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What the Critics Say:
Here's what's been said about this exceptional group, from their earliest performances in 1984 to their most recent release, "This'n'That":
JAZZ TIMES -
The Windmill Saxophone Quartet are four reeds playing without any rhythm section or other accompaniment. The group creates an astonishing palette of sound from the unorthodox instrumentation. The quartet includes Clayton Englar, Jesse Meman, Ken Plant, and Tom Monroe, and each plays a variety of members of the saxophone family, as well as clarinets and flutes. They were quite active on the Washington, DC, area scene in the late '80s and early '90s. The group's arrangements are inventive and full of panache, with a dash of the experimental avant garde, both re-working jazz standards and including clever original pieces. Notwithstanding the absence of a rhythm section, the quartet pulls off a dynamic presentation that is full of forward movement and sustains interest.
CADENCE MAGAZINE -
(1)"Windmill Saxophone Quartet, "This'n'That" On the proof of these two releases, the saxophone quartet has made its way from novelty line-up or free-Jazz fringes to be absorbed into far more mainstream settings. Though The Windmill Sax Quartet hails from the U.S. and Sax Four Fun from Italy, both share an approach that absorbs a variety of sources info a fairly straight-ahead, melodious, harmonically rich mix.
On (1) the Washington, DC-based contingent constructs a set from originals and covers that range trom Strayhorn to Parker to Coltrane to the Beatles to Tom Waits to The Talking Heads. What each of these tunes share is tight riff-heavy arrangements, carefully woven contrapuntal lines, a propulsive sense of rhythm, and cleanly articulated concise solos. The four extend the sonic palette of their lyrical orchestration with the inclusion of flutes, piccolo, and clarinets. Though each tune contains room for two or three solos, these explorations are kept quite concise and sonorous, with brief forays into freely tinged overblowing and harmonics. Instead, focus is placed on the group interaction, with the four players starting and stopping on a dime, trading licks with rapid-fire reactions. There is plenty of expert playing here and the four are adept at careful listening.
LE JAZZ -
This is the second recording by the Windmill Saxophone Quartet. Their joy in playing explodes in every measure. The arrangements - of everything from "I Am The Walrus" to "Naima", not to mention standards and originals - are beautiful.
ALL ABOUT JAZZ - (http://www.allaboutjazz.com)
The Washington, D.C. based Windmill Saxophone Quartet employs soprano, alto, tenor, baritone, and bass saxophones along with flutes and clarinets in an adventurous session that was recorded in 1990 but released just this year.
Clayton Englar, Jesse Meman, Ken Plant, and Tom Monroe combine timbres from dissimilar instruments – such as piccolo with bass sax – to support their wide spectrum of ideas. Working without a rhythm section, the quartet relies on sensible arrangements that allow the artists to trade roles seamlessly. Their most frequently used approach combines soprano, alto, tenor, and bass saxophones in logical harmonies.
John Coltrane's ballad "Naima" is performed with interwoven saxophone voices; traditional solo work is offered by Plant on tenor, Englar on bass,and Meman on alto. Similarly, Billy Strayhorn's "Lush Life" flows with lyrical phrasing from flutes, clarinet, alto and tenor. The Lennon-McCartney favorite "I Am the Walrus" captures the light spirit of the original with flute, bass sax, piccolo, and changing inner voices. Englar provides a solid bass saxophone riff to anchor Bronislau Kaper's "Invitation," which includes lively solo work from each of the other three saxophonists. The quartet's original compositions allow them to offer a wide variety of sounds that stretch from traditional swing to today's avant-garde. The session's highlight is Charlie Parker's "Be-Bop," which places the foursome in a lengthy eight-minute arrangement that seems to combine the music of Supersax with that of the World Saxophone Quartet. Recommended.
MP3CRITIC.COM -
Windmill Saxophone Quartet is everything it says on the label, four guys with saxophones who know how to play them better than you do, unless you happen to be something special on the sax. There's some really fine music going on here, with clear phrasing and a give and take that many musicians spend years developing. Clayton Englar, Jesse Melman, Ken Plant and Tom Monroe are just plain talented at making jazz happen.
The record starts off with "Invitation," which incorporates the sort of tunes you've heard everywhere and nowhere. It's a good way to get started. Original compositions begin with track number two, "That," which begins with a whistle and a circus kind of theme and develops into something introspective and jazzy and bouncy all at once. The saxophone, it should be added, is among the most expressive of instruments, and these guys know how to draw some serious range out of their horns. They can make four horns stand up and sing hallelujah in a chorus. In case you were wondering, there is a tune called "That" to go along with "This" and give the album its title. Like much off "This n' That" it's an earful of goodness. If you think it's amazing what one talented sax player can do, four is a real treat. In addition to "This" and "That" you get thirteen more tracks, mostly originals. Don't discount all the covers, though. Windmill's rendition of Parker's "Be-Bop" bops quite nicely, thank you very much. From their own material, my pick has got to be "Off-White Rhapsody." It works. It's that simple.
