Review – For The Love Of Open Spaces (No Man list)

“There is a new Theo Travis and Steve Lawson album “For The Love Of Open Spaces”. If you haven’t heard about Theo Travis yet, just check credits of the PT and no-man (and even Bass Communion!) albums you have and on some of them you’ll find this name. (My fave no-man contribution of TT i his flute lines on “Chelsea Cap” (All That You Are EP). )

He appears also on (I guess two) Jansen/Barbieri/Karn albums (+ Indigo Falls by Suzanne & Richard Barbieri), Anja Garbarek “Smiling And Waving”, last two or three Gong albums (what he does there is amazing), and many, many others.

I cannot say anything about Steve Lawson as I haven’t heard about him until now, all I know comes from the Internet.

For me the most important Theo Travis works are those with Dave Sturt as the incredible duo Cipher, also recently his solo album “Slow Life” and now “For the Love of Open Spaces” – just released (unexpectedly for me).

If you’ve heard “Slow Life”, just imagine those beautiful flute layers and textures with additional bass by Steve Lawson and here you are. They both recorded the album live in studio, mostly improvising, looping together their instruments: Theo – alto flute or soprano sax, Steve – bass guitar (sometimes sounding like an electric guitar, or even synthesiser). Once it’s even looped back and it still sounds great – remember it’s all made and mixed live without any overdubs. So, that’s a kind of painting – one layer on the previous ones, you don’t know when the line you’ve been concentrating on disappeared and when 5 new appeared. It’s a kind of “dynamic” ambient – it changes all the time, but so fluently and softly that it makes up something like the surface of the an ocean – floating all the time but still uniform, smooth. Start swimming.

A beautiful, reflective and deeply pathetic album, a little bit more melodious than “Slow Life” and therefore more accessible.

quote from the cover: “….hence the sound of 8 bassists and 15 saxophonists playing at once…”

yeah, or flautists…

If nothing changes, it seems that in my very “Top” of this year there may be two Theo Travis albums.

best wishes
exodus .:.”

[editors note – I’m not sure what he means by ‘pathetic’, but the reviewer is Polish, so I’m guessing it lost something in the translation!!!!]

Twitter-peoples: welcome to my e-world, dive right in!

Image cut from Steve Lawson's Twitter page, illustrating this page about twitterOK, so you arrived here via my twitter page, and want to know more?

Short version – I’m a musician, music teacher/lecturer, 1/5th of New Music Strategies, writer and social media tinkerer. I blog about my music life, specifically the various things that are now possible for musicians thanks to the joys of ‘tinternet. I’m also a consultant/thinker about Social media in a wider context, particularly as it relates to creatives. I co-run a social media event help organisation called Amplified.

Your best places to start finding out what I do are my blog (set aside a while, there’s a lot of it!), and the music pages. It’s worth having a listen, honest, cos all this other nonsense is related to the music – that’s the centre of the wheel, the hub around which all the other stuffs rotates.

After that, you might want to find me elsehwere: Facebook, Last.fm, YouTube and some other places.

You’re also welcome to check out the gigs page in case I’m out and about.

Oh, and if I followed you first, the chances I found you were recommended to me, or retweeted by someone. It may also have been that I found you via something you tweeted about music… Whichever, it’s just that your feed looked interesting, so I’m checking it out – feel free to follow back or not! If you do follow me, and I tweet too much, I shan’t be in the slightest bit offended if you unfollow. My own sister did 🙂

If you followed me in the hope that I’d follow back and I haven’t, it’ll be because of two things – firstly, I don’t get notifications of new followers – there were too many, and it was taking up loads of time. I do go and have a look about once a week to delete all the spam and wrongness, so then I follow people I know.

The number of people I’m already following (2000-and-change as I write this) is already functionally too high, so I’m only adding people that REALLY interest me. If I’m not following you, it doesn’t, of course, mean that you can’t reply to things, or ‘@’ me for specific things – that’s all cool, and if we get a conversation happening, it may well be that I end up following you. But please don’t be offended if I don’t. It’s honestly nothing personal, I assure you 🙂 x

Getting the ingredients right: thoughts on Improvisation

Sunday’s gig with Patrick Wood and Roy Dodds went very well – thanks to those of you who came along. The venue, The Brickhouse on Brick Lane in East London, was suitably strange – on three levels (ground floor and two balconies, the top one had beds on it!) and amazing food, and we had to get them to move the stage away so we’d have room to set up all our toys.

For those of you just catching up, the Dodds/Lawson/Wood trio is a project spawned by my Recycle Collective venture – when it’s running, it’s a monthly music night, featuring amazing improvising musicians spontaneously composing in different combinations. Quite a few of the combinations I assembled for it are planned to become ‘bands’ of one sort or another, but many of the musicians involved are so busy that it’ll be years before it happens.

However, the trio with Roy and Patrick is one that was so good we’ve all made it our priority. I’ve been playing with Patrick for years (he played at the first ever ‘proto-recycle’ improv gig at Greenbelt in 2005), and have been listening to Roy play with other people for just as long, particularly in Theo Travis’ band.

We did a Recycle gig at Darbucka in October last year, and then went into the studio in early December to record in the same way – just set up and start playing. Since then we’ve been mixing and editing the improvs (which has been interesting for me, as I usually don’t edit) and have come up with a record that we’re all really proud of (more news on that ASAP).

So Sunday was only the third time we’ve all played together, but the musical chemistry is amazing.

And that, for me, is what improv is all about – the ‘composition’ part is just choosing the right players. At its best it’s about getting musicians together who respect each other so much that they never feel like going with someone else’s idea is a bad thing. Musician who listen more than they shred, whose default position is deferential. It means that the music tends to evolve slowly as each new ingredient is added and the the others react to it.

