:: STUDIO 282 :: international artists' group ::

DOMINIC LASH
Discography
[in order of release]

• "The Everlasting Mile" on The Sad Song Company - Miseryguts, TSSC001 (2003)

• Hadaly - Hadaly - self-released CDR, recorded 19/3, 10/5 & 15/5/2003 by the band
  With David Stent (guitar) and Malcolm Atkins (violin)

• Oxford Improvisers - An Oxford Improvisers Sampler - [NMR 001 CDR], recorded 2004
  [On various tracks as part of the Oxford Improvisers Orchestra, in a quartet with Fyfe Hutchins (piano, etc.), Otto Fischer (guitar) and Julian Faultless (French horn), and with The Locals.]

• Hadaly - Hyenas in the Cosmos - [NMR 002 CDR], recorded 5/1 & 7/1/2004 by Tim Fletcher

• Tim Hill - Improvisations - [B&S004 CDR]
  Recorded 15/5/2003 by DL, mixed and mastered by Tim Hill
  One duo track with Tim Hill (saxophone)

• Grazing [Pie 001 CDR, numbered edition of 100]
  Recorded 24/1/2006 by Bruno Guastalla, mastered by Pete McPhail
  Duo with Bruno Guastalla (cello). For full reviews, click here.

  "A performance of great physicality and maturity."
  Dan Warburton, Paris Transatlantic Magazine, June 2006

  
  

• Oxford Improvising Orchestra - Accession - a piece of Europe [NMR 003 CDR]
  Recorded 17/11/2005, mastered by Pete McPhail (2006)

  "Divided into seven separate pieces, each displays mastery of tone, texture and technique and with an emphasis on space: busy piano flourishes make way for spooked strings, barely-there woodwind chirps and abstract electronic hums and buzzes."
  Dale Kattack, Nightshift Nov 06

  
  

• Bass Solo - self released CDR (available only at gigs), initial run of 20, recorded 27 & 29/1/2007 in Oxford by Alexander Hawkins

• Tongues of Fire - Smokin' Jo Crow + Washerwomans Brawl, 7" vinyl single, recorded Jan 2006, on Nanny Tango records (2007)

• Convergence Quartet - Live In Oxford - [FMRCD223-0307], recorded at Jacqueline du Pre Concert Building, Oxford, 11/11/06 by Tim Fletcher. (2007) For reviews click here.

• The Treat - Phonography, RRT02 (2007)

• The Imaginary String Trio - Imaginary Trio, Recorded 5/12/2005 at The White House Studio, Bead Records CD08SP (2007)

• Barkingside - Barkingside, Recorded 26/9/06 & 7/5/07, Emanem Records 4147 (2008)
  For reviews click here.

• London Improvisers Orchestra & Glasgow Improvisers Orchestra - Separately & Together, Recorded 6/5/2007, Emanem Records 4219 (2008)

• Agents of Jane - Karaoke Boy ('additional upright bass' - 2008)

• Non-Stop Tango - Maps and Dreams, ANA002 (2008)

• Tony Bevan, Chris Corsano, Dominic Lash - Monster Club, recorded 6/7/2008, Forghorn Records FGCD010 (2008)
  Reviews: Sunday Times, Paris Transatlantic, The Jazz Mann, Volcanic Tongue, Free Jazz
  
  Review in The Wire by Philip Clark (issue 300, Feb 2009):
  "Recorded in July 2008 at a pub gig in Oxford, Tony Bevan's latest release on his own foghorn label is the first time his trio with Dominic Lash (bass) and Chris Corsano (drums) has been documented. He's managed to get the CD out super-quickly - sitting on music as fine as this for too long would border on the negligent.
  Bevan is an undervalued presence on the British improv scene. True enough, his chosen instrument, the gruffly beautiful bass saxophone, had its heyday in the 1920s, but he has transformed it into an exacting reflection of where improvised music is at, particularly in relation to jazz. The intestity of his harmonic imagination is entriely non-generic and grounds his most feral outbursts with an inscrutable logic. The album opens with Bevan on soprano, with Lash's fulsome chording and Corsano's assertive time flow supporting his airborne spiralling; but it's the most extended track, "This Is Murder", that probes deepest.
  Bevan's epic solo sidesteps around tonal centres with a peachy melodic sensibility that embraces gnarly chromaticism, but has room to explore at lenght sparse harmonic sub-structures. Allied to this harmonic litheness, his structural ear leads to unlikely digressions and endpoints: he dissolves into a magnificent Dominic Lash solo that slows the pace, as each tone is plucked from the air with a note-specific deliberation. Bevan's hot swagger may evoke familiar jazz energies - more, for instance, than John Butcher would ever countenance - but his melodic vocabulary remains loyal to the moment, shunning the overstacked schooling of much contemporary jazz-derived music."
  
