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"Steve's complex array of sound and rare, intimate
touch are rapidy turning him into one of the most
influential bassists in the world" – bass guitar magazine
"Lawson's writing and his phenomenal command of the possibilities of looping creates a compelling and surprising variety of sounds one would never imagine the bass capable of producing." – JazzWise
"Steve Lawson is a brilliant musician. I've known about him and listened to him for many years. He may not be one of the most famous bassists but he is definitely one of the most talented." – Victor Wooten
"Steve..I look at you as one of the best innovators in the bass community. The path you have chosen to follow is special and deep. If anyone has any issues with this, I feel for them and they should not be paying any attention the what you do. Just move on to a more mundane approach to the instrument and be happy. You are a gift and I love your playing and concept." – Leland Sklar
"one of the most gifted solo bass players on the planet" – Ian Peel, Record Collector Magazine
"sensuous melodies intertwine and fall away with the intimacy of Talk Talk?s Spirit of Eden and the cinematic production values of Brian Eno" – Sid Smith
"Lawson's solo bass compositions include palettes of lush sonic soundscapes and layers of ambient textures which have helped to redefine the art of looping and live performance as a solo bassist." – The International Insitute Of Bass
"one of today's most inventive and original sounding voices on the
electric bass. He is a pioneering innovator in the art of looping." – cliff engel, www.bassically.net
"a one man cosmic symphony" – Jerry Kranitz, www.aural-innovations.com
"Taking you from new-age jazz to Starsky and Hutch, this solo bassist is a must-see for anyone who's ever
harboured dreams of being a professional musician. Catch him while he's hot!" (4/5) – ThreeWeeks
"Lawson is a master of a whole universe of sounds…a truly original talent" – JazzWise
"Steve Lawson is better than good… …[his] sheer virtuosity communicates an infectious love for the music." – Good Times Santa Cruz.
"the life affirming stuff of dreams" Sue Edwards, Royal Festival Hall.
About the cds –
"What a beautiful recording! This is perhaps the best argument yet that the bass is a versatile, deeply expressive instrument and in the hands of a brilliant and visionary artist like Steve, is capable of making music of enormous emotional and musical depth. Please buy a copy and share it with your friends and family. I think they'll thank you for it!" – Michael Manring.
"beautifully performed throughout" – Guitarist Magazine (uk)
"From the opening trills of 'Flutter' it's clear that this is going to be an extraordinary album…
…Steve's complex array of sound and rare, intimate touch are rapidly turning him into one of the most influential bassists in
the world." – Bass Guitar Magazine (uk)
"one of the most refreshing, listenable and unpretentious albums i have heard in one long time!" – warren murchie, global bass magazine (Canada)
"i encourage the rest of the world to get this album and find out just how versatile a bass guitar can be – 10/10 "- cross rhythms magazine (uk)
"A excellent set of truly inspired improvisational music." – aural innovations e-zine. (US)
"Frisell, Fripp and Garbarek revisited in unique ways." – JazzUK Magazine. (UK)
"steve has something all his own, and with it a bright future as a solo bass performer and likely anything else he chooses along the way. pick it up now so you can say you know of him from the beginning." – bass frontiers magazine (us)
"I highly recommend this CD! As Steve's playing and concept grow he makes ever more gorgeous and engaging music that really demonstrates the expressive depth of the bass. The richness of this music makes for a rewarding listening experience on all levels and I think Steve's approach represents a real step forward for the art of solo bass." – Michael Manring.
"All in all, "and nothing but the bass", is a most delectable and auspicious debut release from a very talented artist with the vision and ability to think and play outside the box. Definitely recommended listening" – www.ambientvisions.com (US)
"Take the playing expertise of Phil Keaggy mix in a healthy dose of the solo work of Robert Fripp and transfer that to a six string fretless bass guitar. What you have as a result of the best of both is a gentleman known as Steve Lawson." – www.tollbooth.org (US)
"On technical terms alone, Lawson holds his end up alongside American stars of the lyrical bass suchas Victor Wooten or Michael Manring. But his work showcases not only prodigious playing talent
but also a thorough lack of self-consciousness about engaging with his listeners." – Misfit City E-zine (UK)
"Using only a couple basses and a handful of electronic gadgets, Lawson skillfully paints sonic textures of ambient soundscapes with adventurous soloing and masterful layering." – www.bassically.net (US)
" This is such a special album that a short review like this can hardly do it justice. The moody melody of 'Need You Now', the funky slap and pop of 'Channel Surfing', the atmospheric 'Jimmy James', all these and every other track are worthy of careful examination and I only have 200 words! 'Chicken' is an album that invites you to sit back,
close your eyes and get involved in it's shimmering melodic beauty for an hour." – Euphoria Magazine (UK)
"The marvelously musical result on Lawson's second [solo] album, which tends toward a mellow, ambient vibe that sometimes recalls new age
music and '80s art-rock, has as much to do with Lawson's melodic sense as it does to do with his technical mastery." – Bass Player Magazine.