So I may start with a groove, or some spacey ambience, or patrick may lay out some kind of harmonic territory on guitar or keys, and then the others react to it and the initial idea is modified, developed, morphed into a whole that is far greater than the sum of its parts.

Every time I sit down at the start of an all improv gig I wonder if we’ll have run out of ideas, if we’ll get 20 mins into the gig and just start playing a 12-bar blues or something.

One of the things on Sunday that triggered these thoughts was when the DJ who was hosting the day said he’d play a few more record and then we could ‘get up and jam’ – I was really taken aback, as I’ve never thought of this as ‘jamming’ at all.. it’s a whole other headspace to the ‘lowest common denominator’ approach that defines most ‘jamming’. It’s spontaneous composition, acknowledging that each of us as an acutely refined sense of what’s ‘good’ even when nothing is laid down to define what’s ‘right’. It’s not about finding some simple changes we can stumble through to make ourselves feel better, it’s about exploring our shared music worlds to find music that otherwise wouldn’t exisit, about listening, reacting and trying to add to what the others are bringing. This is 300% music – it’s 100% Patrick, 100% Roy and 100% me. I don’t think I’ve ever felt, playing with these guys, that my own musical vision is in anyway compromised or stunted, but I frequently feel my own playing elevated by the genius, sensitivity and creativity of the other two. We never have to ask the others to do something specific, as we each recognise that we are the masters or our own musical discipline – I know what ‘steve lawson music’ should sound like better than anyone else on the planet, and likewise Roy and Patrick. If I start telling Patrick what to play, it assumes that I know more about what he does that he knows. That’s insane.

There is, however, a deeply psychological streak running through all this, in that it takes a while to develop that kind of deep trust, to develop the ‘abandonment to the moment’ and to foster to confidence required to take the music where YOU feel it should go. With Patrick, this is part of a 6 or 7 year improvising relationship – when we first got together to play, he was rather puzzled by the idea that I didn’t want to play written songs, that I didn’t want to discuss keys and stuff, but just wanted to play. But the fruits of it is where we are now, exploring this unique shared musical space that the three of us occupy.

I’m really excited about the future of this trio, and the record release. With this, my solo stuff, the duo with Lobelia and Open Sky, I feel like I’ve got such a rich portfolio of music to work on, and feel really blessed to have the opportunity to explore the respective styles and approaches of the projects.

playing for other people

As much as I love playing solo, collaborating with other people is a huge part of my musical life. If you’re interested in hiring me for a project, or have a collaboration to suggest, please do get in touch!

-_o_-

people I’ve played with/for – Aaron Gibson, Airstar, Alex Douglas, Alex Legg, Al Swainger, Alvin Stardust, Amy Kohn, Andre LaFosse, Andrea Hazell, Andrew Buckton, Andrew Gouche, Andrew Pask, Andy Edwards, Andy Gangadeen, Andy Hamill, Andy Thornton, Andy Williamson, Artemis, Beardyman, Ben Castle, Ben Okafor, Black Feathers, Boo Hewerdine, Briana Corrigan, Bryan Beller, Bryan Corbett, Calamateur, Carrie Melbourne, Charlie Moreno, Chris Bowater, Claudio Zanghieri, Cleveland Watkiss, Cole Moreton, Commonwealth, Corey Mwamba, Daniel Berkman, Dave Bainbridge, Davey Spillane, David and Carrie Grant, David Lyon, Deborah Jordan, Divinity, Dudley Philips, Duncan Senyatso, Elvin Jones, Emily Baker, Emre Ramazanoglu, Estelle Kokot, Filomena Campus, Fiona Clifton-Welker, Franck Vigroux, Gary Lucas, Geert Doldersum, Guy Jackson, Guy Pratt, Gwyn Jay Allen, Harry Napier, Hossam Ramsay, Howard Jones, Huw Warren, Iain Archer, Ian MacGowan, Ivan Hussey, Jason Carter, Jason Cooper, Jason Rubenstein, Jean Toussaint, Jeff Kaiser, Jem Godfrey, Jerome Cury, Jez Carr, John Lester, John Perry, Johnny Markin, Jonas Hellborg, Jon Thorne, Josh Seurkamp, Jude Simpson, Julie Lee, Julie McKee, Julie Slick, Juliet Turner, Kaffe Matthews, Kerry Getz, Kira Small, Leo Abrahams, Lobelia, Lorenzo Feliciati, Luca Formentini, Luca Sirianni, Mano Ventura, Mark Kelly, Mark Lockheart, Matthew Garrison, Matthias Grob, Michael Manring, Mike Flynn, Mike Haughton, Mike Outram, Mike Sturgis, Miriam Jones, Muriel Anderson, Murphy McCaleb, Neil Alexander, Orphy Robinson, Oteil Burbridge, Otto Fischer, Patrick Wood, Pete Fraser, Peter Chilvers, Peter Katz, Phi Yaan-Zek, Pierce Pettis, Quill, Ray Russell, Reeves Gabrels, Ric Hordinski, Richard Lewis, Rich Brown, Rick Walker, Rise Kagona, Roger Eno, Robert Logan, Robert Mitchell, Rob Turner, Rowland Sutherland, Roy Dodds, Ruth Goller, Sammy Horner, Sanju Sahai, Sarah Masen, Seb Rochford, Shlomo, She Makes War, Sonya Kaye, Stephen Bingham, Stephenson & Samuel, Steuart Liebig, Steve Apirana, Steve Beresford, Steve Gregory, Steve Jolliffe, Steve Lockwood, Steve Noble, Steve Thompson, Steve Uccello, Stuart Ryan, Susan Enan, Tanya Donelly, Terl Bryant, Theo Travis, Thomas Leeb, Tiger Darrow, Tim Bowness, Tony Buck, Torycore, Trip Wamsley, Todd Reynolds, Tunde Jegede, Vicki Genfan, Yolanda Charles, Yvonne Lyon and more…

