Desire Lines began with a throwaway comment. I had just finished a very enjoyable recording session for my friend and sonic wizard Richard Youngs. In an exchange of leaving pleasantries on his doorstep, I said “hope we can work together again, call me any time.” He replied “sure! And if you want to record a solo album, just say.” It was a light bulb moment and I immediately said, “careful what you wish for, let’s book a date”. I had always wanted to record a solo album, but, as a serial collaborator and someone who not only loves to work with others, but needs friendship, mutually agreed deadlines and collaboration in all its wonderful manifestations, in order to complete any project, a solo record just never came to the top of my list of priorities; nestling in at around number four or five for many years. But in that moment, once the date was made, it became not only desired, but a priority. Principally because it wasn’t a solo project, it was another opportunity to collaborate with Richard. Even a solo is social.
While this tiny tale gives an oblique nod to the title, working with brilliant Scottish photographer Mhairi Muir in 2018/19 provided another influence. After taking some pictures for a project I was working on, we went together to see Mhairi’s exhibition Desire Lines at The Lillie Gallery in Milngavie, just outside Glasgow. I was blown away by the ethereal beauty and layers of meaning in her photographs. The concept of a “desire line”, an unplanned path, often a shortcut, that appears because of erosion by feet, hooves, or paws, in parks and fields and mountains and beaches, stayed with me. I also thought of saxophone lines - melodies, textures and sounds that might also be both desired and unplanned.
The three tracks here represent different approaches to unplanned desire lines. Thanks to Richard again for helping the concept behind each track emerge. The first is an attempt to play a piece with one breathe and what happens sonically when you push your body to one particular limit. The second is a counterweight to the first, recorded immediately after, just a quick glug of water, and played on soprano. Two scales, hinting at a Scottish tune, reveal themselves as I start, and I try to follow their lead as they take me on an otherworldly reel around the mountain. The third begins with an attempt to dig into some sounds that might be thought of as artefacts of the “pure tone” of the saxophone – columns of air passing through the instrument with beads of condensation bouncing off the inside of the horn while the harmonics whistle.
I’d like to thank Claudia Molitor and Tullis Rennie for their time, encouragement, support and friendship in making this recording happen. It has been an easy-going joy to work with them and I’m delighted and honoured to be part of the multi.modal family. Similarly, huge thanks to Richard Youngs. A throw away offer on his doorstep developed into this CD and I’m immensely grateful for his time, expertise and focus across recording, mixing, editing and mastering. Thanks also to Mhairi Muir for introducing me to the concept of desire lines. The idea percolated away for six years before bubbling up here. Thanks for reading, and thanks for listening - hope you enjoy my bubbly unplanned desire lines.
Raymond MacDonald