REMOTE VIEWERS TRIO – NOTES IN A LOST FIELD (CD by Remote Viewers)

Since about 20 years now David Petts (tenor sax) and Adrian Northover (soprano sax) work
steadily on a very consistent and high-level corpus, with new records almost every year. They
started as a trio, but over years The Remote Viewers had different extended line-ups. Since their
last one, however - ‘Last Man in Europe’ (2018) - they returned to the trio format. They continue inthis line-up and even changed their name into Remote Viewers Trio, suggesting this might be a
stable unit for the coming times. We will see. Again John Edwards joins on bass as the third
member. The CD gives room to 15 short works, most of the compositions by David Petts. Five of
them resulted from group improvisation. Like the opening track, ‘You Won’t Hear The Bullets’, thathas the three producing a tight and long extended bundle of noisy sounds. In contrast the second
track ‘The Lighthouse’ is a modest work, starting with a delicate intro by Edwards. Maybe I’m
mistaken, but I’m pretty sure David Petts doesn’t take part in other musical projects besides his
one. He doesn’t leave his musical world very often, what illustrates or partly explains why this
music has such a strong individual identity. Surely this is due to the idiosyncratic and strict
compositional language of Petts and all dedication that is implied here. Northover however
regularly appears in other musical projects. He worked with Pierre Bastien, Steve Noble, Marcello
Magliocchi, among others. The title track ‘Notes lost in a Field has them in their most melodic and
lyrical shape. Moreover, we find them performing very precise and to the point in the typical
constructions delivered by Petts. Compositions, which are adventurous and distinct on one hand
and very disciplined and sober on the other hand. As ever Petts refrains from all ornaments and
unnecessary gestures. Defining a clear space for inspired improvisations as well. Excellent and
inspiring! (DM)

www.vitalweekly.net

 

REMOTE VIEWERS TRIO Notes Lost in a Field (The Remote Viewers, RV16): Die Londoner sind mir seit gut 20 Jahren und durch B-Shops For The Poor sogar noch viel länger ans Herz gewachsen, in allen Verzweigungen: David Petts als gepflegter Anzugträger mit den blonden Zügen eines Edward Fox mit The Poison Cabinet oder Chrome Yellow. Adrian Northover, dunkel und hager wie Gabriel Byrne, mit den Sonicphonics, The Runcible Quintet oder TheCustodians Of The Realm. Der unfassbare John Edwards von God und The Honkies über Spring Heel Jack, N.E.W. oder Phall Fatale bis New Old Luten als der Umtriebigste. Aber es ist Petts, der darauf achtet, dass die Noten nicht nur übers weite Feld verstreut werden. Nur bei fünf der fünfzehn Episoden nehmen die drei sich Freiheiten. Ansonsten fixiert Petts auf dem Reißbrett die Bahnen seines Tenorsaxsounds, von North­overs Alto und Edwards' Kontrabass. Als Flugbahnen von Kugeln ('You Won't Hear the Bul­lets', ein zynischer Spruch in "The Big Combo", 1955), als Kunstflug-Figuren ('Air Show') Denkt an Faulkners Barnstromer in "Pylon", nicht an Rammstein 1988. Nächster Verwand­ter von 'The Aspirin Kid' könnte Hammetts 'Whosis Kid' sein. Wie schon bei "City Of Nets" (2012), "Crimeways" (2013) und "Pitfall" (2014) suggerieren die 'Hellseher', mit Titeln wie 'Border Incident', 'Moscow Twitch', 'Strange Triangle', 'Foreign Intrigue' (ersteres tatsäch­lich ein Filmtitel 1949, letztere von 1946 und 1956), den Schwarzweiß-Thrill des Film Noir und die Paranoia im Secret Service. Atmosphären wie in Graham Greenes "Ministry of Fear" oder "The Third Man", wie bei Hitchcock, reflektieren die Schwarz-Weiß-Malerei, die Paranoia, die fatalen Verführungen und Manipulationen, die Schein-und-Sein-Diskrepanzen von Heute. Wie die 'Bruised Years' im Titel, trägt auch die Musik selber gleich anfangs blaue Flecken und Abschürfungen, von rauen Zungen geraspelt, von Bogenstrichen ge­schürft. Dagegen setzt kerniges und flirrendes Pizzicato und brütendes Unisono der Reeds nicht wirklich andere Zeichen, denn die ausgesendeten, oft wiederholten Signale sind kryptisch und beunruhigend. Die Bläser schlagen
caligarische Winkel, Edwards Finger ein strammes Tempo an, aber auch die schnittigen Pläne stoßen auf rauen Gegenwind. Ed­wards tremoliert und plonkt, die Saxophone zucken synchrone Winkelzüge. Eh nur vor­sichtig optimistischen Repetitionen wird surrend ein Strich
durch die Rechnung gemacht. Kreise drehen sich mit vortizistischen Zacken und Kanten, schwungvolle Wellen werfen weitere Wellen. Zwei rostige Kehlen krähen, quäkende Hupen zerstückeln Melodien, an denen auch Edwards sägt und rumzupft. So zerläuft ein Morse-Beat
semi-lyrisch oder in gedämpften Bedenken, ein eben noch glattes Motiv bekommt Schluckauf und macht sich schleichend dünn. Petts genügen wenige Minuten für vielgestaltige Verwicklungen, denn seine Strategien werden meist von einem Intriganten sabotiert, der wiederum er selber ist. Das bei "Last Man in Europe" Begonnene konsequent fortsetzend, stellen sie 'Anti-Seed' (in "Mad Max: Fury Road" ein Wort für Kugeln, Bullets, die nur Tod säen) das Saatgut ihrer Noten entgegen. Fast auf verlorenem Posten. Aber doch nicht ganz. [rbd]

