Russ Lossing

Pat Thomas
The Solar Model of Ibn Al Shatir
OtoRoku ROKU 040

Sophisticated essays in the art of solo piano improvisations, one British and one American keyboardist demonstrates how equally compelling programs can result from diametrically opposed interpretations. UK pianist Pat Thomas, who has been part of numerous bands with Evan Parker, John Butcher and others emphasizes percussive power from all parts of the instrument during his seven tracks. Meanwhile US pianist Russ Lossing, best known for his tenure in Paul Motain’s quintet, uses his six tracks to temper the instrument’s’ rhythmic orientation with defaults to unhackneyed lyricism.

Almost the first notes heard on “The Solar Model”, the introductory track of Thomas’ CD is that of a clunky stopped piano key with equivalent hammer and damper reflections that resonate responsive thumps to the initial note pressure. As he continues expressing himself in various tempos and pitches, Thomas makes full use of both hands, Elevated bell-like pings are exposed from the keyboard’s top end, while weighty clanking patterns come from the bottom. Although the majority of the narrative turns emphasize full force keyboard crashes, hard pumping vibrations and thickened soundboard resounds, the passing chords at points also settle on key slides, stop-time emphasis and brief melodies. Tracks may be fully on the cutting edge, but basic swing is still referenced in passages. Some tunes such as “For George Saliba” are enlivened with enough galloping near player piano allusions that it wouldn’t be out of place in a pre-World War Two jam session.

Polyphonic, speed, slowness, individual key expressions and extended patterns are equally emphasized. At points Thomas moves up the scale with measured single tones while at the same time emphasizing multiple strums of the internal strings. “For Mansa Musa” is an instance of this, though passing chords also engage metronomic motifs. No matter the pivot or the tempo however his playing is always grounded by perfect command of the material.

Interestingly enough, the timbral and tonal modulations that Lossing creates during his six variations on “Invention” are reminiscent of Lennie Tristano’s solo playing without the other pianist’s sometime use of overdubbing. More overtly lyrical than Tristanto – or Thomas for that matter –  the American pianist often slithers tunes from andante to allegro and down to adagio. At points swelling his improvisations from single plinks to widening extensions, Lossing’s threshold is nearly always reflective story-telling. However tracks like “Invention III” which depend on mid-range patterning don’t preclude his sudden dips into the lowest parts of the piano soundboard a with the conclusion a darkened key thump.

This emphasis on expression and excitement is expressed at its greatest length on “Invention V”.  Carefully arranged leisurely keyboard motifs reflect back onto themselves as signal notes ascend and descend, though at mid-point a bouncing secondary theme is also heard. As notes are continually repeated rounded affiliations replace stop/start textures referencing the disc’s overall forward direction.

Whether rhythmic impetus or lyrical affirmations are paramount, each disc reflects a notable instance of superior solo piano thinking and playing.

–Ken Waxman

Track Listing: Solar: 1. The Solar Model 2. The Laws Of Motion 3. For George Saliba 4. The Oud Of Ziryab 5. For Ibn Al Nafis 6. For Mansa Musa 7. The Birds Are Singing

Personnel: Solar: Pat Thomas (piano)

Track Listing: Inventions: 1. Invention I 2. Invention II 3. Invention III 4, Invention IV 5. Invention V 6. Invention VI

Personnel: Inventions: Russ Lossing (piano)