"Folk music, Frippertronics, fretless Jaco Pastorius flights, country melodies and world-music trance epics mingle here, plus a few hints of past effects-pedal kings like Dean Carter or Pat Orchard. And it's utterly inclusive music, lacking the smugness and self-love that blight many solo instrumental jaunts, and more interested in raising a happy smile rather than pulling an anguished 'guitar face' " – Organ Magazine (UK)
"In summary, Lawson succeeds in showcasing the range of his instruments' possibilities while also creating enjoyable and interesting music. The album's real strength
lies in it's variety, from Frippoid soundscapes, to jazz, and ambient space. – www.aural-innovations.com (US)
"On the last piece – "Pillow Mountain" – Lawson shows that, with a few electronic gizmos, even very "unbasslike" sounds can be produced. A
wonderfully melancholic fretless solo is played over an underlying mood reminiscent of Brian Eno. Beautiful." – Jazz Dimensions Magazine (Germany)
"Only a musician with great talent and sensitivity can provoke such emotions, giving us these 52 minutes of pathos from solo bass and effects." – No Warning e-zine (Italy)
"Steve Lawson [is an] innovative bassist dedicated to stretching the boundaries of bass. On Lawson's And Nothing but the Bass album,
the simple boom-di-boom we know as bass is transformed into a spray of chords, arpeggios, hammer-ons and rangy melodic runs, flecked in harmonics and reinvented by effects." – San Jose Metro (US)
"Lawson and Carr alternate playing Jekyl to the other's Hyde. Dreamy pastoral visions interrupted by an invasion of drunk Martians. Steve's sonic pallette allows him to blend beautifully, or create havoc, a dichotomy he clearly enjoys. A fascinating listen. A Little Nitrous Music anyone?"
– Ed Friedland, Bass Player Magazine (US)
"The music Steve and Jez make is reflective, intimate and powerful. It takes you on a journey that is
simultaneously familiar and exotic, engaging and serene." – Michael Manring
" 'Conversations' finds pianist Jez Carr and bassist/loopist Steve Lawson deftly walking a fine line between
new age and avant-garde, drifting from meditative serenity to angular abstraction so smoothly that the seams
barely show. With its extended and often reflective feel, the highly-attuned duo improvisations allude to the
vintage eras of record labels like ECM or Windham Hill." – Andre LaFosse (guitar looping genius)
"This is subtle music that demands your undivided attention." – www.aural-innovations.com
"Close to perfection… …Magnificent" – No Warning (Italian e-zine)
"I can't say enough to recommend this CD adequately. Just do yourself a favor and get it if you haven't already."- Ted Killian, Loopers Delight.
" There's music here to appeal to a diverse crowd… from space ambient to jazz fans to prog fans. And I can't imagine any musician who wouldn't appreciate the results of what are actually solo performances. Recommended." – www.aural-innovations.com
About Steve's gigs…
"Most bass players settle for one distinctive tone and make it their own, yet solo loop guru Lawson is a master
of a whole universe of sounds all conjured from his fretless six-string bass. It's a feat equivalent to juggling
half-a-dozen lit torches that not only he makes look and sound effortless, but his sense of otherworldly narratives
makes his a truly original talent." – JazzWise magazine.
"Steve's style is to look like he never knows what he's doing in the first place,
he talks nonsense to distract you from how frighteningly good he is at what he does." – www.bassworld.co.uk
"steve plays with a wonderful fluidity. his fingers glide lovingly, effortlessly over the fretless, the chording and intonation never less than perfect. whether a simple, relaxed glissade or a line demanding
huge control and dexterity, his fingers did the talking." – michael cowton, journalist and author of 'level 42 – the definitive biography' (UK)
"[steve is] very much his own musician, and one capable of taking on any of the american virtuosi on equal terms… his improvised melodies…make for an assertive and individual new voice."- dann chinn, misfit city e-zine (uk)
"…an evening of technological wonder and musical psychadelisizing." – Santa Cruz Sentinel
"a gifted and imaginative bassist, whose melodic ideas and encyclopedic chordal knowledge are at least equal to many (currently) more well known artists."- www.globalbass.com online magazine. (Canada)
"Bottom Line: Virtuoso technique + imagination + a vision + improvisation chops to burn = Steve Lawson."- www.bassically.net (US)
"At last! Steve Lawson – a bassist with a commanding technique that doesn't mean more notes,
but a truly good sound and great time, with melody a priority. Finally, lots of notes when needed.
How refreshing! Now all we need is a Steve Lawson that plays double bass – are you out there?" – Danny Thompson (double bass legend)
"Steve Lawson has got to be one of the most tasteful bassists I've heard in a long time and is certainly a creative
player who focuses on sound and the quality of individual notes, not to mention different ways of speaking with his
instrument." – Jerry Kranitz, www.aural-innovations.com
"Somehow I had never heard of Steve Lawson before and while at the recent NAMM show a friend of mine dragged me
to a booth to check him out. When I heard Steve play doing a live solo with self accompaniment I was instantly
transported to somewhere beautiful inside, even though we were in Anaheim of all places. The CD does the same
thing for me…I listened to it driving through the desert and again at home…lovely,
wonderful stuff…I'm a fan" – Andy West
(solo artist, bassist with The Dixie Dregs)
"When I first heard Steve Lawson it made me go home and practice my bass again, it was inspiring to hear his use of bass loops with great melodies.
He doesn't play like a bass player, he plays like a musician. I am going to rip off every idea he has ever had!!" –
Matt Bissonette (bassist to the stars!)
