Here's another review of the Travis & Fripp roadshow in Bath sent in by Trevor Lever.
Following on from last year’s “tour” of a handful of churches in the UK, Travis & Fripp are now to be found outside the confines of these sacred spaces. The noise created by the duo is showcased brilliantly on the "Live in Coventry Cathedral" CD. Sadly, this was the one date last year I didn’t get to last year.
The development of Robert’s soundscapes with the addition of Theo has taken the music to a whole new level. The flute and sax tones bring an extra organic quality into the mix and make the whole experience more real in some way. Couple this with the interaction between the players as they respond, support and challenge each other has created some wonderful music and moments, both live and on CD.
The problem now seems to be how (or if) to change the performance when set in more traditional live venues. As part of Bath’s Fringe Festival the Spiegeltent was erected on the grounds alongside Bath Rugby’s Recreation ground.
The venue is a large circular space with an elevated performance area at one end, a bar at the other and mirrored tabled booths around the perimeter that reminded me of the effect on the cover of No Pussyfooting. The rest of the space was filled with round tables and chairs like a typical jazz venue.
The audience were generally very attentive and engaged with the music. I noticed Michael Giles and other members of his MAD band also in attendance who, with special guest Keith Tippet, had played earlier in the week in Bath.
There were a few new pieces aired during the evening and these tended to be the more "aggressive" pieces. Aggressive is not quite the right word. Maybe "confrontational" or "muscular" might also cover aspects of how it felt to me at times. Outside the environs of the church and cathedral Robert and Theo seem to be searching to extend their repertoire and sonic palette. I don’t think they have got the recipe quite right at the moment. The more minor key symphonic washes layered with flute and guitar still work better for me. The angry discordant textures with wailing sax or metallic Thrak tones aren’t quite there yet.
It’s still something of a work in progress. Gosh... does that mean we can describe this music as "progressive" then? However you describe it, it's still a joy to immerse yourself in their efforts, interaction and musical journey.
Following on from last year’s “tour” of a handful of churches in the UK, Travis & Fripp are now to be found outside the confines of these sacred spaces. The noise created by the duo is showcased brilliantly on the "Live in Coventry Cathedral" CD. Sadly, this was the one date last year I didn’t get to last year.
The development of Robert’s soundscapes with the addition of Theo has taken the music to a whole new level. The flute and sax tones bring an extra organic quality into the mix and make the whole experience more real in some way. Couple this with the interaction between the players as they respond, support and challenge each other has created some wonderful music and moments, both live and on CD.
The problem now seems to be how (or if) to change the performance when set in more traditional live venues. As part of Bath’s Fringe Festival the Spiegeltent was erected on the grounds alongside Bath Rugby’s Recreation ground.
The venue is a large circular space with an elevated performance area at one end, a bar at the other and mirrored tabled booths around the perimeter that reminded me of the effect on the cover of No Pussyfooting. The rest of the space was filled with round tables and chairs like a typical jazz venue.
The audience were generally very attentive and engaged with the music. I noticed Michael Giles and other members of his MAD band also in attendance who, with special guest Keith Tippet, had played earlier in the week in Bath.
There were a few new pieces aired during the evening and these tended to be the more "aggressive" pieces. Aggressive is not quite the right word. Maybe "confrontational" or "muscular" might also cover aspects of how it felt to me at times. Outside the environs of the church and cathedral Robert and Theo seem to be searching to extend their repertoire and sonic palette. I don’t think they have got the recipe quite right at the moment. The more minor key symphonic washes layered with flute and guitar still work better for me. The angry discordant textures with wailing sax or metallic Thrak tones aren’t quite there yet.
It’s still something of a work in progress. Gosh... does that mean we can describe this music as "progressive" then? However you describe it, it's still a joy to immerse yourself in their efforts, interaction and musical journey.