discography

2019 – Steve Lawson – Stepping Stones
Steve Lawson – The Field Of Strategic Possibilities
Steve Lawson – Gift Of Patience
Steve Lawson – Time Is A Broken Lens
Aaron Gibson – Horror Films And Sunday School
Artemis/Steve Lawson/Daniel Berkman – Transfigure
Steve Lawson/Daniel Berkman/Artemis – Seeing Sound

2018 – Steve Lawson/Pete Fraser – Restless
Steve Lawson/Robert Logan – The Circle
Steve Lawson – Beauty And Desolation
Steve Lawson – The Dudley Bug
Steve Lawson/Michael Manring – Live At Round Midnight
Steve Lawson – Grace And Gratitude Revisited EP
Steve Lawson/Rich Brown – Texture Like Sun
Steve Lawson/Poppy Porter – Illuminated Loops II
Lawson/Edwards/Yaan-Zek – LEYlines III 
Steve Lawson – The Long Game
Steve Lawson/Robert Logan – Pulse

2017 – Steve Lawson/Bryan Corbett – Beautifully Disturbed
Steve Lawson/Corey Mwamba – Surprise
Yvonne Lyon – Metanoia
Steve Lawson – Small Is Beautiful
Steve Lawson – PS, You Are Brilliant
Steve Lawson/Poppy Porter – Illuminated Loops
John Lester – Fathers And Sons
Steve Lawson/Andy Edwards – Over Time
Steve Lawson – If They Had Won
Steve Lawson/Pete Fraser – Oven Spring
Steve Lawson/Pete Fraser – Intersect
Lobelia – Love Or Something Like It
Steve Lawson – Towards A Better Question

2016 – Lawson/Edwards/Yaan-Zek – Ley Lines II
Steve Lawson – Hark/Winter
Tanya Donelly – Swan Song Series
Steve Lawson – The Surrender Of Time
Steve Lawson – Colony Collapse Disorder
Steve Lawson – Hands Music
Steve Lawson – Referendum
Steve Lawson – Well Say Hello Then…
Alberto Rigoni – Bassorama
Kiama – Sign Of Four (Bonus CD)
Steve Lawson/Phi Yaan-Zek – The Quiet After The Drums
Steve Lawson and Michael Manring – Language Is A Music

2015 – Steve Lawson – You Guys! Let’s Just Talk About Nail Varnish!
Steve Lawson, Andy Edwards, Bryan Corbett – Winter Song
Steve Lawson, Andy Edwards, Jem Godfrey – Live At Tower Of Song
Steve Lawson – A Crack Where The Light Gets In/The Way Home/Closing In
Airstar – Retrospect
Steve Lawson, Andy Edwards, Phi Yaan-Zek –
Ley Lines
Steve Lawson (with Ruth Goller) – Explore

2014 – Steve Lawson and Julie Slick – Marinate
Steve Lawson with Jon Thorne – Diversion
Steve Lawson – What The Mind Thinks, The Heart Transmits

2013 – Artemis – Triptych II (Nine For A Kiss) (bass and mastering)
Artemis – Triptych I (Eight For A Wish) (bass and mastering)
Artemis, Steve Lawson & Daniel Berkman – For Now
Black Feathers – Strangers We Meet
Steve Lawson and Daniel Berkman – FingerPainting Complete (10 albums + 2 album best of)
Steve Lawson and Daniel Berkman – Accidentally (On Purpose)

2012 – Steve Lawson and Andy Williamson – Nothing Can Prepare
Steve Lawson and Mike Outram – Invenzioni
Lawson/Alexander – Hidden Windows
Artemis – Sephyra
Steve Uccello  – Fire Times
Steve Lawson – Believe In Peace

2011 -Lobelia – Beautifully Undone (Songs I Wish I’d Written)
Steve Lawson – 11 Reasons Why 3 Is Greater Than Everything

2010 – Steve Lawson – Ten Years On – Live In London
Trip Wamsley and Steve Lawson – Infrablab
Steve Lawson and Trip Wamsley – Slow Food
Steve Lawson and Lobelia – Live So Far (featuring Todd Reynolds and Neil Alexander)

2008 -Lawson/Dodds/Wood – Numbers on Better Late records.

2007Luca Formentini; Tacet (bass and loopage on one tune), on Extreme Records.
Calamateur vs Steve Lawson; Calamateur vs Steve Lawson, on Autoclave Records.

2006Steve Lawson; Behind Every Word.
– Steve Lawson; Lessons Learned From The Fairly Aged Felines.

2005Various Artists; European Bass Day 2004 – compilation CD, featuring tracks by John Lester, Lorenzo Feliciati, Jan-Olof Strandberg and others.
Various Artists; As One (charity CD featuring one of Steve’s tracks alongside tracks by Jimmy Haslip, the Poogie Bell Band, Steve Jenkins, Mo Foster, Peter Muller, Janek Gwizdala, Stevie Williams, Lorenzo Feliciati, David Dyson, Laurence Cottle & Dean Brown, in aid of SOS Children‘s work in the aftermath of the Tsunami)

2004Steve Lawson; Grace And Gratitude.
Steve Lawson; Lessons Learned From An Aged Feline Pt II.

