Recorded during the extenuating circumstances of 2020-2021, 'Once Removed' is an experiment in improvisation, synchronicity and perseverance.

At a time when many musicians have found themselves unable to collaborate in person, the search for an alternative workflow has questioned the values we attribute to real-time improvisation. This project attempts to deconstruct the mechanics of musical discourse by testing the conditions under which dialogue can survive.

To be more specific, ‘Once Removed’ is an EP featuring duo improvisations recorded under varying degrees of separation. Six musicians were sent an improvised recording, titled ‘Square One’. With no knowledge of what the file contained, all were given the same instruction:

"You will be sent one or more audio files. Please record yourself improvising to them on an instrument of your choice. Record one take only per stimulus. Do not listen to the audio ahead of time—your improvisation must be a genuine first response to the stimulus."

On the first track—‘Square One/Splash’—the stimulus is heard alongside pianist Lucas Kelly’s first-take response. Four of the remaining participants were grouped into pairs, their recordings combining to form tracks 2 and 3. I feel that, because the musicians are improvising (albeit independently) to the same source, the end result exhibits a surprising amount of synchronicity. Following this, each pair received their partner’s initial recording and the results were combined to form tracks 5 and 6. Here, I wanted to see how far the music would stray from its point of origin, and whether the impression of dialogue would survive when the participants are responding to different stimuli.

Tracks 8 and 9 are my attempt to throw a spanner into the works. For ‘Reflective Trousers’, Tom Bevan (Drums) and Luke Chakrabarti (Alto Sax) were each sent their own original responses to ‘Square One’. On ‘Rush Hour/Disillusioned Row’, David Flanagan (Electric Bass) and Edi May (Tenor Sax) received each other’s recordings—played in reverse. Edi is heard backwards here to see what interaction might sound like when one musician's perception of time is running in the opposite direction. Like ‘Tenet’, but without all the exposition.

In order to more directly take part in the project, I formed a separate chain with Ethan Hoad on trumpet. Tracks 4 and 7 feature my first-take improvisations to Ethan's playing as you hear it. If you feel at all lost, fear not because the EP comes with a flowchart.

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