Review – And Nothing But The Bass (Misfit City)
"This music is apparently what Steve Lawson makes to entertain friends. Friends who make themself known as such simply by showing up to one of his intimate gigs in London. Or in Lincoln, Watford, France, California… or wherever Lawson and his little bundle of bass guitars, E-Bow sustainers and looping devices pitch camp for an evening of playing. And, having asserted your friendship by wandering in and sitting down, you can smile to yourself about the way his lush, demonstrative instrumental music manages to cross-reference Frippertronics, Pete Seeger, Jaco Pastorius and Joe Satriani (for starters) without them crashing into each other or crowding him off his own playing stool.
You can also smile – with genuine enjoyment – at the sheer guilelessness of his music. The gauche jokiness of "And Nothing But The Bass"'s title is accurate: Steve Lawson's 'And Nothing But The Bass' with one exception, this really is all One Man And His Loops live in front of a small, polite but audibly happy audience. But it shouldn't be dismissed as cutesy novelty, or as circus tricks with effects pedals: that isn't the half of it. In London, we're used to anxiety. Self-exposure from tortured musical artists, cool-by-numbers checklists, spotlight-grabbing attitude flexers; obvious-state-of-minders stapled to credible trends and sinking with them. Hearing Steve Lawson duck this, focussing quietly instead on the way music connects across generations and between person and person, is a sweet shock.
On technical terms alone, Lawson holds his end up alongside American stars of the lyrical bass such as Victor Wooten or Michael Manring. But his work showcases not only prodigious playing talent but also a thorough lack of self-consciousness about engaging with his listeners. Maybe it's from playing pop with the elfin, equally guileless Howard Jones; but when you hear Lawson duetting with himself on sprightly children's-song tunes like "The Inner Game" and "The New Country" (wrapping joyously squishy melodies around his looped, nodding, double-stopped riffs) you know you're not hearing someone who's concerned about his agenda fitting anyone's T-shirt. Or with the solemn rules at jazz school.
All right, perhaps an over-mellow conflation of those lovable old chestnuts "Chopsticks" and "Blue Moon" (on "Blue Sticks") is a step too far in this direction. All taste and no meat; too close to a musical life that's one long function room. Lawson dispatches it with impeccable skill, which is all very nice but a little worrying. Far better to hear him feeding twanging threads of Celtic American folk song and bluegrass into "The Virtue Of The Small", Flecktones-style; then splitting off to layer on luxuriously glutinous improvisations via serenely wandering fretless and classic metal distortion. Or to spot momentary nods to other bassists (Chris Squire, Steve Swallow, Alphonso Johnson, Stuart Hamm) who've let melodies rumble up from the basement. Or just to put the notebook down and enjoy tunes like "Bittersweet", a fretless-bass-and-piano duet owing a little to both Pachelbel's Canon and Weather Report's "A Remark You Made". Jez Carr's strums of high, cautiously sweet piano haze this one lightly with blue. Perhaps it's over-aligned with the fastidious, earnestly white, New Age end of jazz, but Lawson's head-bowed cadences are beautifully poised – natural and regretful.
So far, so immaculate, so "Bassist Magazine". What really opens doors, though, are three pieces in which Lawson ventures into process music, chance-and-hazard and ambient music: closer to Fripp Soundscapes and post-rock than to John Patitucci. …and again… The moonlit ostinato foundations and skirling skybound melodies of "Drifting" give way to smears of trembling Frippertronical treble passes, like wheelmarks on cloud, and to trance-techno bubble echoes Lawson somehow wrings out of his bass. "Chance" clings on – just – to the right side of disassembly; the sharp attack or mother-beast rumble of Lawson's fretless stepping in and around his frigidly emotional ECM bass figure, ghosted with minimal traceries. And the lapping sounds, heartbeat sub-aqua bass and shimmering harmonic nudges of the gorgeous "Pillow Mountain" are closer to Mouse On Mars than any bass guitarring this side of Rothko, as Lawson E-Bows strange Chinese string calls out of the beautiful murk. It's with these pieces that we hear Steve Lawson's audience returning a favour, moving away from bobbing their heads to the happy melodies and simply listening instead.
And all without the man breaking much of a sweat, either. Anyone who's been to one of Lawson's recent concerts can testify that this CD's a mere dry run compared to the music he's now growing into. For any instrumentalist, this album would be charming; for Steve Lawson, it's a showcase punched open at one end. His friends are watching him grow – I suggest that you join them.
Review – solo gig, St Luke's London (Misfit City)
"Drawn by the call of bass, I'm chilling here – it's cold inside the nave of this small church tucked away by Holloway Prison. Were he American, Steve Lawson would be filling Stateside theatres on the progressive-instrumental circuit. But he's British, and aiming at a gap in the market that the industry's done its best to squeeze shut (or suffocate with endless minor variations on "Tubular Bells"). And, consequently, he has to plan and implement his own events from the ground up and in out-of-the-way places.
