LINE SERIES - Improvisation

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The Flying Deer


Tobias Delius, tenor saxophone and clarinet

Wilbert de Joode, bass, bio at All About Jazz

Dylan van der Schyff, drums


Recorded live in Amsterdam at Zaal 100 in September 2001.







What the critics are saying:


*** —Penguin Guide to Jazz on cd Eighth Edition


"The all-improv affair opens with "A Good Idea,"  so abruptly that it seems we're catching the band in mid-piece (and the fact that it only lasts 4 minutes, when the remaining 4 tracks run between 9 and 15, further arouses such suspicions).  Right off the bat, Delius sprinkles and splashes on clarinet before switching over to his main axe.  The drummer hits a kind of churning groove that could easily mislead people into believing that Master Han (Bennink, of course) is actually behind the traps.  Jazzy and earthy it is as well: one can't help but hear echoes of vintage-Impulse Shepp in the reedman's gruff tone.  Moreover, De Joode's use of gut strings gives him a fat, rubbery sound  strikingly reminiscent of Mingus.  Apart from the closing cut, "Zaal 100,"  where the band hits quite a swinging groove when the bassist locks into the drummer's brush strokes, the trio eschews fixed tempos for the most part.  But that doesn't prevent them from being discursive.  Forget harmonic structures or catchy melodic turns of phrases, but expect plenty of jagged phrases thrown about with reckless abandon.   This is more jazz in spirit than by the letter.  It breathes with the gusto of past times without any of the stylistic conventions that would eventually straightjacket it into what is now known, for better or worse, as the Mainstream."


—Marc Chenard, The Squid's Ear


"...van der Schyff is a musician with an individual style - just listen to the cymbal colors at the beginning of Seven Day Itch or to the beginning of Bar Flies, where only percussions appear.  But it's the trio as a whole that definitely impressed me, the interplay and exchange of ideas making one imagine of a much longer acquaintance.  Delius is always concentrated, his instrumental language the result of a long distallation process, De Joode is always versatile - just listen to his "drumming" at the start of the Flying Deer or to the solo that starts Zaal 100 - a track that is a perfect microcosm of this record  and of an aesthetical vision."


—Beppe Colli,


"Their meeting is a friendly unpretentious one, where van der Schyff, the man of all trades, puts on his Dutch avant-garde jazz hat, participating in Delius and De Joode's witty and spirited free-form exchanges like he'd been living in Amsterdam for the last two decades."


—Francois Couture, All Music Guide


View a review at Jazzword