2003Steve Lawson; Jaco’s ‘Portrait Of Tracy‘, for Total Guitar Magazine, Bass Special.
– Steve Lawson/Theo Travis; For The Love Of Open Spaces.
– Steve Lawson/Theo Travis; It’s Not Gonna Happen.
Andrew Buckton; Rocket Ship on Blue Carpet Records.
– Chris Bowater; Still on db studios.

2002Steve Lawson; Not Dancing For Chicken.
Steve Lawson; Lessons Learned From An Aged Feline Pt 1 on Pillow Mountain
Susan Enan; Moonlight (EP)
– Commonwealth; That’s the Way It Goes (OD Hunte single remix)
– Steve Lawson/Jez Carr; Conversations.

2001Jason Carter with Ragatal, and Hossam Ramsay; Elements (Fragments Of Grace re-released with some percussion overdubs from Hossam) on ARC
Andrew Buckton; Now… But Not Yet on Bluecarpet Records.
– Pauline Wright; Come Closer (Private Release)

2000Steve Lawson; And Nothing But The Bass, Live @ The Troubadour
Andy Thornton; The Things You Never Say (CD single) on EIS
– Steve Lawson; Guitarist mag cover CD Aug 2000 (1 track – ‘The New Country’)

1999Andy Thornton; The Things You Never Say on EIS
– Chris Bowater; Heritage And Hope on Word

1998 – Various Artists; New Songs for 98 on Word
Jason Carter With Ragatal; Fragments Of Grace on ARC
– Chris Bowater; All About You on Word

1997 – Trish Morgan; Spring Harvest Live Vol 1 & 2 on ICC
– Various Artists; Together For Christmas (live) on dB Studios

1996 – Various Artists; Power Of Your Love (Grapevine Live) on ICC
Johnny Markin; See With Your Eyes on ICC
– Geert Doldersum; With All Of My Heart on Spark
– David Lyon; Precious Little Things(private recording)

1995Johnny Markin; Between Two Worlds on ICC

1994 – Chris Bowater; A New Day on ICC

Timeline and Trivia

Musical Equipment Used

Elrick Gold Series SLC 6 String fretted and fretless basses, Modulus Basses (6 string fretted and fretless and 4 string fretted), a Rick Turner 5 String Renaissance ‘Amplicoustic’ fretless bass, two Aguilar SL112 cabinets and 2 Aguilar Tonehammer 350 amp heads, A Jule Monique Preampthe Looperlative LP1 for looping, Keith McMillen SoftStep controller and Quneo controller, MODDevices MOD Duo for processing, MXR, Darkglass, and Markbass overdrive pedals, a TC Electronics HOF mini Reverb and Flashback delay, Aguilar Overdrive, Fuzz, Compressor, Octave, Chorus, Filter and Preamp pedals, MXR Reverb, Sub Octave Bass Fuzz, Bass Distortion, Bass Chorus Deluxe, Bass Envelope Filter, Bass Preamp & Bass Fuzz Deluxe, Subdecay Vitruvian Mod ring modulator, Pedal Train pedal board an E-Bow+, Latch Lake and Dunlop slides, Dunlop Super Bright strings, East-UK preamps, Evidence Audio cables, GoGo tuners, 2 Korg Mini Kaoss Pad s and a MOTU Ultralite Mk III Hybrid. And I carry my basses around in SlickBag gig-bags.