At least St Lukes is a fine place tonight. Flickering tea-lights, sofas and chairs, lovely acoustics and clean tall white walls to carry the visual multi-media provided by the Sparks collective. Long shots of bus travel and busy campuses fill one wall, a cartoon tribute to Lawson's trippy bass guitar music along another, and TV screens frame inert men lolling in armchairs. Negative homilies manifest quietly on walls – "Once bitten, unlikely to trust anyone ever again"; "Failure is inevitable, therefore I will never even try to begin anything". Jolly animations of dancing subway signs and jostling cells inhabit one corner. From another a muted, indistinct babble of voices seeps out of three detuned radios to wind around our chair legs. Once again, I find myself part of an installation (tonight, Matthew, I'm the saggy off-colour bit up near the front).
By all appearances, Steve Lawson's pretty much marked for bass guitar playing. He looks like a frighteningly convincing young Geddy Lee from a Rush tribute band, and he sounds much like Michael Manring – the clusters of ringing-bell harmonics, the use of E-Bow sustainer and the glutinous pining tone of his six-string fretless. But he's very much his own musician, and one capable of taking on any of the American virtuosi on equal terms. A live shot of Steve Lawson (photo by Edward Eldon) His playing has elements of other remarkable bassists (Victor Wooten's bubbling folk-song lines, the inevitable Pastorius, Eberhard Weber, the aforementioned Manring, plus every now and again a moment of cyclic Stuart Hamm tap-and-hold). His improvised melodies, though – allied to the upside/downside/back-to-front timbral inventions and the multi-layered looping fed through his small garrison of effects pedals – make for an assertive and individual new voice.
Lawson's milieu is a translucent psychoactive landscape of sound that tugs at old memories of water, of night, of the hypnotic rapture of nature; as close to the ethereal electronic/acoustic embrace of Cipher or BJ Cole's Transparent Music as it is to the inevitable Frippertronics. As he duets with himself on soprano-calling E-bowed lines, plucks crisp sophisticated little riffs, or feeds in a ribbon of backward-processed Chinese Opera or Turkish trumpet tones (which he's quietly played and tweaked only moments before), it's both captivating and enveloping. He makes unnerving harmonised passages of scrunched sound like a passing swarm of disgruntled operatic bats. Or manufactures and introduces his own complex thump of trance-techno beats on the spot, mixing them in carefully to evolve a questioning jazz solo into a dance-music leap. All part of a weave of rich underwater reverb and freeflowing textures (or, as the man himself puts it, "weird stuff") which molds itself to the warming air in the church.
There's always a sense of audience in this guy's playing; always a feel for melody and placement, and – incredibly, for a loop gig – no straying into pretentious or tedious noodling. The continually morphing but almost hummable "Drifting", in particular, seems to last for most of the evening, yet never once feels dull or overstretched. Everything is considered carefully as it's played – you can see him thinking, nose wrinkled and fingers hovering – and if the improvising is slow, laid-back and eminently accessible, it's also consistently inspired and knows where to move to. There's humour here too – the string-click that turns into an amplified lipsmack, or the way Steve spends half a minute constructing a fresh set of rhythm, harmony, melody and texture loops almost from scratch to make a perfectly harmonised melodious group arrangement… and then casually strolls to the toilet for a few minutes, leaving a squad of virtual-bassists to calmly play on without him. Had you been looking down, you'd've have missed his absence entirely. A honeycombed version of an old standard ("Blue Moon" – warm, graceful and far from blue cheesiness) connects back to traditional jazziness, but Steve Lawson's very much a modern player: a full-on ear-bather in love with the luxury of de-e-e-e-p sounds, but suspicious of waste, thank God.
For the second half, Lawson brings on Harry Napier (on elegantly melodic cello) and Mark Lloyd (on compact percussion rig), pulls himself out of the ultramarine and the innerspatial, and plonks himself down into a more mannered realm. Specifically, New Chamber Music: that tidy, definition-elusive, very white stream of fusion, factoring in classical, jazz and folk idioms, and best illustrated by Napier's correct and serene improvisations over a little loop of Bach. Half of the mighty loop rig is switched off, to be replaced by group approaches and music overlapping into aspects of Windham Hill (the muso cleanliness of The Montreux Band) or ECM (the more melodious, commercial side of Oregon or Paul Winter). And as the trio course through versions of Pat Metheny/Charlie Haden's "Spiritual" (written by Charlie's son Josh, indie people – he of the noir-ish, string-laden Spain) and Bill Frisell's "That Was Then", you can tell that their spiritual home's the panelled confines of the QEH or Carnegie rather than the Jazz Cafe or a proggie hangout. It sometimes edges too far in a polite direction, but for slow-cooking group playing it's tough to fault.
In a less intimate setting, Andy Thornton would've looked like this… After this, former Big Sur songwriter Andy Thornton – over in the coffee lounge, in low light – is a fine comedown, and no let-down either. A camply mellow presence with a nice line in dry wit, working with strong roadstepping acoustic guitar and a voice that pitches a little lopsided but hits the emotional target dead on, his is the necessary music to complement the wordlessness of Lawson and co. Songs with soft sides and late wisdom about love and ageing, performed in a number of personas from the petulant ("She Won't Talk To Me" – "once you say you love them, then you're shown the door") to the hyperreal. Fine-tuning his guitar, Thornton announces "this is about a random shepherd sitting on a hill, contemplating physics; and this is what he wrote" – and follows up with a spiralling love song full of dramatic metaphysical jumps of scale and perspective. Later, he'll sing something with the same driven blend of voyeurism and thwarted intimacy as "If I Was Your Girlfriend", giving us permission to laugh at the first line ("I wish I was a girl of 21") but daring us to giggle at the sympathy and jealousy emerging from there on in. Another dark horse talent revealed. This church is broader than I thought.