 

The Remote Viewers is een Brits blazersgezelschap rond de saxofonisten David Petts en Adrian Northover dat al meer dan twintig jaar verrast met spannende, avontuurlijke , kristalheldere en tegelijk melancholieke jazz. Op hun voorlaatste album Last Man in Europe waren ze ook al met zijn drieën, tenorsaxofonist David Petts, altsaxofonist Adrian Northover en contrabassist John Edwards, maar dit keer noemen ze zich ook Remote Viewers Trio.
De samenstelling van de Remote Viewers wisselde altijd al, want Petts en Northover nodigen steeds anderen uit om mee te spelen, maar het valt op dat ze met zijn drieën in staat zijn een prachtig, vol, weelderig geluid te produceren dat in ieder geval verraadt dat ze al jaren samen spelen. De meeste composities zijn van Petts, al zijn er ook een paar trio-improvisaties te vinden.
De muziek varieert van enerverende grotestadsmuziek als The Aspirin Kid tot mooi ingetogen knusse stukken als Big Rug of de afsluiter, het titelnummer Notes Lost in a Field. Alles in twee dagen opgenomen, gemixed en gemaseterd door John Edwards, en het hoesje werd door Adrian Northover ontworpen. Energieke, spannende, avontuurlijke, prachtige muziek waar veel in te ontdekken valt. Vaak luisteren dus.

The Remote Viewers is a British wind band company around the saxophonists David Petts and Adrian Northover that has been surprising with exciting, adventurous, crystal clear and at the same time melancholic jazz for more than twenty years. On their penultimate album Last Man in Europe the three of them were also tenor saxophonist David Petts, alto saxophonist Adrian Northover and double bass player John Edwards, but this time they call themselves Remote Viewers Trio.
The composition of the Remote Viewers has always changed, because Petts and Northover are always inviting others to play with, but it is striking that the three of them are capable of producing a beautiful, full, lush sound that at least betrays that they have been playing together for years.
Most of the compositions are by Petts, although there are also a few trio improvisations.
The music varies from exciting big city music like The Aspirin Kid to nicely subdued cozy pieces such as Big Rug or the closing track, the title track Notes Lost in a Field. All recorded in two days, mixed and mapped by John Edwards, and the case was designed by Adrian Northover. Energetic, exciting, adventurous, beautiful music with a lot to discover. So listen often.
www.moorsmagazine.com

 

After release one of last years Avant jazz highlights the excellent CD album The Last Man in Europe, London project The Remote Viewers(here as a trio) return once again with their distinctive blend of angular and often noir atmosphere focused jazz. Notes Lost in A field is fifteen track CD album which finds the project at it’s most fiery, noisy, angular and awkward. And once again it's another extremely worthy venture from the project, who really need way more exposure than they get.As with most of this projects fairly prolific discography, this new CD album is self-released. The CD’s presented in a simple-yet-effective mini gatefold sleeve, and on its front, we get a picture of the three player’s instruments in shadow.
For this release, the players are band leader/ key songwriter David Petts on Tenor Sax, Adrian Northover on Alto Sax, and John Edwards on acoustic bass. So the sound is intimate, but also very searing and snarling. For the most part, the tracks are focusing on the projects more jarring and sinisterly off-kilter sound- all making for an effective release that remains nicely tight, taut and angular through-out…with later on in proceedings a more darkly moody edge coming into play.
Things kick off in great sneering & snarling fashion with “You won't Hear The Bullets”- this just under four-minute track finds a claustrophobic mesh of baying and granting horn work stretched out into a gloomy-yet- seared fug of sound. Track number three “The Aspirin Kid” is a galloping- through- lopsided mix of tight bass pads and darts, which are blended with jarring yet urgent sax that just hints at a brooding noir melody. “Enemy Traffic” is all squealing & slicing horn work, against an almost brutal blend of slap bass & wondering saw. It’s only by the final track, the just over two-minute title track- that the trio slip into a more considered and decidedly moody pace- which finds Edwards bass padding out a bobbing lead line, to which the twin horns smokily waver and slide out the tracks darkly seductive melody line.
With Notes Lost In A Field Petts and his cohorts have once again shown that they one of the most urgent, often jagged, and distinctive players in the Avant jazz scene at present. So please if you do enjoy the more seared, angular, and jarring side of Jazz you really need to do your self a favor and check this album out- to buy direct and find more about this project head here.

Rating: 5 out of 5
Roger Batty
www.musiquemachine.com/reviews