On Mute Records
On Earshots Recordings
01. A Duet
Ross Lambert: 'Magnit-iz-dat' in Point of Departure end of year summary 2018
"...the most arresting, the most thoughtful, the most challenging music I heard [(?)...]
At the limits of intimacy and non-commerce, two recordings stand out for me: 1a) Ross Lambert: MAGNIT-IZ-DAT (Earshots! Recordings). Lambert adapts his guitar to the practice of psychogeography, the realm of his fellow-Londoners, writers Iain Sinclair and Will Self, by recording his guitar in the backseat of a car in various South London locales, making himself a spontaneous conduit between a world and an instrument..." (Stuart Broomer, Dec 2018)
"...this is music in the moment, spontaneous and touching, with Lambert’s spoken introductions emphasizing a personal urban geography. There are sometimes odd vocalizations and bits of alien and electronic noise, but for the most part a listener has an ear pressed close to the guitar’s sound hole. It’s consistently surprising as well as involving, moving through different sonic terrains with a feeling of inevitability, as Lambert moves from sudden driving rhythms, scalar improvisation, free association and the most meticulously detailed lines. “Sometimes Receptionist” moves through a dozen areas, an unfolding that begins with rubbing the body of the guitar to explosions of notes and sound effects to a conclusion of sustained lyric beauty."
"Most of all, though, Lambert is uncompromisingly himself, not looking to copy or borrow from anyone. His music is his own, reflecting years of listening to and playing with others, alongside his own unique experiences and explorations..."
“Just as American Primitive is a recognised and recognisable genre of music played by guitarists in thrall to John Fahey, so there is an equally distinct, though unnamed, school of guitarists dedicated to perfecting and developing the innovations of Derek Bailey. Northern Irish guitarist Ross Lambert is one such acolyte ? the improvisations on this CD are even mostly performed on an axe that previously belonged to John Russell, perhaps Bailey’s best known student. Certainly, you can hear the great man’s influence in Lambert’s glancing harmonics and jagged runs, but there are other, more personal imperatives at work, too. The opening piece, ‘Floating Blossoms,’ begins with what sounds like tuning forks being struck and then vibrated against the guitar’s body, before Lambert heads into a dense and thorny deconstruction of the blues with echoes of Bill Orcutt’s admittedly more gnarled approach. Elsewhere, Lambert talks to himself and absent-mindedly hums along with his own melodic fragments, creating the sense that we’re eavesdropping on a private daydream. It’s an intimate affair, well worth waiting for from the conspicuously under-recorded Lambert.”?Daniel Spicer, October 2018
"Without pretension or too specific aesthetic direction, the British guitarist Ross Lambert gives us a solo guitar album at the same time subtle, endearing and exemplary. One of Eddie Pr?vost's companions among the closest and the oldest, Ross Lambert concentrated his musical activity mainly in the London community scene of radical improvisation and within the weekly workshop coordinated by Eddie Pr?vost. Before this workshop by Eddie Pr?vost became the rallying point for a new generation, I had the opportunity to taste their excellent sets at the Freedom of the City Festival 2001 and noticed his expertise and his sensitivity. With Eddie and saxophonist Seymour Wright, he burned the double CD SUM (Matchless Records) and their performance in a later edition of this FOTC allowed me to discover the main lines of his remarkable guitar playing. In this new opus recorded one afternoon, the guitarist delivers a series of 7 six-string excursions where his whims, his obsessions, his taste for disjointed and non-consonant intervals and the intersections of diagonals are defined or lost. of spirals. Ah, his fingerings on the left hand! We get out of it cheerful or dreamy, nostalgic or lucid atmospheres. We hear him making verbal comments that I find it hard to understand. Occur an evocation of African music as we hear it in Ocora discs, fugitive explorations of timbres which evoke the spirit of Eddie Pr?vost, a free-folk perfume and quirky constructions where adventurous harmonies and metric canvases evoke the rhythmic serialism described by Roger Smith. An improvising guitarist who deserves our full attention. Album produced by Edward Lucas and Daniel Kordik, the two responsible for the label and talented improvisational musicians."
03. Recording artist Ross Lambert, on Matchless Records