Musical History

1986 – got a bass and joined first band
1988 – broke arm, kicked out of first band, formed second band (EARS) – played first gigs
1989 – GCSE Music, Grade C
1991 – AS Level Music, failed – fine at composition, not so hot on history… :o) Somehow got into music college in Perth, Scotland. Teaching as head of bass at West Lothian Rock School.
1993 – left college, moved to Lincoln, tour with Canadian singer/songwriter Johnny Markin. Gigs all over Europe, played on three albums.
1994-96 – working as a pro in Lincoln, teaching, studio and live session work.
1996 – moved to London, more session work, including TV, Radio and theatre work, more teaching.
1997-99 – teaching at Drumtech and Basstech, West London.
1997-2000 – freelance reviewer/interviewer/columnist/gadget guru for Bassist magazine in the UK.
1999 – Toured Europe with Howard Jones. First completely solo gigs in London.
2000 – Released And Nothing But The Bass on Pillow Mountain Records. More solo gigs around England.
2001 – 2 Solo tours of California, including headlining the world’s first solo bass looping festival, and tour with Michael Manring and Rick Walker. Clinics for Ashdown Amps and Modulus Basses. Solo gigs in France.
2002 – Another tour in California, Released Conversations, duo CD with Jez Carr, on Pillow Mountain Records, 2 Major tours of UK Theatres and concert halls supporting first the 21st Century Schizoid Band then Level 42. Two shows at the London Guitar Festival. National TV and local radio appearances in the UK. Featured in the Sunday Times Culture Section. Released second completely solo CD, Not Dancing For Chicken. NDFC picked as one of the best CDs of the year by Aural Innovations
2003 – four week solo tour of California, gigs with Michael Manring and David Friesen, including the Anaheim Bass Bash, featured interview in Euphoria magazine, and review of NDFC in Bass Player (Feb issue). New recordings with Theo Travis, BJ Cole and Patrick Wood for future release. Duo gigs with Theo Travis. Gig at the barbican with orphy robinson. Recording in France with Vigroux/Cury/Rives for upcoming release. first italian solo gig and recording session in august. Duo CD with Theo TravisThe Arts Show, alongside Jenny Eclair and Barry Cryer. Acclaimed appearances at The Detroit Bass Fest and European Bass Day. Gigs in US and UK with Muriel Anderson. A second tour in England with Michael Manring in November.
2005 – another year another NAMM show, followed by a few promo gigs with Michael Manring in California. Dates with pedal steel guitarist, BJ Cole, and recording and gigs with singer Cleveland Watkiss, as well as more UK dates, the Edinburgh Festival and a trip to Italy. Started monthly music night, Recycle Collective.
2006 – back to California, NAMM again and some more dates and another day-long masterclass, Recycle Collective continues to be one of the best live music nights out in London, and features musicians such as BJ Cole, Cleveland Watkiss, Orphy Robinson, Seb Rochford, Todd Reynolds, Jason Yarde, Andy Hamill, Patrick Wood, Leo Abrahams, Julie McKee, Andrea Hazell. UK tours with Theo Travis, Muriel Anderson and Ned Evett. 4th solo album, Behind Every Word, released on Pillow Mountain Records. Recording in Italy with guitarist Luca Formentini. New duo formed with singer Julie McKee, for the Edinburgh Fringe. European tour in October, including EuroBass Day and European Bass Day, as well as an electronica festival in Italy. Behind Every Word makes a number of end of year ‘best of 2006’ lists.
2007 – guess where it started? Yay, NAMM!! Bass-Bash, two days of masterclasses, Modulus clinics and gigs both solo and with Muriel Anderson and Vicki Genfan. Much fun. First New York show too. European tour with Lobelia, including first time visit to Frankfurt Musik Messe and gigs in Italy, Spain, Germany and Denmark, 7 week tour of the US, 24 states, 7000 miles. Gigs at Greenbelt festival with Lobelia, Sarah Masen and Ric Hordinski. Recycle Collective relaunched in September. Playing on one track on Luca Formentini’s album, Tacet. First Amsterdam and Geneva gigs in November. Released live EP with Lobelia in December. Recorded improv album with Patrick Wood and Roy Dodds.
2008 – NAMM again, with Lobelia this time, playing the bass-bash and for Looperlative and Modulus. More California shows. Back to England, playing lots of ‘acoustic’ shows with Lobelia, London Solo Bass Night in March with Todd Johnson and Yolanda Charles, . Year ended with Lawson/Wood/Dodds album ‘Numbers’ released, and some LDW gig dates round London, followed by a whole string of house concert shows in England and the US with Lobelia. 2008 was also the year of social media – 10 years of running my music career online turning into a 2nd career teaching and consulting on how it all works, including Nokia flying me to Helsinki for their Open Lab, and working on the launch of Ucreative.tv at UCA in Rochester. Finished the year with a series of house concerts in the UK and the US with Lobelia..
2009 – …which continued into the new year on a trip that included a trip to NAMM, a masterclass at Duquesne University in Pittsburgh and a series of masterclasses in bass, looping and ‘social media for musicians’ in various people’s houses. But I did miss the bass-bash for the first time ever. Back to the UK for more bass masterclasses and other University-based projects around the future of the internet… look out for a new solo album at some point this year!
2010 – the first half was spent looking after our new born baby, but at the age of 6 months, we took him to the US for a 7 week, 6500 mile tour of house concerts, that took us from Brooklyn to Milwaukee, Massachusetts to Lake Charles Louisiana, via Texas, Tennessee and Ohio. Lo and I recorded a live album on the tour, featuring Todd Reynolds and Neil Alexander, and while in Louisiana I recorded TWO duo albums with Trip Wamsley, released in September. The end of the year featured a sold out London gig with Michael Manring, and speaking engagements in the UK and Berlin at grass roots music industry conferences. I also released another live album, celebrating the 10th anniversary of my debut album coming out.
2011 – first half of the year was focussed on getting my first new studio album in 5 years finished. 11 Reasons Why 3 Is Greater Than Everything was released and followed by a 2 month, 8000 mile US tour, which included shows with Julie Slick, Trip Wamsley, Tiger Darrow, Steven Guerrero, Darren Michaels, Neil Alexander, Trevor Exter and Catherine Marie Charlton. The trip also included me guest-performing at Victor Wooten’s Music-Nature Camp, teaching a bass masterclass in Virginia, and Lobelia and I being the only overseas musicians to be booked to play at the first Wild Goose festival. Oh, and  I also co-produced, mixed and mastered Lobelia’s new record, Beautifully Undone. We started selling our music on USB Stick, which has proved v. popular. A move to Birmingham in the late summer promises all kinds of new opportunities.
2012 – the year started with the release of Believe In Peace, an all-improv solo record, recorded in Minneapolis. January continued with a return visit to NAMM, 12 shows in 12 days including duo shows with Julie Slick, Michael Manring and Daniel Berkman, a recording session with Steve Uccello and a playing-and-speaking gig at Stanford uni, as well as a masterclass at LA Music Academy. The shows with Julie, Michael and Daniel were all recorded, so mixing and mastering work on those took up a lot of the following months, as well as recording for Californian singer/songwriter Artemis. May saw the relaunch of Beyond Bass Camp, and the remastering of 11 Reasons… 2012 also saw the formation of #ToryCore – a project that coupled the evil words of the Tory govt with twisted avant garde metal. One of my favourite ever musical projects.
2013 – started with NAMM and another 8 shows with Daniel Berkman, and this time Artemis joined us on vocals at every gig. It was one of the most amazing musical experiences of my life to play with them both. Which is why a large chunk of the year was taken up mixing, mastering and releasing EVERY show we’d done up to that point. All 10 of ‘em. Went out to Frankfurt to the Musikmesse, more ToryCore shows & a few more gigs with Alvin Stardust depping for his regular bassist. Started teaching at Kidderminster College, and ended the year with a lovely joint tour with one of my favourite bassists – Yolanda Charles, and with a duo show with Andy Edwards on drums.
2014 – Another NAMM trip, 11 wonderful shows with Daniel and Artemis (part of a run of 14 shows in 13 days for me!). Just before NAMM I was invited to speak at the Microsoft Social Research Symposium in NYC, which was one of the most brilliant few days of my life. The duo project with Andy Edwards expanded to become ‘Andy, Steve + 1’ and we played a couple of gigs with Julie Slick, made an album with Murphy McCaleb and gigged with Jem Godfrey and Bryan Corbett – we have further projects planned. Played a super-lovely duo show with Briana Corrigan, ex-of The Beautiful South, whose solo work I’ve been a fan of for 20 years. I released a new solo album – What The Mind Thinks, The Heart Transmits. Playing at the London Bass Guitar Show and inviting Jon Thorne to join me on my set led to the release of that as a new album – Diversion. Towards the end of the year, I launched a new subscription service via Bandcamp, with the aim of finding a useful home for the epic amounts of music that I record and want to release…
2015 – NAMM in January, of course, plus a handful of lovely house concert shows with guitar genius Thomas Leeb. Released LEY Lines with Andy Edwards and Phi Yaan-Zek, the first new thing that my subscribers got, which Phi released for everyone else. Did the London Bass Guitar Show again, and had another of my bass heroes Ruth Goller agree to play with me. That was fun. Formed a duo with Divinity Roxx – hip hop, improv, songs, stories, all rolled in. We had a week of playing and did a first gig in Kidderminster. The duo with Jon Thorne was expanded to a trio with Rob Turner, of GoGo Penguin, that band sounds amazing! In September, I release two new solo albums – my first proper solo album releases since 11 Reasons in 2011. A Crack Where The Light Gets In and The Way Home were really well recieved, and got played on Late Junction. In October, I was the cover star on Bass Guitar Magazine, almost certainly the only self-managed, self-releasing, self-everything solo bassist to ever get there without an association with any other artist. Still can’t quite believe it. The mag cover coincided with a mini-tour with Jonas Hellborg – we had a wonderful time playing in Birmingham, London and Leeds, and hope to do a bigger tour ASAP. By the end of the year, I’d released 7 albums for Subscribers, all of which I’m immensely proud of! The year ended with the recording of a second album with Phi and Andy, to be released early in 2016. The year also featured a few more Torycore gigs – a thing that gets better every time we do it, and more vital, sadly.