(2)"Sax Four Fun"
THE WASHINGTON POST -
One's first response to an all-horn ensemble is where's the beat? But in the case of Washington's Windmill Saxophone Quartet, a rhythm section would simply get in the way. At d.c. space last night, this foursome provided pulse enough on its own.
The sum of voices was more than the dozen reeds employed by the quartet, and they covered eras from swing to be-bop to the '80's. The originals and the arrangements of others' work displayed craft, wit, imagination and a feeling for tradition. Section precision, descants of flute or soprano saxophone riding above the ensemble, riff backgrounds and solo statements were integrated for a truly orchestral effect.
A medley of Charles Mingus tunes had the baritone saxophone in the dual role of timekeeper and melodic guide; John Coltrane's "Naima" had a big-band ballad feel, and "Unicorn," a suite in three movements, intricately blended the four players' lines. Clayton Englar, Mark Gilbert, Jesse Meman and Bruce Robinson made up the quartet.
- W. Royal Stokes
While its new album "Very Scary" (Pathfinder) doesn't do justice to the band's sense of humor - not like its concerts, anyway, which are apt to include some quirky pop material - every tune and arrangement points to its collective talent and imagination.
Washington's own Windmill Saxophone Quartet should really be seen live to be fully appreciated. Still, its current album "Very Scary" goes a long way toward establishing the band as one of the most promising and innovative in town.
Of all the pieces, the most tuneful and accessible by far is the multi-layered treatment of "God Bless the Child," which places the poignant melody against a backdrop of lush, shifting harmonies and loping, sax-powered bass lines. But even the band's more improvisational efforts often take on a haunting tone fully in keeping with the album title.
- Mike Joyce
The Windmill Saxophone Quartet's concert yesterday afternoon in Beltsville was highlighted by tight and robust ensemble performances and several densely orchestrated original compositions and arrangements.
The arrangements during the opening set drew from a variety of sources, mostly jazz works, but also pieces by Tom Waits and Lennon and McCartney. Along with the similarly exuberant season greeting, the band's adaptation of "I Am the Walrus" sounded rather like the World Saxophone Quartet meets Lester Bowie, combining the former's swagger with the latter's cartoonish whimsy. The quartet's harmonic agility and finesse were also revealed on sharply contrasting tunes by Dizzy Gillespie and Wayne Shorter.
Equally enjoyable, though, was the band's own material. Much of the time it made resonant use
of the group's bass-to-soprano range and was frequently enlivened by solos from Jesse Meman
and Clayton Englar.
- Mike Joyce
Yesterday's rain storms turned the 10th Annual District Curators Jazz Festival into a logistical nightmare for its organizers, forcing the all-day free event indoors and the cancellation of some of the scheduled performances.
But not before the Windmill Saxophone Quartet made a valiant effort to keep the festival at Freedom Plaza. Despite drenching rain, the quartet transported a large array of reed instruments to the hospitality tent behind the stage, where it performed a colorful assortment of tunes for a thoroughly appreciative, if soaked, audience.
One of the best jazz groups in the area, the band unveiled several stirring jazz arrangements, ranging from Dizzy Gillespie's inspired boppish sprees to a lush, poetic reading of Wayne Shorter's "lnfant Eyes." Augmenting the familiar tunes were several imaginatively orchestrated original compositions, including tunes off the group's current album, "VeryScary." The crowd cheered wildly after Clayton Englar delivered a particularly robust and soulful reading of "God Bless the Child," and the sun even peeked through the crowd.
- Mike Joyce JAZZ TIMES -
Performing on four or five horns apiece for a total of ten or so different reeds and woodwinds, the Windmill Saxophone Quartet, of Washington, D.C., draws its inspiration from many tributaries of the jazz tradition, from swinging mainstream to the boiling freedom of the 1980s for "Very Scary" (Pathfinder). This unit could hold its own against any similar rhythm section-less unit playing today.
- W. Royal Stokes
THE WASHINGTON REVIEW -
Washington has never been known for spawning truly experimental music. However, if there is an emerging innovative sound, chances are that that ensemble will play at the arts enclave, d.c. space. Such is the case with The Windmill Saxophone Quartet, an original jazz and new music group that has been playing each month at the club for the past year.
