snobb Sax player Elton Dean was a British jazz legend, but for many fans he's better known as "classic era" Soft Machine's member. But beside of his work in Soft Machine and later Soft-related projects, he recorded plenty of solo albums (not speaking about his collaboration with many leading British jazz musicians of its time).

Ninesense is possibly one of Dean's most interesting solo project, founded by him in second half of 70s. Nine-pieces combo contained, besides of Dean himself, pianist Keith Tippett with his 4-members brass section, bassist Harry Miller and South African drummer Louis Moholo. Project was short-lived and only two albums were recorded during their time of existence ( another one - "Oh!For The Edge" is live one, recorded in 1976).

Just four long compositions, full of brass arrangements - nothing too much reminds Soft Machine music. It's not strange that music on this album is closer to Keith Tippett's recordings, just with heavier accent on reeds:big part of his band including himself are playing there. Of all four compositions, second one - "Seven For Lee" is absolute masterpiece, melodic composition full of brass soling and African rhythms. Other three compositions are not so strong mixing some free jazz pieces with melodic tunes,but in quite unfocused manner. The album is full of excellent moments, but common feeling is very eclectic, it looks that plenty of great ideas were started at the same time,but weren't developed till the end.

Not of the same highest level as Soft Machine's best albums, this album is quite different musically and should really attract Elton Dean's and Keith Tippett band's fans as well as everyone interested in English avant jazz scene of mid 70's.

Sean Trane After the relatively disappointing OFtE album, the “nonette” group comes back with the more adventurous Happy Daze effort with roughly the same line-up, if it wasn’t for Malfatti having left. Just four fairly long tracks on this second (and final) album,

The opening 12-mins Nicrotte starts in a typical KTG fashion, but by the sixtgh minute, it has veered into a dissonant quagmire and ending back where it started. The album’s best moment is the 8-mins+ Seven For Lee, a torrid JR/F mid-paced piece, much reminiscent of what Tippett’s sextet did early on in the decade. In contrast, the flipside’ lo-paced Sweet FA is a relative disappointment, given the track’s promising title, as it’s mostly bluesy standardy jazz., but the second part does speed up to a sometimes dissonant hard bop trip. The closing almost-11mins Three For All is a bop/trad piece that continues the musical propos of its preceding track. Outside the excellent Seven For Lee track, this album doesn’t bear much resemblance to either KTG (as Elton liked to think) or even more BoB.

The weird thing about this Ogun 2on1 reissue is that the albums are presented in a non-chronological order, starting with the 77-released Happy Daze before the 76-released Oh For The Edge one. By Ogun label standards, neither of Ninesense’s two albums were particularly avant-garde, and they may even disappoint somewhat the people exploring the label’s catalogue, expecting extremely challenging music. But let not that deter you, both albums are still quite worthy of investigation for a more traditional jazz buff.