– DANN CHINN
In Conversation – Steve Lawson & Michael Manring (2000)
"SL – Michael, when you started playing solo bass, there was very little repetoir, and certainly very few precedents for people making a career out of it, or doing whole live gigs like that – who inspired you and what were the pivotal events in your coming to a position where playing solo was a viable option? Can you remember your first ever completely solo gig?
MM -In the beginning my primary inspiration for wanting to play solo bass gigs was just that I loved the sound of the instrument and I thought it really should be heard in an unadorned format where all of its subtle colors could be appreciated. In terms of context, I drew a lot of inspiration from the steel string guitarists who were out there doing solo shows. It was also exciting to hear how solo artists in the jazz realm like Joe Pass or Bill Evans, could instantly take their music anyplace they wanted to – changing tempo, arrangement or dynamics on the fly. Working with Michael Hedges was at tremendous inspiration for me because his whole solo concept was so clear and focused. His solo performance was totally engaging on many levels and experiencing that strengthened my resolve to work with the possibilities of bass as a solo instrument in spite of the opposition that so many folks seemed to have to the idea. I had no idea if anyone would ever want to listen to what I was trying to come up with, but I just felt an overwhelming need to try.
A lot of my pivotal experiences came from composing new pieces or coming up with new concepts. Many of my early pieces were both too hard to play and not terribly appealing to listen to, so it took a while for me to gather enough repertoire to feel like I could give a convincing solo performance. I felt I had to come up with something that was simultaneously interesting and entertaining in order to be viable and to keep from boring everyone to tears. With the prejudice that seemed to exist against the idea of solo bass I figured it really had to be good to work! I'm still trying to find ways to make solo bass more intriguing to an audience.
Throughout the early eighties I had been doing a lot of shows where I would play one or a few solo pieces as part of a larger program, but my first real solo show was in California sometime around 1985. I was just finishing up my first solo record and I remember playing the title track, "Unusual Weather," "Longhair Mobile" and "Thunder Tactics." At that time I was living in New York, but I was so impressed with how open and apparently unfazed Californians seemed to be to the whole idea of solo bass that I decided to move here!
Now one for you: I'm fascinated by being alive in this time when we have access to technology that we can use to expand the scope of what's possible in music. There are pitfalls of course, and I enjoy trying to maintain a balance of sort of high- and low-tech approaches. You have integrated technology into your concept in such an effective way. I'm wondering what your thoughts are on this. What are the positives and negatives? Do you have a philosophy or directive you use to decide how to use a particular tool?
SL – That's a fantastic question! I too am really excited by the possibilities, but am at times overawed by the scope of the technology, both to be an amazing tool, but also to mask the creative process by constricting things. This is particularly true with looping, as the parameters are, on the surface, very clearly defined. So with every new bit of equipment, I allow myself plenty of time to get to know it before subject an audience to it – working with it for hours, and thinking about what's possible with it, and also just improvising and seeing how it responds to a random element. Nearly all of my best ideas have been mistakes, or at least the product of random events! So my philosophy is to explore the parameters… actually I use a permutation approach that I was messing around with before but which was solidified by watching your video! I took what you were doing with notes on the neck and applied it to the JamMan, exploring all the functions in different combinations. I've recently got a Gibson Echoplex Digital Pro, which is an unbelievable bit of technology. I'm taking my time to work through all the functions, seeing how they widen my technical options when performing solo, then seeing if they open up new arrangement possibilities for tunes that I've been playing for some time. I'm certainly discovering how I can take 'cell' musical ideas – fragments of melody or chord sequences – and allow the possibilities of the technology to inform where it goes next. I'm currently using 4 unsync'd loop boxes – the Gibson EDP, Lexicon JamMan, Line 6 DL4 and Lexicon MPX-G2, which gives me loads of possibilities for shifting soundscapes, and the option of recording lines early on in a piece and then triggering them at various times. So is that a well formulated philosophy? I'm not sure!
MM – I really liked what you said about how you sort of "encounter" a new device. Isn't it fascinating how, at some point certain tools go from being "toys" to being "instruments." The only real difference is in the intention of the user, I think. There's a tendency to think of an instrument as being something necessarily complex and/or subtle, but just the other day I was playing with a bansuri player and I was surprised to see what a very simple instrument it is — just a basic wooden tube with a few strategically placed holes. I've always been very moved by the sound of the bansuri and in the hands of someone like Hariprasad Chaurasia it seems infinitely deep. It's an intriguing thought that almost anything can be an instrument of expression as long as the user has the creativity and imagination to bring it to life. For some folks, electronic effects might just be gimmicks, but you use them to expand the scope of your expressive palette.
SL – On a similar theme, how did your relationship with Joe Zon of Zon Guitars develop and how did the new technical advances of The Hyperbass change the way you write and perform?
