A follow up of the Clusone Trio - a quartet which can play many ways. 
This is light, heavy, easy and difficult music.

"White Widow splendidly showcases Moore's charms. With a mix 
of original compositions, free improvisation and a single standard 
(Gershwin's "I Loves You Porgy"), the quartet designs an eminently appealing 
disc. Of course, these men's musical lives have intersected for years. 
English pianist Alex Maguire, who recently joined Moore in duo (Mount 
Olympus), is a kinsman: Like Moore, he's a purveyor of grace, even in 
the rough. American Mark Helias fills his bass lines with strength 
and intelligence-a rich, engaging sound that sets off Moore and 
Maguire's flights. Dutch percussionist Bennink, however, is remarkably 
restrained here. Still, he is smart and sharp and demonstrates an 
uncanny and delightful sense of swing, whether he's tied-up or thrown 
into the mosh pit. The quartet itself swings softly or in convulsions, 
dynamics breathe and shift easily. In a number of cases-Moore's 
"Manuel's Party" and "Coyote", as well as in parts of Maguire's 
"Parma Suite"- there are superior melodies and elegant improvisations 
stirred into a fetching brew. "Peabody", a bouncing, wisp of a line 
bubbles with energy. As Moore's alto winds through a taut, brisk 
accompaniment, the band pick up steam before closing with Helias 
soloing over a severe piano-saxophone coda. It's another instance of 
White Widow's attractions, where a muscular sense of motion feeds 
moment of genuine lyrical beauty."

Greg Buium, Downbeat, November 2001

"The music that constitutes White Widow appeals on another level. On 
paper, it has the advantage of featuring the hard line rhythm section 
of Alex Maguire (piano), Mark Helias (bass), and Han Bennink (drums). 
These musicians give a smooth elasticity when the music transitions 
from mid-century American popular music ("I Loves You Porgy") to full 
group improvisation. Maguire challenges all of the numbers with a 
boppish technique interlaced with fiery dissonant patterns. He is 
best in the selections written by the leader - "White Widow" in 
particular, where the entire ensemble treats the music as if they 
have life-threatening stock in its delivery. The record bends and 
curves through an assortment of histrionic themes, and Moore's 
compositions are a unique blend of European music and progressive 
improvisation. Bennink is the ideal choice for the percussion chair - 
he is both a masterful, aggressive colorist and a humble student of 
jazz systems (who swings like mad when called upon to do so). From 
the opening notes of "Moffat," White Widow is a powerful, moving 
musical experience that is restless in its free spirit and soulful in 
its unassuming conviction."

Alan Jones





"" - Downbeat



"" - Jazzman