Tobias Delius · tenor saxophone

Tristan Honsinger · cello

Joe Williamson · double bass

Han Bennink · drums, percussion

The English tenor saxophonist Tobias Delius is often regarded as the man of the primal scream, of the large, gross gesture. Actually, he is the leader of a number of ensembles with unusual line-ups that can lend themselves to very subtle music. One example is the Tobias Delius 4tet, which performs exciting contemporary improvised music.

Any member of the band can spontaneously introduce one of Delius’ or cellist Tristan Honsinger’s compositions into the collective improvisations. These composed pieces of music influence the musical development in various ways: they can bring about, end or merely temporarily interrupt musical situations. The three melodic instruments mostly act in counterpoint to each other, both in the compositions and in the improvisations.

In awarding Delius the Dutch Podiumprijs in 1990, the jury wrote, “the saxophonist combines raw screams with an old-fashioned warm tone. His vocabulary is whimsical and highly original, though with many references to tradition”. A NRC Handelsblad review of the 1997 CD “The Heron” noted “This saxophone player has exactly what Ellington needed for his beloved “mood repertoire”: a glowing tone, a beautiful diction and a strongly developed sense of drama.

The Tobias Delius 4tet was formed in 1990, and with the exception of new bass player Joe Williamson, the personnel has remained unchanged. Characteristic for the 4tet is the specific sound resulting from the unusual instrumentation, and above all the very personal voices of the players.

The 4tet performs throughout Europe, the US and Canada.

Quotes

“Loose-limbed and lively, this band has a fresh feel, mixing moments of abandon with characteristic Dutch insouciance. “
Pulse!: August 1998

“And tenor saxophonist Tobias Delius’s quartet.....simply burned, leaving their audiences wqith dazed smiles and singed eyebrows.”
Bill Shoemaker: Wire, September 1999

“This group moves seemingly effortlessly between passages of great complexity and pure abstraction, and does so on a dime. This recording, like its predecessor solidifies my theory that there isn’t a better working band in creative music today.”
Coda Magazine, january/february 2001 (review of Toby’s Mloby)

“This must be one of Europe’s finest working groups..............eclectic lines, delightful interplay and, quite often, ferocious swing.”
Greg Buium: Down Beat, June 2002