AS John Burgess played and the room gradually filled at The Bell, one thought the newcomers might all be sax players who had heard the sounds echoing down Walcot Street and come to investigate.   If they weren't, they should have been, because Burgess was effectively giving a masterclass in saxophonics.

With the kind of resonant, full-bodied tone that makes the tenor sax seem like the instrument of the gods, Burgess brought infinite technique to a thoroughly invigorating set of jazz standards.  His style goes back to Miles Davis era Joh Coltrane, but it's mixed with plenty of other influences, including the under-rated Stanley Turrentine.

Despite his abundance of technique, John Burgess didn't fall into the trap of empty facility.  His solos were driven by emotion that pushed them to the edge, and he frequently opted for unusual and jolting note choices.   He rarely let a tune go by that wasn't investigated with passion.

Anders Olinder provided gentle and supportive electric piano, Paul Anstey fine, funky electric bass.  Drummer Ian Matthews, whom I think of as a large group funk drummer, turned out to be particularly good in this small setting.

Calling all saxophonists: John Burgess plays once more, on Friday, at Bristol's Bebop Club.  Check it out.

Charley Dunlap
"Bath Courier"
November 1998

John Burgess majors on tenor saxophone, flute and bass clarinet, all of which receive an airing on this CD, recorded in January this year with Theo Saunders (piano), Henry Franklin (bass) and Willie Jones III (drums).

Burgess' approach to the tenor is in the spirit of Eddie "Lockjaw" Davis and reminiscent of Johnny Griffin.  It's also good to hear echoes of the late Roland Kirk in the way Burgess plays flute on Minty Fresh, but don't take his playing as a collection of influences - Burgess has his own trademarks, too.  Notable is the way he builds the improvisation in flowing style on You Can't Go Back to Rockridge and the deep-toned lyricism of Wishful Thinking.

Pianist Theo Saunders is outstanding throughout, both in support and solo roles and Franklin and Jones make up a fine rhythm section.  In all this is a fine seventy-minutes worth, and worth the trouble of seeking out.

Greg Murphy
"Jazz Rag"
January 1998

Diamonds in the Night
Andy Shanks & Jim Russell

Pendulum
Blowpipe

Compared 2 What
Harry Beckett Quintet

A delightful set of original compositions from the leader makes up this relaxed, well structured session.  Most tracks here are slow or medium tempo but the laid back, mellow approach of the quartet in now way diminishes the music or the impact it has on the listener.  Burgess plays tenor sax with a breathy, almost old world style although his approach is basically modern and his lines are fresh and original.  On Nine Lives he fashions some wonderfully rich, rhapsodic bass clarinet lines, totally his own and not influenced, as far as I could tell, by the admittedly few, great players on the instrument.  In complete contrast, The North Beach Hi Life, is an infectious calypso that bounces along merrily with Burgess on flute and this is the only selection that gets any faster than medium clip.

There is refreshing vitality and individuality about this session that restores my faith in the conditioned evolution of jazz; these young men are taking the music towards the new century rather than wallowing in nostalgia and tired old licks that we've all heard a thousand times before.  Mackenzie contributes nicely rounded guitar solos, some of his build ups reminiscent ot the late Grant Green, perhaps an early influence?  Caribe's bass is always strong and true together with Rae and the drums they provide a stimulating rhythmic background.

The general area of operations is bop and blues, nothing new there, but the compositions, arrangements and general inventiveness of all the musicians makes this a thoroughly enjoyable set.  I played the disc right through the first time without so much as a blink, shudder or nod of recognition at a familiar phrase.   And these days, for a battle weary jazz writer, that is quite something.

Derek Ansell
"Jazz Journal International"
December 1999

NOE&24th Records 010
Recorded 1999

John Burgess - tenor saxophone
Liam Noble - piano

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