  Review in Jazzwise by Duncan Heining (issue 136, Nov 2009):
  ""Here be monsters" was once inscribed on nautical maps to discourage foolish mariners from straying beyond chartered waters. And here be monsters too and they're not pretty. Nothing had prepared me for the untrammelled violence of Dominic Lash's playing here even having heard him before. Combined with the equally fine Chris Corsano on drums, theirs is an elemental force unleashed upon the seas. And Tony Bevan is a monster of a saxophonist, hurling forth notes like giant boulders ripped from the ocean floor. There are moments of quiescence, most notably on the long, portentous 'This Is Murder' - even wild beasts must sometimes reflect. In The Simple Art of Murder, Raymond Chandler wrote elegantly on the subject of homicide. It seems these guys have distilled his formula into six words, "Just rip 'is 'ead orf, mate!" Marvellous stuff for the barbarian inside us all."
  
  One track from the CD also appears on the Wire Tapper 21, accompanying the April 09 issue.

• Split 3" CD release with Rhodri Davies ["Five Knots" (Davies); "Assay" (Lash)], Compost and Height, C&H007 (2009)
  Review at The Watchful Ear.

• Alexander Hawkins Ensemble - No Now Is So, FMR CD 270-0209 (2009)

• Roland Ramanan Tentet - London, recorded 14/6/2008, Leo Records LR 556 (2010)

• Patrick Farmer & Dominic Lash - Bestiaries, recorded 24/1/2008, Cathnor Recordings Cath010 (2010)
  Reviews: Brian Olewnick (scroll down), Jazzword, Aphidhair, Vital Weekly (scroll down).

• Convergence Quartet - Song/Dance, recorded 4/5/2009, Clean Feed, CF187CD (2010)

• Tony Bevan, Paul Obermayer, Phil Marks, Dominic Lash - A Big Hand, recorded 14-15/8/2009, Foghorn Records, FOGCD012 (2010)

• Radu Malfatti - Cafe Oto 1 [2009] (Dominic Lash, contrabass; Radu Malfatti, sinewaves), recorded 29/3/2010, b-boim records 022 (2010)
  
  Review in The Wire by Richard Pinnell (issue 325, March 2011):
  Apart from being one of the most respected improvisers operating today, the trombonist Radu Malfatti has also spent the last 15 years amassing a considerable body of work as a composer. To the casual listener, Malfatti's compositions will all sound very similar; long expanses of silence into which are inserted envelopes of continual sound that stop and start with precise execution. In truth though, there is far more going on in Malfatti's composition than mere meditation on the relationship between sound and silence.
  Himmelgeister 19 sees Malfatti take his place amongst a sixteen strong orchestra conducted by his fellow associate in the Wandelweiser composers collective, Antoine Beuger. The ensemble play a series of low, very similar harmonics at predetermined intervals, and are joined by a vocal trio at certain points. Malfatti's score tricks the listener's mind into finding rhythms in the music that may not be there. The spaces between the bursts of sound from the orchestra are not regular, but are long enough for the differences to be difficult to perceive, as equally it becomes hard to trace the slight adjustments in pitch between the silences. The introduction of the higher vocal parts, six minutes into the composition, is the first of two dramatic events that feel amplified by the way they add slight adjustments to the calm. The second, coming some seventeen minutes in, is the electronic insertion of different 'silences' between some of the vocal parts. These added silences - recordings of the room at different points in time then placed into the composition - seem to explode into the music. The effect is unsettling: exactly what is it we are listening to, live performance or post-produced construction?
  Café Oto 1, a piece for solo contrabass and pre-recorded sinewaves, is a single untouched recording, made in an Oxford suburb, the distant presence of the city and a nearby lawnmower adding a slight tint to this particular silence. For this piece Malfatti again plays tricks with the listener's perception and memory. The bass part, played by Dominic Lash, is restricted to just a few notes, all deep and close together in pitch, yet spaced apart so that they appear the same. Malfatti's sinewaves play similar games, beginning as a thick, rich harmonic combination but slowly stripping back to fewer, lighter tones as the piece develops over its 35 minutes.
  These recordings work as invitations to approach music in a manner quite different to the usual absorbing of sensations. The listener may become highly aware of slight changes in pitch and timing, perhaps even when they are not there. This then leads to a heightened perception of the listener's surroundings, so slight changes in external sounds, light and shadow feel like significant events. Addressing a philosophy of listening and perception, Malfatti's music invites the listener to play an important part in the work, and these two recordings are excellent opportunities to do just that.

• Pat Thomas - 4 Compositions for Orchestra, with the Oxford Improvisers Orchestra, recorded 27/10/2007, FMR Records, FMRCD293-0810 (2010)
  Review: Downtown Music Gallery.

• Michael Pisaro - fields have ears, on one track as part of 14-player realisaton of "fields have ears 4", recorded 10/9/2010, Another Timbre, at37 (2010)

• London Improvisers Orchestra (with guests Leon Michener and Ishmael Wadada Leo Smith) - Lio Leo Leon, recorded 5/2/2010, Psi Records, psi11.04 (2011)

• Droplets, with Patrick Farmer and Sarah Hughes (compositions by Eva-Maria Houben and Taylan Susam), recorded 11/09/2010 & 30/01/11, Another Timbre at45 CD (2011).

• Alexander Hawkins Ensemble - All There, Ever Out, Babel CD (2011)

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