Current Musical Projects

Solo gigs and recording -::- Duo with Divinity -::- trio with Jon Thorne and Rob Turner -::- trio with Andy Edwards and Phi Yaan-Zek -::- performance duo with painter Poppy Porter  -::-  Torycore.

trivia

favourite artists. – these days, it’s lots of singer/songwriters, and death metal bands. So, alternately, Bruce Cockburn, Cannibal Corpse, Jonatha Brooke, Cattle Decapitation, Joni Mitchell, Job For A Cowboy, Paul Simon, Entombed, Emily Baker, White Empress, The Blue Nile, Soulfly, Nik Kershaw, Ihsahn…

Along side that, a bunch of other things – Hope & Social, Bill Frisell, D’Angelo, David Torn, Let Spin, Michael Manring, DJ Krush, Throwing Muses, Coltrane, Kristin Hersh, 70s Miles, Beauty Pill, Janet Feder, Jon Gomm, Kenny Wheeler, Trish Clowes, Divinity Roxx, Sweet Billy Pilgrim, J Dilla, De La Soul, Terje Rypdal, KT Tunstall, The Pixies, The Cure…

top 10 (or so) favourite(ish) albums

bass influences – Current favourites are Tony Levin, Ruth Goller, Michael Manring, Julie Slick and Matthew Garrison but there are literally hundreds. I suppose, in roughly chronological order, those players that have influenced me the most would be – John Taylor (Duran), Nick Beggs (Kajagoogoo/Iona), Chris Squire (Yes), Simon Gallup (The Cure), Pino Pallidino (everyone, but especially the D’Angelo stuff), Doug Pinnick (King’s X), Ewan Vernal (Deacon Blue), Steve Swallow, Abraham Laboriel, Jaco Pastorius, Scott LaFaro, Freddie Washington, Bernard Edwards (Chic), Ray Brown, Jonas Hellborg, Family Man Barratt (The Wailers), Verdine White (EW & F), Tommy Simms, Niels-Henning Orsted Pedersen, Jimmy Haslip, Danny Thompson, Eberhard Weber, Mike Rivard, Marc Johnson, Kermitt Driscoll, Mo Foster, Todd Johnson, Doug Wimbish, Yolanda Charles, Trip Wamsley, Divinity,  and loads more.

Dark days in London town.

C’mon, joke’s over, Boris didn’t really win, did he?

Oh shit, yes he did. A victory for disillusionment, celebrity and the power of the protest vote. He’s not even a convincing tory.

The animosity towards Ken is startling, and he’s largely brought it on himself of late by behaving as though he was born to rule. His posturing covered over his remarkable achievements as Mayor, particularly in relation to public transport and the environment.

The only possible consolation from all this is that Ken had to flight bloody hard for just about every significant change that happened, from increases in buses and on-the-beat policing to the congestion charge. I honestly don’t think Boris cares enough to do what he’s pledged to do to reverse some of those policies. He’s a preening elitist, in the worst sense of the word, and has precious little track record as an effective politician read this article from The New Statesman for more.

