Guitarist and Empty Birdcage supremo Daniel Thompson continues his investigations into the improvisational world with a collaboration involving saxophonist Caroline Kraabel and dancer Max Reed.
If anything, his appearance gives Caroline and Daniel a further maypole around which they can entwine their subtle insinuations. There is also a lot of silence here and in that silence if you listen closely, you can hear the trio plotting amongst the room tone and random shuffles.
The silence in the opening of the first section is injected with scuffs, strums and scattered honks, a scene setting as the players and Max prepare the room. Staccato bursts, the slide and stomp of bare feel on wood floor; you can imagine Max’s movements, sidestepping the static musical outbursts as they try to finish one another’s sentences with brief interjections. What sounds like breathing moves around the long stretches of silence and the atmosphere builds, drawing the imagination of the listener into the chase. Scraped strings, muffled yelps and the surge of breath and foot increase in intensity at certain moments before a wounded roar from the sax scatters the molecules, rearranging in inexplicable cutting motions and single guitar notes brushed with coarse chords. Is there a voice? Is it the sax? Does it matter?The second section is far longer, Max’s voice more apparent. There is more motion and the sax coaxed, more inclined to linger, drawing the voice, a distant wail along with it. Max is more animated, warmed up and drawing some angular work from Daniel, caressing and pulling at the strings in equal measure. Caroline joins in and it feels like a tag team, one taking over from the other, waiting for the right moment to pounce.
Sax and voice duet as the guitar circles, sprightly, an awkward mediæval dance with sax and guitar poking one another, sax becoming more outraged before silence descends. Another plotting of the next wave that comes slowly and quietly, moments of semi-structure appearing and dissipating into the room tone. Yips of sax are accompanied by warm, gentle guitar as we descend towards a conclusion, the atmosphere edgy but convivial, the distance covered impressive and engaging.An unexpected and unusual treat, Still Dancing album pushes the boundaries of improv just that little bit further and keeps Daniel ahead of the game.
-Mr Olivetti-
