Martin Pyne‘s idea behind Ripples, that of duets between his vibraphone and David Beebee‘s Fender Rhodes, had me hooked immediately. The gauzy, shimmering haze of the vibes let loose from formal shackles and allowed to wander at will is accompanied by the sympathetic shiver of the Rhodes, and sounds like a dream made real and spread across the twelves watery vistas enclosed.
The introduction is gentle, the two main characters presented to the listener and allowed to subtly insinuate. The amazing quaver of the vibes with the liquidly soft focus of the Rhodes as an understated foil, its waking bass and jazzy asides showing the two different approaches coalescing, tied together briefly by the fleeting nature of the pieces.
Some of the rippling effects of the vibes are delightful and really engage the listener as if perched right on your shoulder. It feels intimate; and although the vibes are at the forefront, the Rhodes’ glissandos tuck in behind like a motorcycle passenger, leaning in the direction, helping with balance yet structurally separate. Dreamlike textures scamper like mice in places, while in others they tread far more carefully; it is impossible to predict where a track may lead and the improv nature of the pieces and their generous length means that they twist and turn. Then a Steve Reichian obsessiveness will briefly nail down a rhythm and allow the piano to unfurl, stepping across the calm water, intent but aware of the surroundings, which are ever-sparkling.In places I am reminded of the sadly departed Martin Duffy and his work with the latter period Felt, that late-night sleepy jazz feel, empty streets, the lazy sun considering an appearance, sleep in its eye, casting a desultory look at a clandestine meeting. The dapple of starlight edges towards you, the lightness and fragility of the sounds causing them to almost disappear as they dance across the surface while below slower creatures roam, the profundity of the Rhodes chords a basso tremor.
There is a whiff of autumnal romance, a familiar melody just out of reach, the Rhodes unruffled and allowing the tone of the vibes to die away, the importance of this gradual decay never becoming lost on the duo. Their willingness for the mood of the each piece to set the pace is a great success and their interaction is just lovely, never oppressive and never demanding.There is a minimalist feel to some pieces, and someone somewhere tapping on the body of something puts it at a withdrawn distance and then reflects, further emphasising the ring of the notes. Although rhythm appears in places, so abstraction is its mirror image, both moving as one, differing textures and feelings shimmering into a haze, a watery wash of sound.
You could just drift off in some pieces and some have a feel of something reminiscent, something you can’t quite put your finger on but are happy to allow to drift away, like a leaf caught in the surge of a stream. This is a feeling that haunts the album in general, allowing the listener to be gathered up, welcomed and then set adrift somewhere new, welcoming yet unexpected.
-Mr Olivetti-
