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CD Reviews: Steve Lawson & Theo Travis : For The Love OF Open Spaces (Pillow Mountain Records. PMR 0014)
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Posted by: Adminon Friday, January 16, 2004 - 09:32 AM |
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By Paul Donnelly
Something of the title is echoed in this music. Open and spacious are words that could be used to describe these six pieces of largely improvised bass and sax/flute duets. What goes some way towards creating the space and openness is their generous use of looping which adds further depth and resonance to their mostly gentle improvisations. At times there could be several basses or flutes playing but there are no overdubs just the use of loops and layers recorded in real time.
I suppose there may be some passing resemblance to Robert Fripp’s extended guitar ‘soundscapes’ in the way the music mutates almost without you being aware, as on ‘Blurred Vision’. It is virtually impossible to tell what instruments are being used on parts of the track. The title track also has an affinity with the type of ambience created by Fripp and the music is equally compelling. ‘Lovely’, however, showcases the two players on a wistful ballad form where Travis’s soprano is given due prominence as Lawson’s untreated bass subtly underpins the whole thing. The shortest track at just under 4 minutes, it is a superb example of how concise and eloquent improvisation can be.
Similarly, ‘In A Place Like This’ has a certain wistfulness about it but develops in other directions over 10 minutes, such as a trance-like section where flutes shimmer and the trebly bass slides over other loops and layers. But then ‘Flutter’ is a breathy excursion in which Travis unfolds fairly uncluttered lines that shine with an untreated clarity.
They do manage to warm the proceedings a little on ‘Uncle Bernie’ where Lawson’s effects pedals produce some choppy wah-wah to funk things up while sublime soprano sax appears akin to sunlight breaking through cloud. But it is that bass, sounding more like a fuzzy guitar, that really cuts through, singing and spiralling. Economy is obviously a keyword because although I wanted Lawson’s ringing tones to continue he curtails the solo pretty quickly. I have to concede, albeit reluctantly, that such brevity is actually an essential ingredient of this music.
Overall, these improvisations incline more towards the gentler end of the genre but they are still intriguing and engaging without ever lapsing into those amorphous realms of a directionless ambient soundtrack.
Paul Donnelly
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