MM – In answer to your question, The Hyperbass was an interesting project in that my concept for what I wanted to do with it was pretty well formed before the instrument was constructed. Normally, like you, I usually take a somewhat reactive approach to a new piece of gear — check it out and see what it can do and then start to form a concept around that. In the case of The Hyperbass though, I had been goofing around with things like changing tunings (by turning tuning keys) while I was playing for a while and I wanted to find someone who was interested in building an instrument that would help facilitate that. Turning the keys is fine and all, but it just seemed like there were better, more complete ways to accomplish the task. Everybody who I talked to pretty much thought I was crazy except Joe. In fact, he had a few crazy ideas of his own to toss into the mix! By the time The Hyperbass was finished, I knew just what I wanted to do with it and the first couple of compositions came together very quickly. More recently though, I've been having fun finding ways to play it that I never thought would work. Slapping, for instance – I never thought it would even be possible to slap on it because the fingerboard is so long, but I find I've been developing a kind of percussive technique based on slap that has really been capturing my imagination lately. I guess it's that limitations and quirks thing again — I can't do the typical kind of slapping on The Hyperbass, so that has led me into trying to develop a different kind of style based on slap, but with its own idiosyncrasies. Joe and I have many other design ideas we're anxious to explore, but sadly it's hard to find the time and money for it as not that many folks are interested in that type of thing. However, I'm a long, long way from having tapped out the possibilities of The Hyperbass. I'm learning more about it, and more from it everyday.
It's so interesting too, how sometimes it's limitations that set us free. There's that old saying, "limitation is the basis of style" and I think there's truth to that. Sometimes it's the quirks of a piece of gear that really give it a defining character. I wonder how you conceive of the boundaries of your instrument. It seems to me that you have incorporated the electronics seamlessly and integrally into the identity of the instrument. Is that true or do you think of the instrument ending at the output jack and everything else as accoutrement? How about the amp and speakers? Cables, even?!
SL – In that respect, I began to think about and conceptualize what I do in a different way after you mentioned that you see bass as being a fusion of acoustic and electric – that the sound is as acoustic in origin as any amplified acoustic instrument. It's just the degree to which you choose to mess with it – volume is a parameter to be altered just like any other. It's true that my approach to what I play and how is greatly affected by the gear that I'm using – I'm kind of in awe of guys like yourself who can just sit down and play beautiful music without the need for extra processing – I guess once I got into the processing thing, it sort of attached itself to my whole music making ethos. I still occasionally sit down and try to write completely solo pieces, but I think in layers and textures as much as I do harmony and melody. Sound is my fundamental element in music, not the usual trinity of melody, harmony and rhythm – what I do with that sound is in service of it, rather than the other way round. So in that respect, the electronics the amp, and yes, even the cables have an influence!
MM – Another question for you: I know you have an interesting balance of improvisation and pre-composition in your music. How important is improv in what you do and what different approaches to it do you take? Are there any pieces that you play verbatim?
SL – The balance varies from day to day and gig to gig – improv is vital to that process of allowing randomness into it, and honing my own ability to react and respond to chance events in the music. So even with pieces that are composed, I still tend to flip part of it back to front at some point, or pick a sound I've not added in there before, just to go somewhere else with it.
'The Inner Game', from my first CD is about as composed as it gets, in that it has an initial loop, opening melody, and a couple of other additions to the loop that are always the same, and then the rest of it is like a jazz tune – soloing over the form. From there, there's a pretty smooth continuum (cool title for a tune, perhaps? :o) all the way to 'hit it and see what happens' at the completely random end, where I not only randomize the pitch and rhythm, but also the techniques, experimenting with whatever idea comes to mind and trying to make it work. I'm also in the middle of an obsession with duo improv at the moment, as I love the conversational aspect, and the give and take, response, direction and comedy of the whole thing – that's totally the thinking behind the new CD with Jez Carr… I'm planning a whole series of them, recontextualising what I do, in conversation with various improvisers. You seem to work with both extremes – strict composition and free improv, and from listening to your improv projects, you also take ideas that emmerge in improv and develop them into tunes. Do you view improv as a compositional tool or a separate event? How much continuing development goes into the heavily composed tunes? The Enormous Room seems to have space (haha!) for you to react in the moment, and reorder some bits of it, no?
