Although a collaboration between two formidable bassists, Rob Gourlay and Jim Stinnett, ‘Two Low’ is also a showcase for the guitar/ vocal talents of Lionel Loueke. Let me start with the only track I don’t like on the album. I don’t mind its ‘eclecticism’, but ‘I miss Mr Rogers’ has an unattractively artificial sound to it, although it contains some real instruments. The soulless feel of the programming seems to infect the whole of the tune: this is the one to skip. That said, however, there is a wealth of aural information and delight here that invites repeated listening. ‘Jubilee’ kicks off the album, featuring Gourlay on tapped and Stinnett on fretless basses, a real celebration. ‘Landscape’ (a dreamily ambient piece featuring some ostinato tapping by Gourlay) and ‘African Dream Quest’ belong together, with both bassists trusting the grove, Loueke flying high, with strong echoes of Zawinul’s solo work. ‘Double Agent’, again, has a strong groove, with Stinnett on pick bass and Gourlay introducing the talkbox effect on bass (remember the 70s?). ‘Ebenella’ has Gourlay tapping and chording and Stinnett doubling on fretted (for the solo) and arco double basses. ‘Motor’ is driving music, bound to put a huge smile on your face as you’re aiming for the horizon – great fun. ‘Se je …’ is a medieval-sounding, contrapuntal trio that introduces young Grant Stinnett on the melody: gorgeous! ‘Slippery Moon’ again features Stinnett jr. on odd-time taps, with Gourlay playing the intro and comping, and Stinnett sr. responsible for the melody and solo: these two tunes constitute a lesson in not treading on one another’s toes when 3 bassists get together. ‘JLP’ (for Stinnett’s friend and mentor John LaPorta) has Stinnett on double bass and fretless, after Loueke’s acoustic intro: a beautiful ballad, with Loueke soloing brilliantly, too. ‘Waltz for Jan’ is a gentle, yes, waltz that features Gourlay on fretted basses and Stinnett comping on upright, soloing on fretted bass. ‘Chipper’s Dream’ offers some relaxed swing, before Chick Corea’s sizzling composition ‘Got a Match?’ rides out the album. This is an utterly tasteful, unhurried adaptation, an appropriate closer, with Gourlay and Stinnett on fretted on fretless basses, respectively.
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