Artist: Theo Travis

Date of Release:

Catalogue no: 33JAZZ 036

Label: 33Jazz

Price: £12

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Track Listing

Marshall Travis Wood - Bodywork (33jazz036) Theo Travis - Tenor/Soprano saxes and Flute Mark Wood - Electric/ Acoustic guitars/ Baritone Guitar John Marshall - Drums and Percussion

Reviews

01/06/1998 Ian Carr, BBC Music Magazine

"Bodywork compresses 13 totally improvised pieces by a trio of leading British jazz musicians. Drummer John Marshall and guitarist Mark Wood have both long been active on the international jazz scene and saxophonist Theo Travis is one of the most gifted of the younger generation of musicians. Their instrumental virtuosity and intensely compositional approach to improvisation has resulted in a remarkably successful album. None of the music was premeditated and yet several of the performances are achieved with such artistry that they sound almost precomposed.

"Eyes like the sun" begins with warm and romantic guitar which posits a key, drums and soprano saxophone play quietly, and the piece grows softly and organically.

"Gonzo", on the other hand, begins with a manic guitar rhythm and the whole performance is angular and quirky and grotesque humour and ribald rhythm. It's a tour de force."

01/04/1998 John Eyles, Avant Magazine

"John Marshall, Theo Travis and Mark Wood perform 13 improvisations here which are wholly spontaneous. I know this because it tellsme on the CD insert. I would not have known it by listening to the music. The three are so in touch with each other, and so able to react to the others' playing, that sections of this sound not only composed but also tightly arranged and rehearsed. At other times, they do conform more to the expectations of improv (e.g. "Brainstorming"), such is the range of sounds on offer here. The trio seem genuinely democratic, with none of the three dominating or consistently calling the tune. Although Wood is from a rock background, he is always ready to provide atmospheric effects and colouration, rather than more obvious rockist influences. However, on a track such as Gonzo, his roots are more obvious as he lays down a rhythmic riff which sets the tone for the whole piece and caries the other two along. Travis performs on tenor sax, soprano sax and flute; he switches between instruments to provide sounds which are ideally suited to the contexts. Time and again, he spins melodies so beguiling that it is hard to believe they are spontaneously improvised. Marshall is as delicate and responsive as ever and never intrusive, always appropriate in his responses and interjections. Much of the music here demands to be called beautiful. Forget the improv pigeonhole; this is simply excellent."