What’s perhaps even worse than Boris as a reflection of the protest vote culture is that the BNP have a seat on the London Assembly. Yup, seems like all those other countries we thought were nuts for electing insane, racist hate-fueled, holocaust-denying fascists were just ahead of the game when it came to electoral fuckwittage.

Are all BNP voters fascists? No, clearly not. A lot of them are quite understandably disillusioned with a political landscape that has seen the three major parties merge, removing the old allegiances of ‘old labour’ socialism, or ‘old tory’ nationalism… Now it’s different flavours of centre right economic liberalism, and ever increasing marginalisation for those either not on the property ladder, or not willing or able to wade through the mire of spin and marketing BS to find out what else is going on underneath the heinous tabloid-fuelled political sheen…

Today’s protest voters are Thatcher’s legacy, are those who don’t remember what the far right did in the 70s/80s, who don’t realise that the BNP formed as an even further right version of the National Front, who don’t know about the BNP’s recent obvious attempts to distance themselves from the odious views of so many of their leaders and members.

Fortunately, the BNP will probably be ‘given enough rope’ by being placed on the London Assembly, that they’ll do what happened when they won 17 seats in local elections last time round… – to quote from the Mark Thomas article:

“Out of the 17 councillors, according to the anti-fascist magazine Searchlight, Luke Smith resigned from Burnley Council after attacking a man with a bottle; Maureen Stowe left the party claiming the BNP “did not care for Burnley at all”; Robin Evans, a Blackburn councillor, left too, amid claims that drug dealers and football hooligans were in his branch; and John Savage, BNP councillor in Sandwell, was so bewildered by council debates and voting that he ended up supporting a pro-asylum-seeker motion. That surely has to be a first – a BNP councillor so stupid that he couldn’t even be a proper racist. Many BNP councillors have not attended council meetings and those who have, rarely – if ever – speak there.”

It’s sad that disgruntled voters with legitimate grievances that politicians have failed to address have banded together with nu-BNP – smiling, waving, fascists – many with a violent thuggish past at odds with the spurious ‘law and order’ rhetoric of the party – to give them a space on the London Assembly… Hopefully the oxygen of publicity will just reveal them to be the cynical opportunist racists that they are…

(for reference, have a look at the Mirror’s 10 reasons not to vote BNP – just wish the red-tops would provide wiki-style citations for such things… they’re collectable, but would be nice to have them in the article.)

In the meantime, hold tight, London, it’s going to be a bumpy ride…

Reviews

Loading Quotes...

I’ve had loads of great press for my solo albums and gigs – have a read of some of it below!

[quick quotes page]

Behind Every Word CD Reviews –

Grace And Gratitude CD Reviews –

For The Love Of Open Spaces CD Reviews –

Not Dancing For Chicken CD Reviews –

Conversations CD Reviews –

And Nothing But The Bass reviews –

Gig Reviews –

Interviews –

Exclusive track on Reverb Nation + gig news…

I’ve FINALLY got round to adding the latest bunch of gigs to Reverb Nation. The first of which is this sunday, at the Brickhouse, on Brick Lane in London (deets below in the gig cal widget).

The gig’s with my new trio with Patrick Wood and Roy Dodds – two of the most amazing musicians I’ve ever had the privilege to play with. I’ve just added a fan-exclusive track to the Reverb Nation page, which you can play from from the widget below if you’re already on the mailing list, or you can just sign up! Enjoy…


Steve%20LawsonQuantcast



Steve%20Lawson
Quantcast

Londoners – don't forget to vote tomorrow!

It’s the London Mayoral Elections tomorrow, and our chance to choose between the different flavours of turd on offer… As much as I think Ken has overstayed his welcome, the idea of Boris as London mayor is too horrific to consider. Not because of his affable buffoonery, but because of his horribly reactionary politics. He’s tried to rebrand himself as a Cameron-esque new Tory-Of-The-People, but it’s bollocks.

Brian Paddick just doesn’t have anything like the track record or spirit to be London Mayor, which of the serious candidates leaves Sian Berry of the Green Party – I’m pretty sure I’ll be voting Sian 1, Ken 2…

Here’s how it works – in London we have Proportional representation in this election, which means that EVERY VOTE COUNTS. This is great in terms of us feeling represented, but the downside is it means the BNP will benefit greatly from a low voter turn-out driven by the apathy towards the two main candidates.

Put simply, if you don’t vote for SOMEONE, it’s a step closer to the BNP getting onto the London Assembly. So vote. Get out and vote for the person you believe in. This is one election where voting Green actually means something in tangible terms. The Greens already have two members on the London Assembly, who have been integral to the environmental steps forward in the city. They’re looking to double that, so if you’re a green supporter, get out and help them do that.

For more on why the BNP are such a tragic option for any political situation, see hopenothate.org.uk. A lot of people are disgruntled with the way the political situation has gone in the UK of late, and the cynical opportunists at the BNP have targeted those disaffected voters with their hateful message. Don’t give them a foothold.

VOTE!

Interaction, Conversation, Respect: the death of broadcast marketing on the web…

I’m just back from a visit to Internet World – a trade show/expo at Earls Court for internet business peoples. It sounded interesting, so I thought I’d head down for a look.

I guess it didn’t help that they were sharing the hall with a direct marketing expo, but the feeing that one was in the belly of mammon, in a space largely devoid of creative thought or concern for human interaction and anything other than statistical dominance in a given field was pretty overwhelming.

