From the gentle, pad-like tones that grace the ears during liftoff into Theo Travis’ latest release, Double Talk, there is a sonic presence that beckons listeners to inch closer. Travis, a British tenor saxophonist, woodwind specialist, and composer, submits an eight-track offering that features lush, textured soundscapes, a masterful demonstration of dynamic ebb and flow, and well-balanced track diversity. Over and with the backdrop of an outstandingly pocketed rhythm section consisting of Mike Outram (electric guitar), Pete Whittaker (Hammond organ), percussionist Roy Dodds, and a guest appearance by guitarist Robert Fripp (King Crimson), Travis leads and participates in a fragile discourse of atmospheric musical proportions.
Intended quite literally, “Ascending” welcomes the ears into Travis’ galaxy with warm, yet light Hammond organ voicings and gently metered percussion accompaniment. Seconds later, ambient guitar wails peek out of the mix, and, enter Mr. Travis. With the round tone of his soprano saxophone (for others, a very fickle-sounding instrument at times), Travis introduces a melody that is later accompanied in unison by Outram’s guitar – a brilliant sonic marriage. Through the trancelike motion of the track, the group displays fantastic use of dynamic contrast and development – a technique that others often leave by the wayside. Just as “Ascending” starts by rising, it sets by use of Travis’ ambitronic, looping wall of sound.
Before listeners arrive at track three, Travis utilizes the saxophone, flutes, and clarinets; for an experimental journey through the worlds of both sound and time, “Oblivionville” is an elixir that will satisfy the musical thirst and hunger in one fell swoop. “The Endless Search” and “Pallendream” follow in similar fashion, pulling on the recesses of the soul and taking listeners on inter-sonic journeys through space and time. Travis’ quartet/quintet expertly navigate the concept of “musical breathing” – something that exists naturally inside the admirable conglomerate of this group.
So as not to overwhelm and distance listeners completely, Travis interjects the four remaining tracks, “The Relegation of Pluto,” “See Emily Play,” “And So It Seemed,” and “Portobello 67” with more elevated energy, tempo, and straight-ahead jazz influences; these tracks are pivotal in balancing the album material between the abstract and concrete. Travis allows bits and pieces of his bebop chops to appear, but only temporarily – leaving listeners wanting more.
While listeners might peruse the cover of Double Talk and solely consider it a music album, an attentive listening will convince them that Theo Travis’ latest material is not only aural, but visual as well; itscreativity does not stop with the creator of the album, but places the listener in an active role to where they become both the interpreter and creator simultaneously. Play the album on a favorite stereo, dim the lights, shut the eyes, breathe, and allow the mind to paint a backdrop on the subconscious.
Matt Jaworski –Muzikreviews.com Staff
July 26, 2009
