Solo recordings are always a risk. There is nobody to hide behind, leaving the musician completely exposed, and the freedom can sometimes lead to over-indulgence. But at the same time, they give a valuable insight into the creative process and could be considered one of the ‘purest’ statements of a musical identity. This is certainly true of John Butcher’s latest solo recording, Away, I Was, out now on Relative Pitch.
Butcher is of course a mainstay of British improvised music, an absolute titan of the saxophone who continues to develop its sonic potential in astonishing ways. He is no stranger to solo recording – this is the nineteenth listed on his website. Some of these have explored the acoustics of different spaces, such as The Very Fabric (2023), which was recorded in a water tower, or my favourite of his solo recordings, Resonant Spaces (2008, reissued 2017). But Away, I Was is different: this is a statement of Butcher’s musical vision.
All but two of the eight tracks were recorded on separate occasions (tracks 2 and 8 were recorded in the same session), meaning we are given a wide survey of Butcher’s solo work, from 2008 up to the present. But the album is not arranged chronologically, and so feels like a statement of who Butcher is now. And, as someone relatively familiar with Butcher’s extensive catalogue, I was surprised that what stood out to me most clearly throughout the album was Butcher’s melodic prowess. On tracks like Brinks and Fujin’ I was unexpectedly reminded of Steve Lacy’s solo recordings, the way he brought together abstract lines with a wistful charm, which Butcher develops by unobtrusively integrating multiphonics into his melody lines. He takes his improvisations in unexpected directions, at times jaunty, at other times pensive. There is great musical sensitivity here, and the way the album is structured allows for real contrast and variety.
The fourth track is a performance of a transcription of the incomparable Derek Bailey, who perhaps has done more than anybody else to define the sound of British improvised music. This is a very unusual contribution on an improvised music record, although it works perfectly – if you didn’t know it was a transcription, you probably wouldn’t realise. Such is the clarity of Butcher’s vision that I can imagine his own improvisations on this record being transcribed by future generations of improvisers, which would surely be a worthwhile endeavour for anyone brave enough to take up the task. And this is the real strength of this record: Butcher shows himself to be a master composer, with a keen sense of structure, theme, development and the element of surprise.
There is a healthy mix of extended improvisations and shorter improvisations, allowing the listener to experience both concentrated ideas and the broader musical vision. Mirror Foil and Pricklings utilise specific techniques in Butcher’s arsenal, and their short length is a demonstration of restraint which makes them all the more enjoyable. Mirror Foil is a particularly wonderful study utilising feedback with key clicks, creating a unique and enthralling sound. Pricklings is an insight into an unrealised project where Butcher overdubs himself playing two tenors and two sopranos; anything more than this short minute would probably have felt out of balance with the rest of the album. The use of varied recording techniques throughout the album provides some welcome changes of texture that keeps things interesting.
Away, I Was is an inventive and thoroughly enjoyable solo recording. It’s full of surprises, but throughout we get a clear insight into Butcher’s musical vision. It is clear that he has mastered his instrument, but such are his skills as an improviser that his renowned technique is put to great use in these wonderful spontaneous compositions. We get a sense of the full scope of his work, including his creative work with amplification and recording techniques, and I think anyone who gives this album a go will find themselves charmed by the end.
Away, I Was is out now on Relative Pitch Records:
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