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Avant
Released: May 10, 2005
Label: N\A

Saxophonist {$Elton Dean} and pianist {$Sophia Domancich} have played together on and off in {$the Soft Machine} -- with {$Hugh Hopper} and {$Simon Goubert} -- and in various lineups of {$Pip... Continue[+]

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Sea of Infinity
Released: Jun 22, 2004
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Live at the BBC
Released: Sep 29, 2003
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{$Elton Dean's Ninesense} grouped members of {$Chris McGregor}'s {$Brotherhood of Breath}, {$Keith Tippett}'s sextet, and {$Elton Dean}'s {^Just Us} players and his quartet. All these groups had... Continue[+]

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{$Elton Dean's Ninesense} grouped members of {$Chris McGregor}'s {$Brotherhood of Breath}, {$Keith Tippett}'s sextet, and {$Elton Dean}'s {^Just Us} players and his quartet. All these groups had much stronger ties to {\bebop jazz} than {\rock}, or even {\fusion jazz} -- which is what {$Dean} is still best known for through his tenure in {$Soft Machine}. And thus the music of {$Ninesense} will surprise more than a few misinformed fans. {^Live at the BBC} expands the timeline of the group as it culls one session recorded ten months before it cut its first LP (May 1975), and another nine months after its second (March 1978). The first set features original trumpeter {$Mongezi Feza} in his only known recording with the band, and includes {&"Dancin'"} and {&"Soothing,"} two pieces that would appear on 1976's {^Oh For the Edge} as {&"Dance"} and {&"Forsoothe,"} plus two previously undocumented pieces. These light, {\avant-jazz} melodies paired to the {$Blue Notes}' rhythm section (bassist {$Harry Miller} and drummer {$Louis Moholo}) rank among {$Dean}'s most accessible (though a bit bland) material. The {&"Bidet Bebop"} is one raucous tune, fast, quirky, and heavy in horn presence (the lineup also includes {$Alan Skidmore} on sax, {$Marc Charig} on cornet, and {$Radu Malfatti} and {$Paul Nieman} on trombones). {&"Nicra"} and {&"Seven for Me,"} from the second session, had been recorded for the second and last LP, {^Happy Daze}, under the titles {&"Nicrotto"} and {&"Seven for Lee."} {$Harry Beckett} has replaced {$Feza} since his death in December 1975. {$Nick Evans} subs for {$Nieman}. {&"Seven for Me"} brings the highlight of the disc: both simple and complex (in a {$Coleman}-esque harmolodic way), the tune leaps out of the speakers like the brightest tunes from {$Soft Machine}'s Golden Age (that would be the {^Third}/{^Fourth} period) and features pianist {$Keith Tippett} on celeste. With better sound, this rendition would be flooring, but as it is, with a rather poor sound capture by {@BBC} standards, it still has the power to impress. ~ Fran�ois Couture, All Music Guide

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Bar Torque
Released: Jul 15, 2001
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{^Bar Torque}, recorded live at {~the London Jazz Cafe} in November 1992, consists of three extended instrumental {\improvisations} between {$Elton Dean} (on saxello and alto sax) and {$Mark... Continue[+]

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Moorsong
Released: Jan 15, 2001
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{^Moorsong}, saxophonist {$Elton Dean}'s fourth recording for {@Cuneiform}, is comprised of three very different sessions. The bulk of the album (the first five tracks) showcases {$Dean} with... Continue[+]

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{^Moorsong}, saxophonist {$Elton Dean}'s fourth recording for {@Cuneiform}, is comprised of three very different sessions. The bulk of the album (the first five tracks) showcases {$Dean} with {$Alex Maguire} (Hammond organ), {$Fred T. Baker} (bass), and {$Liam Genockey} (drums). This set sounds a lot like {$Medeski, Martin & Wood} (their {@Ryko} years). These sunny upbeat grooves driven by raunchy organ are quite unexpected. ({&"John's Fragment,"} with its 9/8 bass motif, could have been written by {$Hugh Hopper}!) {&"Baker's Treat"} is a slow bop number with a spotlight for the bassist -- nice job. {&"Bedrock Ruse"} is a straight blues-jazz number, while {&"Full Fathom Five"} comes back to {$MM&W} funkiness. The next two tracks take a completely different direction. Recorded by {$Dean}, {$Baker}, guitarist {$Mark Hewins}, and free jazz drummer {$Mark Sanders}, these are moody free improvisations with more room left for {$Dean} to shine. {&"Soldering On"} deserves a special mention: a beautiful slow-paced improv ending with {$Sanders} on timpani. The last piece, {&"Moorsong,"} is a strange duet between {$Dean} and {$Hewins}. The latter's playing is inspired by {$Syd Barrett} and {$Dean} tries to fit something in. It doesn't work very well and the sound quality is subpar on this particular track. Overall, {^Moorsong} is a mixed bag. Some will like this generally lighter side of the saxophonist, but one thing is certain: most listeners will be surprised. Let's just say there are more essential {$Elton Dean} records. ~ Fran�ois Couture, All Music Guide

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Into the Nierika
Released: Aug 25, 1998
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Performing freely, with only bass and drums at his side, Brit saxophonist {$Elton Dean} takes risks galore on three extended tracks. That he holds the listener's attention for a full hour speaks... Continue[+]

