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Review : Theo Travis: Open Air

​By John Kelman, All About Jazz (Source Review)

It's been a very busy decade for Theo Travis. The British reed/woodwind multi-instrumentalist has appeared, to varying degrees, on literally every album that Steven Wilson has released since turning to a solo career in 2009—from Insurgentes and 2011's Grace for Drowning (Kscope), through 2013's best-selling The Raven That Refused to Sing (And Other Stories), 2015's commercial breakthrough Hand. Cannot. Erase. and 2016's interim EP, 4 1/2 (all on Kscope)—while touring the world for three years with the rising progressive rock star, documented in his self-released book, Twice Around the World: Steven Wilson Tour Blogs 2012-2013 and including appearances in Montreal, Canada in 2011 and 2013.

During that time, he's also managed to tour and release a series of soundscape recordings with King Crimson's Robert Fripp, from 2008's Thread through 2014's Discretion (all on Panegyric); tour with David Gilmour in support of the Pink Floyd guitarist's Rattle That Lock (Columbia, 2015); and continue to record/tour with Soft Machine Legacy, the largely alumni-based collective of ex-Soft Machine members (Travis being one of the few, in the new millennium group's decade-plus existence, who did not play in its original run from 1966 through 1981); and both tour and record with British progressive rock group, The Tangent.

Beyond guest appearances on albums by artists including No-Man, a reformed Jade Warrior, ex-Japan drummer Steve Jansen, Gong and David Sylvian, it's hard to believe that, during that very same period—and, In addition to 2011's All I Know, an impressive and, especially for those new to Travis' music, informative two-CD anthology covering sixteen years of jazz-centric solo releases (most on the 33 Jazz imprint) from 1993's 2am through 2004's Earth to Ether, 2007's Double Talk and 2009's very limited live release, Ascending, Live at the Pizza—Travis also continued to gig occasionally with his Double Talk group, releasing its first studio album in eight years with 2015's Transgression (Esoteric Antenna).

On many of these recordings and live performances, Travis has used a sophisticated array of looping and other sonic devices to create what he calls "Ambitronics"; a process by which he can create multilayered, often spontaneously composed, music. But it's his duo work with Fripp and his ongoing collaboration with fellow Gong alum/bassist Dave Sturt as Cipher, which has currently released three albums, including 2006's Elemental Forces (Burning Shed)—in addition to writing scores for eight silent films from the 1920s that were performed live in a series of independent movie theaters across the U.K.—and, most notably, his solo flute outing, Slow Life (Ether Sounds, 2003), that first set the precedent for Open Air, another ambient-based, loop-driven solo flute recording that, limited to vinyl and downloadable formats, demonstrates continued growth for Travis while being possessed, at the same time, of some significant differences.

First, while still largely based upon spontaneously composed original music, Open Air also includes two pieces from outside sources: "Magnify," a drone-driven piece based on a traditional tune but here transformed almost beyond recognition into a lush, tranquil landscape; and "Whistman's Wood," the opening track from fellow reed multi-instrumentalist John Surman's Saltash Bells (ECM, 2012) that here, performed on flutes rather than saxophones and clarinets (and without the relentless rhythm of Surman's sequenced synthesizer), assumes a far calmer complexion, even as Travis builds his piece around Surman's core changes, layering loop-upon-loop of concert flute, alto flute and bass flute to create an ever-shifting series of changes that combine lithely improvised lines and clouds of sound that gradually ascend beyond perception, leaving Travis' lone flute to conclude the piece with gentle flurries, before ending with a single sustained note.

Unlike Slow Life's Travis-alone performances, Open Air also features a guest appearance by Academy of St, Martin in the Fields cellist Judith Herbert, who contributes deep, dark, wooden lines to Travis' bass flute drone-driven album-opener, "Menacing Eyes," with its hints of Middle Eastern tonalities and overall melancholic disposition.