MM – I really like how you are working on expanding the parameters of music. I always feel lucky to be working in music at this time when we have so much control over timbre. It really used to be a subordinate quality after melody, harmony and rhythm, but it's almost like we get to discover a new world and make new rules (or choose not to make rules!). What a great idea to approach it from the angle of layers, too. Now that you mention it, I really see how your music is structured that way. Of course, you have the timbral imagination and palette to make it work. And all of it originating from what most folks would consider a highly unlikely instrument – because I think most "civilians" see bass as very monochromatic. That's when art is really fun — when it surprises you, opens up your sense of what's possible, fires your imagination and delights you all at once. It's fun to experiment with improvisation, too. For so long in the West, improv has meant jazz blowing over chord changes, but there are so many other options. Timbral improv is a really intriguing idea! I went through a phase when I wanted to avoid improv in my solo concept because I felt like it was kind of a competitive thing. I just have a need to be contrary sometimes, and although I grew up in the jazz tradition I wanted to just go out and play my tunes to allow me to focus all my attention on phrasing, dynamics, articulation, tone, intonation, etc. Sometimes even great improvisers skimp on those areas because the intellectual demands of improv are so great. But these days, like you, I'm really enjoying doing a lot of improv and looking for different improvisation concepts. In playing solo, the improv possibilities are so vast — all the interpretive things I mentioned before, but also tempo, form, etc. before you even get into thinking about playing different notes! And of course, your timbral improv idea is a whole other realm. I also vary the improv in my solo shows like you do. I have some tunes like "Adhan," which are just sort of general sets of tendencies and parameters for improv while others are pretty much through composed. I always look for what kind of improvisation a piece seems to want to entertain. For a long time I've felt that there were some interesting improv possibilities in "The Enormous Room," and once in a while I find some, but I'm still searching for the methodology for that one. I just listen as deeply as I can to see if I can hear what a piece tells me it wants to do. I agree the duo thing is strong, too, especially in an improv context. It's interesting how the smallest numbers sometimes seem to have the most significance. There doesn't seem to be much difference between 14,758 and 14,759 for instance, but the difference between 1 and 2 is huge. Compared to other numbers they are so strange that they'd seem almost surreal if they weren't so common. (Sorry for the tangent!) In any case, I really look forward to hearing your other interactive projects. Will you keep the same basic premise or do you think you will alter the concept when you have other personalities to interact with?
SL – That numbers idea is a good one – on that theme, I often find that the strangest of thoughts and ideas can influence the way I think about, approach and therefor play music – a single word, such as 'permutation' can lead me down a whole other path in a way that affects me far more than messing around with a new scale or whatever would.
For the duo stuff, I guess it will depend on who I'm playing with, and what the sum of their musical journey brings to the project. Maybe it's because I've spent a lot of time thinking about what I do, but I can be quite forceful in a musical setting like that, which is one of the reasons why on 'Conversations', I only used the Line 6 DL4 for all the looping – otherwise, I'd be in danger of drowning out the piano, or just not listening in quite the same intense way as I was able to with the music more open texture that we developed. I have a duo with a a keyboardist/guitarist called Patrick Wood, and what we do it much more heavily layered – I'm using my whole solo set up, and he's playing keys and guitar, sometimes at the same time! I'm also about to start work with a vibraphonist, which brings it's own set of unique creative limitations to a project, that will hopefully inspire some new music in me.
MM – On that general train of thought, I'd love to hear your ideas about the concept of "experimental" music. As far as I know, no one has really quite done what you are doing, so you are in a new artistic place. Do you think of it as "experimental" or do you find the term inappropriate? Or is it just a matter of semantics that has nothing to do with actual music making?
SL – I think semantics have everything to do with music, so your perception of the labels that are put on you really impacts the music. 'Experimental' is a term with a heck of a lot of baggage. It's a label I've used for my stuff a few times just for ease of use, but there seems to be within in a connotation of it being unmelodic or 'hard work', which anyone listening to my first album would be hard pushed to find – a lot of what I've done up until now has been conceptually experimental, but harmonically a bit more 'inside'.
When it comes to labeling or describing what I do, I find that really well written reviews can give me a new insight into my own music! I had one recently from a guitarist/writer in LA who seemed to understand what I was doing and where I was going almost more than I did, and it allowed me to think about what I did in a freer way.
I do think we need some new labels for what's happening now – the labels that related to jazz and to electronica in the 60s and 70s don't work for much of what's happening now – I'm certainly not playing 'free jazz' or 'fusion' – I think something like 'open adventurous improv' would work for me – it carries no history, is very open ended stylistically, but contains a description of the intent of the musicians – to improvise something new, which does 'need' to be really weird – or what a violinist I knew described as 'squeaky gate music' – but can easily switch from nice harmony to full on noise if that's where the musicians take it. Again, the duo format allows for a sense of dialogue that isn't really available anywhere else. I think we did a great job of keeping things conversational and open on the tour with Rick Walker last year, but part of the creative buzz for me was the increased tension of three people all exerting an influence – it became more of a 'debate' than a conversation, and that threw out some fascinating music.
It's a shame that there's so little conceptualizing that goes on in music – I certainly wouldn't be playing what I play if my 'game plan' were different. So many people just jump in and play without ever thinking why… I can feel this heading towards a question or two about music education, but maybe we'll leave that for a future issue!"
Review – Solo Show, Christopher's, Lincoln (Michael Cowton)
"Lincoln is not known for its musical prowess. Buying in ageing musical hiccups like Mike Pinder's Searchers, Leo Sayer, and the occasional tribute band is about the city's forte. Mind you, last year we did have Jools Holland appearing at the Castle. The highlight of the year, for most. So the idea to stage a low-key concert appealing mostly to bass aficianados could have been perceived as the kiss of death. Could be, but wasn't. Far from it, in fact.
'An Audience With Steve Lawson' was sold as a musicians' evening, appealing to a discerning public's sense of taste. To some it was a journey into the unknown. An evening of solo bass. Curiosity won the day, perhaps swung slightly in its favour by the addition of support act Jazz From Hell, a trio of Lincolnians who put on a solid performance of classics and own compositions. At times we were treated to a blitz of notes. "I've never played so many notes in my life," said an obviously impressed Steve Lawson. "Yes you have," retorted some wag.
