Graeme Wilson / Andy Champion

Raymond MacDonald/Gogs Maclean

Sass

FMR CD 585-0520

Something was happening in regards to improvised music in the northern regions of the UK during pre-Covid 19 February 2020. That’s when these two resonant reed-double bass duos were created by alto saxophonist Raymond MacDonald and bassist Gogs Maclean in Tobermory and tenor saxophonist Graeme Wilson and bassist Andy Champion in Gateshead. Plausibly one reason these collaborative exchanges are expressed with such quality is the history both duos have with one another as well as in other configurations. MacDonald is one founder of the Glasgow Improvisers orchestra, while Maclean has been involved in many currents of the Scottish music scene. Moving slightly south, Wilson and Champion worked in many bands together as well as leading their own groups.

Exploring unabashed and unexpected timbral vibrations expressed in-shifting pitches and tempos with multiphonic reed breaths and fragmented string stops, the Scottish variant also suggests geographical currents. By chance or design, there are passages on “Voices beneath My Street” and “Crepuscular” where low-pitched tremolo echoes from McDonald’s horn take on characteristic humming expected from a bagpipe’s bass drone. Then on “Crepuscular” strained altissimo trills sound as if they’re produced by using the blow stock and chanter reed from that Gaelic instrument. Reacting on “Voices …”, Maclean instantly counters the first drone and double-tongued theme vibrations with string pulsating thumps and col legno strokes. On the other track, while his final thumps are woody and connective the bassist’s first plucks almost resemble electronic washes, replicating McDonald’s initial nasal projections. Throughout the duo ensures that story telling is as prominent as technical experiments with “The Land between Love and Fascination” the most unique creation. Blending Gaelic music-like runs, dissonant expositions that include watery reed bluster and vibrating string swipes, basso Blues notes also enter the mix. Following Maclean buzzing textures along the string set and MacDonald’s reflective flattement, mid-range bass sweeps mark time alongside reed bites that owe more to Charles Mingus’ updated boogie conceptions than music of the highlands.

There’s nothing that relates to ship-building or coal during Shoes for Losers. But while geography doesn’t seem to affect its 10 improvisations, the duo also avoids extended sonic separation. Aligned to contemporary Jazz, tracks have more of a melodic lilt or rhythmic base, with scene setting and exposition elaboration paramount, even as Wilson’s scoops, slurs and split tones and Champion’s sul tasto slides and string crunches proclaim their interest in sound exploration. Frequently mid-range and often projected in tandem, some of the tracks don’t allow for enough space for ideas to be fully developed. Oddly this is demonstrated on “The Indecision I”, which while merely one second longer than “The Indecision II”, which is played earlier in the set, appears more thought out. Based around vibrations, the deciding tones include curlicue reed echoes and thick bass string crashes. Other notable tracks are those which stretch the tessitura and tone integration past what is the dual comfort zone elsewhere. “Let Me Out” for one integrates the room’s spatial properties into the improvisation, with Champion’s col legno slap ascending to near percussion thrusts while Wilson doubles his with what sounds like stick whaps against metal without blowing into the saxophone. Extended technique are also featured on “Raisins Hotel”, as the bassist’s opening ostinato is turned aside for feints, discursions and detours into complicated string pulsations in order to match Wilson’s doits and reed peeps. These reed extensions snort into tone moderation at the finale, but not before the bassist has used woody col legno and sul tasto emphasis to play call-and-response with himself.

The Covid crises may lead more players to turn to low-key duos like these. If the results are as fine as they are on these two discs they’ll do well.

–Ken Waxman

Track Listing: Sass: 1. The Walls Have Ears, Your Ears Have Walls 2. Voices beneath My Street 3. Crepuscular 4. The Land between Love and Fascination 5. Exaggeration Is the Mother Of Invention 6. The Anagram Sisters

Personnel: Sass: Raymond MacDonald (alto saxophone) and Gogs Maclean (bass)

Track Listing: Shoes: 1. Golf with Sausages 2. The Indecision II 3. Raisins Hotel 4. Sinking Below the Horizon 5. It Wasn’t Always Like This 6. Shoes for Losers 7. Jitters 8. The Indecision I 9. Let Me Out 10. Caröm!

Personnel: Shoes: Graeme Wilson (tenor saxophone) and Andy Champion (bass)