Third, whilst Slow Life was an exploration of what could be done with nothing more than an alto flute and Ambitronics, Open Air expands Travis' sonic palette through its use of a variety of flutes: in addition to concert, alto and bass flutes, Travis introduces wooden flute and, in particular, Native American flute on "Snow Owl Earth," where its specific tonality dominates over a gentle chordal cushion of other layered flutes.

Travis describes Open Air as "beatless, ambient flute music," and there's no denying that this largely tranquil 50-minute program can easily serve as a much-needed balm for today's troubled times. But it's much more than that. The term "ambient" often suggests (in no way derogatorily) unobtrusive sonic backdrops: music that does not command the mind but, instead, is more felt than heard; music evocative of imagery and atmosphere rather than melodic, harmonic and rhythmic movement.

Indeed, there are aspects of Open Air that meet such descriptors...but equally, it's hard not to appreciate the lovely melodies and haunting changes that define the spacious "Preacher and Flock"; the arpeggio-driven "Sailing and Drifting," which suggests a calmer, less unrelenting Philip Glass; or the closing, riff-driven, finger-snapping "Head for Home," a surprisingly propulsive piece that could easily morph into a progressive rock instrumental with the addition of an electrified rhythm section.

Throughout, Travis continues to prove himself a masterful player and spirited conceptualist. It may well be an album of "beatless, ambient flute music," but that's too reductionist a description of Open Air. As definitive as its calming quietude can be, this is a remarkably diverse and unpredictable album, especially considering its relatively diminutive instrumentation.

Not unlike Norwegian reed/woodwind player Hakon Kornstad—whose series of improvised solo reed and woodwind recordings on Jazzland (also, utilizing extensive looping), including 2010's Dwell Time and 2011's Symphonies Inside My Head are similarly impressive but born of a very different mind—Travis continues to demonstrate just how disparate a similar foundational concept can become in the hands of musicians from different cultures and differing musical touchstones.

Possessed of a reach that has, over the past quarter century, found him traversing a remarkably broad expanse of the musical continuum, Travis continues to transform a concept similarly adopted by other musicians into something deeply personal and instantly recognizable. Call it jazz, call it prog, call it ambient. Call it anything you wish, but perhaps the best and most accurate description of Open Air is this? A musically deep and diverse yet emotionally soothing and eminently appealing record that positions Travis as a musician of great reach, infinite potential...and deserving of increased attention, as he continues to find himself the musician of choice for a great many others, even as he continues to build his own impressive discography. ​

Track Listing: Side A: Menacing Eyes; October Night; Whistman's Wood; Snow Owl Earth; Glint of Light. Side B: Magnify; Preacher and Flock; Blackhouse; Sailing and Drifting; Head for Home.

Personnel: Theo Travis – flute, alto flute, bass flute, wood flute, Native American flute; Judith Herbert: cello (Side A#1). Title: Open Air | Year Released: 2017 | Record Label: Tonefloat

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New Album ‘Open Air’ : 19 May 2017

If you enjoyed any of the 'Travis & Fripp' albums, 'Slow Life' or the Cipher albums, I hope you will be interested in the brand new solo flute studio album recorded in London in 2016 and coming out in May 2017 on Tonefloat Records. Called 'Open Air' it is being released on heavyweight black vinyl. It features mainly atmospheric ambient flutes – alto flutes, bass flute, concert flute and a very cool Native American wood flute.Plus there are some surprises on there too.

I have just 25 copies of the Special Edition which has completely different artwork and a cool burgundy cover. I am personally signing these ones and with these copies as an extra come two exclusive high resolution bonus tracks. For those of you that go for this option, you will also know that these copies are a vital part of making this album project actually possible. Like a sort of Kickstarter/crowdfunding element that enables it to happen at all. So you have my personal thanks and appreciation for your contribution! See ordering page here for ordering info.

The remaining copies of this Special edition are available direct from Tonefloat records at

I also have a limited number of the Standard edition of the vinyl with completely different cover photos and a green cover available on this site, on our shop. I am happy to sign these on request. The album will also be available as a Digital Download. The album features stunning photography by Brighton, UK based photographer Mark Nelson and design by Carl Glover.

