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Michael Moore, clarinet, alto saxophone
Peggy Lee, cello
Dylan van der Schyff, drums, etc
Recorded at the Vancouver International Jazz Festival, June 2000 by Marc L'Esperance.
What the critics are saying:
"Michael Moore is so thoroughly identified with New Dutch Swing that a periodic reminder that he is an American is in order. Though the California-born clarinetist/saxophonist is based in Amsterdam, he has also retained a Left Coast profile, often with the Vancouver International Jazz Festival functioning as a tour hub. Recorded at the VIJF in 2000, Floating 1...2...3 (Spool) finds Moore triangulating with cellist Peggy Lee and drummer Dylan van der Schyff, two of Canada's most formidable improvisers, in a LP-length set that glides from one texture-rich zone to another. Though their exchanges are often true to the album's title, there is also a subtle turbulence lurking at the edges of the music, one that occasionally seeps to the foreground. Moore's smoldering concluding clarinet statement is the album's most overt horn-led passage. For the bulk of the program, however, each instrument has equal sonic weight, which creates the sense that the music is constantly on the verge. This begs the question: Does it ultimately go anywhere? Yes: points unchartered."
—Bill Shoemaker, Jazz Times
"There are recordings whose titles seem to say it all about their contents, as does this one. Heard in this latest issue from the Canadian label Spool is an intimate and airy (or eerie) sounding trio comprised of Holland-based reedist Michael Moore and the now stalwart Vancouver twosome of Peggy Lee (cello), and her partner, the ever-engaging percussionist Dylan van der Schyff. Released two and a half years after its recording at the Vancouver Jazz Fest, this CD documents three instant compositions in which the guest roams a little further beyond his melodic proclivites to explore more of the sonics of both his clarinets and alto sax. By and large it's the cellist who seems to be guiding the proceedings here, with the drummer pattering behind her and the front man musing along according to his whims"
—Marc Chenard, Coda
"Sad that it ended so quickly. It's a program of restraint more than release, of tension and suspension more than quick and easy resolution. This isn't to say there aren't any visceral pleasures and emphatic declamations made during these improvisations, but simply that there's a ton of taste here."
—Jason Bivens, Signal to Noise
"Although associated with many free and crazy European musicians, [Moore] has a real ear for melody and lyricism, which is a great binding agent for the fluttery sounds of Lee and van der Schyff. On this recording, he becomes the de facto leader because of the way his melodies work; Lee occasionally comes to the forefront but she and van der Schyff's game plan is to play supporting roles. It sounds like Lee and Moore are in the same harmonic space most of the time, which makes this music sound more composed than it is. I must admit I enjoy it when they explore riff-like passages, as both Moore and Lee are very good at seizing the right repetitions; perhaps Lee has developed her knack for it in her rock-like big band project.."
—David Dacks, Exclaim