unda 02 - Rising 03 - Seven For Lee 04 - Small Strides 05 - Fall In Free 06 - One Three Nine personnel : Alto Saxophone – Trevor Watts Alto Saxophone, Saxello, Composed By, Producer, Liner Notes – Elton Dean Double Bass – Paul Rogers Drums – Tony Levin Tenor Saxophone – Simon Pickard Tenor Saxophone, Baritone Saxophone – Paul Dunmall Brit saxer Elton Dean (yes, he of Soft Machine) lines up a monumental cast of reedmen and has at it with a championship rhythm section to boot. Deans alto and saxello are augmented by the tenor and baritone saxes of Paul Dunmall, Simon Pickards tenor, and Trevor Watts alto. They are supported by no less than drummer Tony Levin and bassist Paul Rogers. Heres the rub: This disc was recorded at the bands very first gig at the 1989 Covent Garden Jazz Saxophone Festival. This is a set of Dean tunes written especially for a quartet of sax players who all have ample room to solo. The music borders on the outer limits without really going there. Tracks like Seven for Lee (Konitz), Unda, and Fall in Free all feature fairly elaborate melody lines with distinct and knotty harmonies composed by Dean -- they border on post-bop but are too creative to be boxed that way. Each horn player gets a solo that can skirt the variations on the theme or go way outside if he wishes, like Dunmall does on Unda. In essence, the rhythm section keeps things moving, undoing whatever damage might be incurred by an errantly inspired saxman, shifting tempos and intervals just enough to rein in even the most rambunctious player. On One Three Nine, which ends the set, one becomes aware of how close Dean walks to the academic edge of jazz composition; the cats got math in his head all the time, but its soulful math, full of charge, feeling, and spirit that is enhanced and necessitated even by the inclusion of these players in the ensemble. I wouldnt look for Deans compositions to be covered too often, but thats all right -- in the steady hands of this band, they are pretty much inimitable anyway.