School and Rivers

School and Rivers, released less than two years after Red Deer, Tom James Scott's debut release for Bo'Weavil Recordings, is an interesting and unusual proposition. Scott works with minimal instrumentation, minimalist music, and lengthy durations. He clearly takes his time to compose, and you should take your time to listen — because it would be easy to dismiss this music as too simple or too static. Also, the predominance of the acoustic guitar could mislead you into thinking in folk music terms. However, School and Rivers definitely does not belong to the folk underground, nor does it proceed from the influences of John Fahey or Loren MazzaCane Connors. No, influences would have to come from the softer side of American minimalism: Steve Reich's more delicate pieces, Terry Riley's less mystical ones, and most of all the sweet side of the Cold Blue label's roster (Rick Cox, Jim Fox, Daniel Lentz). As for comparisons, the single one that springs to mind is Gato Libre, the traditional folk-inspired instrumental quartet led by trumpeter Natsuki Tamura. But these are just markers to help you find your way. What matters is the music. School and Rivers offers five pieces, four of which are truly delightful. The one track that doesn't quite make it is "Two Moons Behind the Horizon Sun," an extremely minimal piece of bowed acoustic guitar that is just too sparse and disjointed to sustain interest. The title track and "Seabird" feature acoustic guitar and tuba (by David Aird, the only musician other than Scott on the album). These are exquisite in their simplicity, melodicism, and dreamlike nature. "Elephants" adds a piano and a metronome to the acoustic guitar, for an extra touch of melancholy. The final "Crane in the North" is a two-part acoustic guitar piece with hints of Anthony Phillips and Gordon Giltrap — here, Tom James Scott lets his English side and classical guitar training shine through, bringing the album to a beautiful (and beautifully understated) conclusion. ~ François Couture, Rovi