Actually, that’s not strictly fair. A lot of the companies there were touting content management software, e-commerce solutions (no bad thing in an of themselves) and a couple of speculative social networking start ups. But there were loads that were selling a model of internet usage that just seemed sooo archaic – the basic message still seemed to be that it’s all about emailing millions of people, getting to the top of the search engines, getting google adwords in the right place, and then whatever you’re doing online will be a success…

I suppose it’s the nature of the show that it can’t really be concerned with content, because the content could be anything from health information to porn, ethical shoe-shops to online gambling, but the total lack of any visible discussion about making the net a nicer environment in which to work and play, the focus on spreading ones marketing message by whatever means made for a pretty sickly experience (I had one bloke accost me in an aisle and ask me if I wanted to buy email addresses! WTF? So spammers now have their own stands at expos??)

Bottom line was, the expo looked for all the world like a shop front saying ‘for your business you don’t have to interact with your audience/community/end users; you just have to pay us stacks of cash to put together a slick looking site for you, virally market via BS videos and downloadable games, crass adverts and paid-for email lists, and you can get on with being scared of the web and thinking Myspace is the big news in the future of internet usage, safe in the knowledge that we’ll sell any old crap just by spamming so many people that one click in a million will yield results…’

Which is bollocks. And it’s bollocks despite it supposedly ‘working’ for a lot of people. It’s bollocks because it’s intrusive in its methodology, hopelessly inefficient in terms of the amount of hours of people’s time it wastes compared to the return (time spent filtering out unwanted email, watching endlessly forwarded viral nonsense etc.) and because it’s a distraction from what those of us who actually CARE about a) what we’re producing and b) the environment in which we live and work on line actually need to do to enhance the lives of the people who come into contact with what we do.

I’m not in the marketing business. I USE elements of marketing strategy to try and make my music – and information about my music life – available to the people who want to find it. I don’t want to have to send unwanted emails to 1,000,000 people in order to reach 600 who might like what I do. Even though those are 600 people who might otherwise not find it. Why? Because I’m sick of being one of the 1,000,000 people who get spammed with BS hundreds of times a day just on the off-chance that my address might lead to someone who’s interested in the product. That ruins the web for all of us. And I don’t really care whether the address list is pure (illegal) spam, or some kind of crappy opt-in list that’s 99.9% full of people who just forgot to click the right check box, it’s still generating way too much negative web-karma for it to be of interest to me.

I try to operate online the way a rather wise man once suggested we carry out all our human interaction; ‘treat people the way you’d like them to treat you’. I don’t want to be spammed, I don’t want my email address to be a salable commodity, I don’t want to be seen as part of a wall to throw mud at in the hope that some of it sticks.

Here’s where Social media comes into its own – I can set up an interconnected network of pages, sub-communities and widgets whereby anyone who is interested can find my music, try it, engage with it on whatever level they want to and then share it with others if they think it’s of value. I’m not throwing it at them, I’m asking them if they’re interested, and offering information about the how, what, where, and why in as many mediums as I can. I can do videos explaining my methodology, I can blog about the processes involved in the music making, I can provide widgets so people can share my music with people who visit their sites or blogs or facebook pages or whatever if they are interested, and each time it’s driven by real interaction.

There’s the scattershot stuff as well – Seth Godin posted this great piece about unfocussed web-traffic – sure it makes us feel great to have 10,000 visits a day, but in all honesty I’m much better off with the coupla hundred people who actually read my blog each time I post over and above the thousands who have found my blog over the years looking for stuff about David Beckham or Bernie Clifton. They, as Seth points out, are gone in a couple of seconds.

That’s not to say that search engine traffic is bad, or stumble upon, or even adwords or whatever. The problem comes when the purpose of your site/blog/enterprise is traffic. Where what you’re making becomes about getting people to look at it, download it, buy it.

The joy of social media is that it removes the need to obsess over ‘bigger better faster more’ – it allows us to focus on deeper, richer, more important, personal, engaging, thoughtful, nuanced creation than we ever could have if we were relying on record companies, radio, TV and newspapers to spread the word about it. In the language of barcamp, it enables us to engage in UnMarketing. To tell the story around our art, our creativity, or lives and our services, and allow an informed, liberated audience to choose whether or not they want to be a part of that, and on what level they want to be a part of it.

There are loads of ways in which internet professionals can help content providers – this isn’t a rant against web designers, CMS companies or e-commerce specialists. We just need to get our priorities right, and if art is of any importance to us, then the marketing should be there to connect with a willing, searching audience and free us up to do our art better, not force us to dumb down in order to fit some loser’s ‘projection’ of the kind of big money we could make if only we targeted our content a little more specifically ‘Steve, you could clean up in smooth jazz, if only you’d get a quartet and start grooving more….’

Keeping our sights set on that which made us want to get into art/music/creativity in the first place is vital to understanding the magic that social media can facilitate. That means keeping a tight rein on those who would seek to make your art the content that drives their business venture… Or at least being honest about that relationship and understanding it for what it is (again, before I get accused of being some kind of purist, I don’t have a problem with people who make music commercially for a living, or indeed an objection to making commercial music where people want me to do it, it’s just that it’s a WHOLE other world to making ‘me-music’, and requires a very different approach…)

So for me, the kind of marketing-driven, spammalicious devoid-of-community BS I was hearing at Internet World fails in every way that the Social Media Cafe succeeds. I’ll blog more about the SMC later, as it deserves its own post, but suffice to say as a community of webby social media lovelies, it’s provided me with more inspiration, information, connections and ideas in the upstairs room of a pub in soho than the amassed fortune spent on Internet World could have done if I’d spent all three of the days there trawling for quality…