Check out the video for a taster.

Thank you! T x

Press Quotes for 'Slow Life'

Despite the complexity of the arrangements, the pieces, each recorded live in the studio, are characterised by a sense of space, freedom and clarity. The overlaid flute loops resist entanglement and the listening experience is almost entirely restful.

The Wire

There are no FX that morph or distort the natural sound of the instrument, but the resulting layered loops do produce an ethereal atmosphere within which the flute can explore, and makes for a surprisingly full sound given the solo nature of the album. The music is generally slow paced, with deep consideration given to each note and phrase.

Aural Innovations (USA)

Sinuous alto flute strands are stratified across contemplative soundspaces by Theo Travis. With dreamlike slowness, layers of flutatious curlicues unfold ... These solo flute compositions are beautiful and thoughtful.

Ambientrance (USA)

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A belated Happy New Year

John Etheridge and Theo front and centre

Welcome to my new website and a belated Happy New Year to you all! The revamped website has been a while coming and I am pleased to launch it so early in 2017. 

I have just returned from a great flying visit to Aberdeen in Scotland with my friend and colleague guitarist extraordinaire John Etheridge. We had a great trip with a gig at the Blue Lamp Jazz Club with drummer Alyn Cosker and double bass player Euan Barton and had a fabulous night. The following morning we took a jazz and improvisation workshop at Aberdeen University and we were impressed with the students who were of a high standard and really engaged with what we had to offer.

My main recent activity has been the preparation for the release of my new solo album 'Open Air' which is being released in a beautiful vinyl package on Tonefloat Records. The album is broadly a follow up to my 2003 album 'Slow Life'. It comprises 10 flute tracks – bass flute, alto flute, concert flute and various wood flutes, often layered in hypnotic loops and largely ambient and atmospheric in nature. 

The mixing and mastering has recently been completed and the artwork now signed off. There will be a special limited edition of only 75 copies for collectors, with completely different artwork and a burgundy cover, as well as the regular edition with a green cover. Both editions feature specially commissioned atmospheric photos by Brighton photographer Mark Nelson. 

The special edition will also feature a link to two additional exclusive high resolution bonus tracks recorded from the same studio recording sessions. 

There will be copies of both the special edition and regular edition available from my website shop (and also which can be signed on request. In addition to the download code, copies from my site will include an exclusive signed photo. Pre-ordering will open shortly.

I have also been involved in some great but low key gigs on the London jazz scene and planning some more Soft Machine concerts for later in the year. 

Also there has been some really cool activity in my home recording studio working on some new production music - for a company that provides music for film and TV. It has enabled me to work on some really cool sounds and collaborate with some very talented people. I am working on some tracks with Fender Rhodes electric piano, acoustic piano and electronica in a musical soundworld combining Cipher music, the strangeness of Twin Peaks soundtracks and ambient electronica. 

There have also been some discussions and mixes being sent for approval of recordings of concerts from the Travis & Fripp tours of 2009 and 2010. It is a thrill for me to have toured and recorded with Robert Fripp so much and I hope some of these recordings will see the light of day at some time in the future. There is some very cool music there.

But more of that later. So do take a look around the new site, hang around for a bit and feel free to leave any comments you wish to. 



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Burden of Proof Review

Three quarters of the celebrated 70’s version of the legendary group which recorded the acclaimed ‘Softs’ album in 1976, are completed by outstanding sax star Theo Travis. The band plays material from the era (compositions by Hugh Hopper, Mike Ratledge, Karl Jenkins) as well as many contemporary works, as featured on their recent album ‘Burden of Proof’.

“Burden of Proof is, to put it mildly, absolutely exquisite. These are four musicians who are masters of their craft, and truly at the top of their game, not only as soloists but as contributors in an actual band. They've put together here a collection of songs that basically has something for everyone; challenging jazz-fusion, adventurous prog-rock, bits of chaotic free-jazz, atmospheric instrumental popjazz, and even a little hard rock. Extraordinary!"

Pete Pardo

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