Lifeline

Pat Thomas
The Bliss of Bliss
Konnekt K-006 243.1

Somewhat of an anomaly among UK free improvisers Oxford-based Pat Thomas is as quick to be involved in highly rhythmic acoustic piano forays as projected by the د [ahmed] quartet as equally intense keyboard and electronics session as these. Thomas, who has recorded with such diverse stylists as Rhodri Davies and Steve Williamson, is involved in a sprawling solo prepared piano narrative on The Bliss of Bliss. Then as part  of the Lifeline trio uses keyboards and electronics in a configuration with guitarist Dominic Lash, also known for his double bass work with among others John Butcher and John Russell, and playing electric drums and cymbals, Tony Orrell, a long-time Paul Dunmall collaborator.

From the beginning of the solo disc, Thomas makes as much use of the scrubs, squeaks, rumbles and rattles engendered by emphasizing resonations from the piano’s strings, hammers, dampers and metal cladding. These scrapes against unyielding surfaces are more metallic abrasions and strained rasps then keyboard pressure. With the scouring friction seemingly unstoppable the exposition includes tones encompass Big Ben-like tolling and dynamic vibrations so that timbres continue to echo after notes are sounded. Not completely in-your-face, the narrative also encompasses moderated lyricism, which, depending on key pressure, pivots to languid minimalist comping or sweeping two-handed almost Russian romanticism.

Finally at the three-quarter mark full keyboard smashes adumbrate carefully outlined concentrated tones that reach a crescendo of energetic sweeps and strained forward motion. Establishing his keyboard individualism, the remainder of the almost 41½ minute track alternates among carefully rounded notes, raggedly syncopated timbres and final widely spaced thick key thunks. The subsequent brief tracks are mere miniaturization of the first.

In a trio situation on Lifeline, Thomas puts aside keyboard textures for oscillating drones and tremolo passages. With Lash and Orrell also plugged in the resultant vibrations and drones permeate the exposition. Meanwhile drum clatters and fizzy e-bow passages add to the advancement, as an outline of a pressurized theme can be heard,

Linear consolidation of the narrative moves in and out of the forefront from that point on. But meanwhile spooky organ-like reverberations toughen the underlining continuum, while pointillist motifs in the form of place-marking hand pats from the drums, pinpointed guitar frails and stops ads contrast to the wave forms and animated keyboard clips.

By the penultimate “Lifeline 5”, the parameters of the improvisation is established with the ascending exposition becoming faster and more highly amplified. A conveyer belt of purring wave form whooshes meet string stops and place marking percussion smacks. Interjected into the wavering sound structure these blend until in the disc’s final minute movement stops.

On his own or with associates Thomas demonstrates his inspiration and individualism on these sessions

–Ken Waxman

Track Listing: Bliss: 1. The Bliss of Bliss 2. Twilight 3. Soca Time

Personnel: Bliss: Pat Thomas (piano)

Track Listing: Lifeline: 1. Lifeline 1 2. Lifeline 2 3. Lifeline 3 4. Lifeline 4 5. Lifeline 5 6. Lifeline 6

Personnel: Lifeline: Pat Thomas (keyboard and electronics); Dominic Lash (guitar) and Tony Orrell (electric drums and cymbals)