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Performing freely, with only bass and drums at his side, Brit saxophonist {$Elton Dean} takes risks galore on three extended tracks. That he holds the listener's attention for a full hour speaks volumes about {$Dean}'s ability to create spontaneously. This sort of venture is not to be taken lightly: There are no melodies, only the ingenuity of the artists. The leaflet defines {&"Nierika,"} from the album's title, as a Huichoi word meaning "a visionary tunnel between so called ordinary and non-ordinary realities..." The metaphor is apt, as {$Dean} and colleagues map a sort of implicit connection between unmitigated abstraction and traditional song. While this recording will appeal to the most adventurous through its identity with and embracing of the best of the {\avant-garde}, it also looks to logical harmonic progression without sacrificing the purity of instant composition. {$Dean}'s saxello sounds like a full-toned soprano sax, which fits well with {$Mark Sander}'s percussive emphasis on the snare. {$Roberto Bellatalla}'s bass is a bit weak in the mix, but his modest, unobtrusive approach to timbre helps the album succeed. Although the recording is presumptively a collective venture, {$Dean} is the lead voice, by virtue of his strong muscular tone. It is one of {$Dean}'s best works on disc; he takes full advantage of the extra time to stretch, organize, and develop ideas, and explore sound relationships. His many admirers will appreciate his efforts, as will others who may find this a nice entryway to his work. ~ Steven Loewy, All Music Guide

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Bladik
Released: Sep 16, 1997
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{$Dunmall}, {$Levin}, {$Rogers} and {$Tippett} perform and record on a regular basis as the {$Mujician} quartet, and the addition of {$Elton Dean} on saxes and {$Roswell Rudd} on trombone adds some... Continue[+]

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{$Dunmall}, {$Levin}, {$Rogers} and {$Tippett} perform and record on a regular basis as the {$Mujician} quartet, and the addition of {$Elton Dean} on saxes and {$Roswell Rudd} on trombone adds some weight to the quartet sound, but doesn't change the style of the music appreciably. Like {$Mujician}, this augmented group starts with relatively open-ended collective improvisations, concentrating initially on individual instrumental textures and timbres, and then works its way gradually into melody, metrical regularity and interactions among various group members. Each of the three long pieces is a journey, and process is at least as important as product. In fact, the episodic, improvisational nature of the music is such that the CD might as well be one long 60-minute composition, because there's no clear sonic or stylistic transition between one piece and the next. {$Rudd} is a real presence at times on trombone; he's an expansive, extroverted musician playing an instrument which accentuates such personal qualities. On occasion, {$Rudd}'s presence gives some of the blues-oriented sections a gregarious, almost Dixieland sensibility. {$Dean} and {$Dunmall} are both excellent on saxophones, and although there's no information on who's playing what, I suspect that {$Dunmall} would be most often on tenor, while {$Dean} would be playing his standard mixture of alto and saxello. The emotional range of the music on {^Bladek} is enormous, and includes poignant solo work, both lyrical and raucous dialogues between group members, broad blues swagger, and some powerhouse collective free blowing which recapitulates the best of the late, expanded {$Coltrane} groups. ~ William Tilland, All Music Guide

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If Dubois Only Knew
Released: Nov 26, 1996
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Two titans of the saxophone dueling it out, embracing, and locking horns as they freely improvise up and down their horns. In many ways, {$Elton Dean} and {$Paul Dunmall} sound like two sides of... Continue[+]

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Silent Knowledge
Released: Jun 1, 1995
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Although {$Dean} is titular head of the quintet, three-fifths of its personnel is made up of members of the {$Mujician} group -- {$Tony Levin} on drums, {$Paul Rogers} on bass and {$Paul Dunmall}... Continue[+]

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Although {$Dean} is titular head of the quintet, three-fifths of its personnel is made up of members of the {$Mujician} group -- {$Tony Levin} on drums, {$Paul Rogers} on bass and {$Paul Dunmall} on tenor sax. Regular {$Mujician} pianist {$Keith Tippett} is replaced by {$Sophia Donmancich}, who has a robust, two-handed attack, although perhaps less of {$Tippett}'s musical eccentricity. {$Dean} plays his customary alto sax and saxello, no longer doubling on electric keyboards as he did during his early {$Soft Machine} days. The long opening piece, {&"Gualchos,"} betrays a strong and not unwelcome {$Coltrane} influence, beginning with the rolling thunder of {$Donmancich}'s piano, and then a solemn minor theme played by the saxes in unison. Everyone then has ample opportunities for soloing, with {$Dunmall}'s hoarse, impassioned tenor a highlight, along with a serpentine duet between the unaccompanied horns at the end of the piece. A subsequent ballad, {&"First in the Wagon,"} has {$Dean} taking an initial lyrical solo, followed by {$Donmancich} and then apparently by {$Dean} again on his other horn. Very lovely playing, indeed. The remained two tracks on the CD are more in the mode of {$Mujician}, going beyond the standard {\jazz} format of theme and solos and into the more challenging world of collective improvisation where the musicians take turns following one another's lead and combine in temporary duets and trios, pushing the music in various directions. These pieces are abstract and sometimes abrasive, with fewer touchstones for the listener, but they offer substantial creative challenges for both listener and musician. Whatever the territory, this group of musicians traverses it with panache. ~ William Tilland, All Music Guide

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They All Be on This Old Road
Released: 1977
Label: N\A

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Elton Dean

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