Ron Caines / Martin Archer Axis: Practical Dreamers

Practical Dreamers is the fifth collaboration between Discus label boss multi-instrumentalist Martin Archer and veteran saxophonist Ron Caines, and like the others, situates the latter's largely introspective reeds within varied electro-acoustic soundscapes. Caines was a founding member of progressive British rock band East Of Eden back in 1967, but after leaving to pursue jazzier endeavors, he performed with the likes of Evan Parker, Steve Lacy and Keith Tippett.

While the pair's previous release, the excellent Blutopia (Discus, 2023) was built upon a core session of players in the same room, this time out more of the protagonists participate remotely. As Archer details in the liners, the base tracks were recorded by him with live processing from Hervé Perez. Subsequently he added the rhythm section of bassist Gus Garside and drummer Johnny Hunter, and then contributions from pianist Laura Cole, guitarist Anton Hunter and cellist Michael Bardon. Finally Caines recorded his response from his home in Brighton (rather charmingly, the door bell can be heard ringing at the start of "Part 7"). Such production intervention is par for the course for an Archer session, but so well-practiced is he that the outcomes rarely hint at the process.

The music is often dreamy (as befits the title), slow moving and spacious, showing off Caines' considered, heartfelt confessional style, which retains an underlying lyricism even when occasionally edging into more extreme tonalities. He maintains that stance even in the face of provocation like the dense instrumental chorus at the conclusion of "Part 6." More often he is reacting to sonically varied but generally understated backdrops, in spite of the intermittently angular piano or guitar flourishes. Like an English summer's day with clouds drifting across the sky, even as thunderclouds amass, nothing comes of it. The tension dissipates and the storm falls elsewhere.

That is not to say there is no differentiation or interest. Notable moments include Caines' fluttering alto cries that induce a sense of fragility in "Part 2" before Archer's bass clarinet offers a supportive lead, around which he can weave. On "Part 5," Caines doubles the other reedman's bass clarinet line to generate an abstract ballad feel, over which he cavorts in top-end pinwheels amid a folky air, while his prayerful soprano saxophone on "Part 3" has echoes of a spiritual in its somberness.

Notwithstanding the mechanics, Caines and Archer have fashioned an engagingly contemplative and cohesive album.

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