During their most recent concert they exhibited the tight craftsmanship and flair for the avant-garde which has become their trademark. The repertoire included arrangements of "Miles Beyond" and "God Bless the Child," a medley of several Charles Mingus tunes and originals by longtime member Jess Meman and newcomer Ken Plant. They even slipped in a novel version of the Beatles tune, "Within You, Without You."
Because all of the four members are accomplished musicians and composers, they can pull off such eclecticism. In fact, it is the overall version of the Windmill "sound" that holds the group together. Whatever material they play bears the signature of the whole group. By all means, go see The Windmill Saxophone Quartet. . .before we lose them to more appreciative fans in New York.
- Neal Callander
WASHINGTON CITY PAPER -
I confess that I was more than a little shocked to learn that the Windmill Saxophone Quartet is actually a product of this city. I mean, I've spent most of my life here and remember when it was impossible to buy a Coca-Cola on Sunday, much less find a quartet highlighting four saxophones without a rhythm section. Anyway, its album, "Very Scary," is a now-frantic, now sublime collection of originals and tastefully arranged renditions of pieces like Billie Holiday's "God Bless the Child" and Wayne Shorter's "Infant Eyes." Folks who've seen the group in concert may be disheartened because the album lacks, for starters, its wonderfully rambunctious cover of Charlie Mingus' "Boogie Stop Shuffle" and any number of Coltrane pieces the group performs. But soprano, alto, and baritone saxophonist Jesse Meman's composition "Has" is, in its own way, as sexy and driving as anything written by Coltrane, and handsomely illustrates the quartet's fine points: its finely tuned dynamics and wit.
- Reuben Jackson
READING EAGLE/READING TIMES -
A totally unexpected surprise, and "very scary" indeed, the Windmill Saxophone Quartet has a fantastic variety of arrangements that stay true to the instruments. They involve passions that are well done, and if your ears are eager for new sounds and exciting new directions for the saxophone quartet, seek this compact disc recording out. The quartet deserves attention by everyone's ears.
The tour de force in this group is Clayton Englar, who plays soprano, tenor, and bass saxophone; also flute and bass clarinet. Englar's playing is a staggering display of timbre and rhythmic intensity. His bass saxophone playing is so effectively done that he delivers a tempestuous, seamless rhythmic momentum on the big horn.
The other players are equally explosive. They play with relentless exploration as soloists and as members of a quartet - commitment and discovery is what this saxophone quartet is all about.
There are hot telepathic riffs on "I.I.T.V." and "Forge," and the Monk tune, "Evidence." The
musical brouhaha on the tunes "All Over Town," and "Singe" departs abruptly for the note-perfect beauty of Wayne Shorter's "Infant Eyes," and the delicate tenor playing on the Holiday/Bertoz classic "God Bless the Child."
-Tim Price
CD REVIEW -
Despite its recent popularity, the saxophone ensemble is a relatively new phenomenon in jazz. A vaudeville unit called the Six Brown Brothers (all unrelated, of course) was active around 1915, but the first real trailblazers were the World Saxophone Quartet - three-quarters of whom initially came together on an Anthony Braxton recording in 1974. In the wake of the still-viable WSQ has been the somewhat radical Rova Saxophone Quartet, Bobby Watson's 29th St. Saxophone Quartet, the avant-garde Six Winds, the more classically oriented New York Saxophone Quartet, and now the Windmill Saxophone Quartet.
This combo differs from its predecessors by utilizing many more combinations of reeds, emphasizing arrangements, and keeping their performances quite brief (only "Second Wind" exceeds six minutes).
The variety of composers makes for a wide range of sounds. The boppish "I.I.T.V." features the unique combination of a soprano backed solely by Englar's bass sax, and the melodic "God Bless the Child" is given a slick rhythmic vamp. "Jag" uses silence as accents before developing dense clusters of tonality, while "Has" comes across as a work song with mournful wails in back of the tenor lead. "Windmills," as with a number of the originals, is layered with several simultaneously played riffs and shows off this group's high musicianship. "All Over Town (Very Scary)" is quite colorful and a bit humorous. The soulful blues "Second Wind" and a crowded arrangement of a Wayne Shorter ballad, "Infant Eyes" contrast nicely with the playful "First Steps" and the intense "Singe."
Thelonious Monk's "Evidence," played by four soprano saxes, is a tribute to both the late pianist/composer and his devoted student Steve Lacy. The closing "Forge" uses subtle humor and passion to make the Windmill quartet's stirring music surprisingly accessible.
- Scott Yanow
- Global View Music -
2800 Emory Church Rd., Olney, MD 20832 U.S.A.
Phone: 301-641-4395
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