Lining up on stage was Steve's favoured Modulus 6 string fretless, Modulus fretted 4 string and a fretless Renaissance 5 string acoustic bass, played through an Ashdown combo linked to a Trace Elliot 2×8, Lexicon JamMan and a Lexicon MPX-G2 multi-effects unit. The only item left behind in the car boot transported from London was Steve's uncle. We all thought he was joking but, by all accounts, the ashes were stashed safely away by the spare wheel. Diplomacy won the day, as we chose not to pursue the subject.
Preamble over, Steve comfortably moved into almost an hour-long set of loops layered with haunting melodies; self-composed tunes that drifted in and out of your sub-conscious; mellow soundscapes that gently floated like confetti on a warm breeze, on occasion enhanced by the eerie sustain of an E-bow, its blue LED piercing through the light.
Apart from a peppering of Steve's friends in the audience, the majority of the audience would have been in the dark about what to expect. None could fail but be impressed by the set. Steve plays with a wonderful fluidity. His fingers glide lovingly, effortlessly over the fretless, the chording and intonation never less than perfect. Whether a simple, relaxed glissade or a line demanding huge control and dexterity, his fingers did the talking.
As a music journalist, I have interviewed hundreds of name bands, attended rehearsals and recording sessions, even jammed with Mark King who, to me, was God. Times change, bass players come and go. Yet some names and progressions stick in the memory bank. My heroes, like most of you out there, are today's and yesterday's virtuosos – Jaco Pastorius, Abe Laboriel, Victor Wooten, Michael Manring… yes, and Steve Lawson.
Like Jaco's finger-pumping runs and a slap-happy Mark King of old, Steve can be slick when necessary, pumping out the notes in jaw-dropping time, but bass playing isn't all about that. It never was. I believe it was Marcus Miller who once said that what you leave out is as important as the notes you play. How right he was.
With a new CD imminent of his live set at The Troubadour, Steve Lawson is preparing to move into the next phase of a burgeoning career. You wouldn't think it could get any better. But it no doubt will.
Review – Solo Bass Looping Festival, Santa Cruz (Good Times)
"As a rainstorm raged outside the beautiful Art Deco walls of the old Rio Theatre there was quite a storm of another kind brewing on this venue's new stage. Tuesday night's world premiere 'Bass Looping Festival' was a great success story for hosts Rick Walker and Laurence Bedford. The avante garde event journeyed into the untapped areas that electronic musica can truly offer an audience. The concept of a 'looping festival' held the promise of musical expansion and also some risk into the unknown creating an exponentially, mind-expanding musical terrain.
Rick Walker was the couturier of the evening and shall remain so as the musical director of this new ongoing series, which will explore the underworlds of electronic music. Walker's history and leadership of the seminal New Wave group Tao Chemical, Tao Rhythmical and the innovative World Fusion ensemble, Worlds Collide, proves he has always managed to be at the razor's edge of inspiration and innovation.
Trey Donovan took the stage barefoot and gave a stellar performance on his Chapman Stick, often switching mid-song to add notes from his electric bass. The interface of the two sounds was rich and gratifying. Max Valentino came up next and played an extra large acoustic bass that looked like a large guitar rather than an upright bass. The sounds had a crisp resonance unlike the bassy bottom end sounds that emanate from a traditional bass. His third tune of the evening was "Sticks and Tones" (I love the title) which proved his refined ability to be a solo bassist. "Time is Rubber" had unflinching integrity and filled the hall with a stir of emotion.
A bassist who displayed a Buddhist approach to playing was Scott Kungha Drengsen. He played meditative drones with chordial cathedral-like melody lines. His usage of a foot-operated sequencer, coupled with his own version of special effects, created an 'otherworldy collage' with accents similar to Scott Lafaro's slapping techniques. Drengsen is proficient on six-string fretless, five- and eight-stringed basses and six-string electric doublebass. He chose to incorporate multiple bass in his movie soundtrack-like performance.
Englishman Steve Lawson at last took center stage with the spirit of Jaco Pastrious woven into the tapestry of his technique and his grasp on the language of bass artistry. He brought forth the textures of a fuzzed-out Jimi Hendrix riff or seduced you down a jazzy cobblestone road in New Orleans with "Blue Moon." His hypnotic trance jazz/blues crossover piece "Blue Sticks," had a Zen-like quality to its melody lines. Next you found yourself "Drifting" to distant lands and uncharted looping terrains with this fine composition of experimental artistry. Lawson conjured a sense of time traveling, as he placed the e-bows on the lower strings, resulting in continual watery feedback loops of sound that evoked images of an aquatic world. Lawson's candor in between songs were tongue-in-cheek, with its brilliantly dry delivery, in his lovely English accent.
The showstopper was a duet with Rick Walker playing his drum mallets upon the strings of Lawson's bass, as Lawson played the upper strings on the bass's fretboard. I wished that I had a recording of this moment."
– Michele Benson
Review – Vigroux/Cury/Lawson trio, Marvejols, France (Midi Libre)
"A weird, convincing trio"
"Caption: The audience allowed themselves to be carried along during an astonishing experimental performance, which was ultimately conclusive."
"Last Saturday, the Regional Arts Development Association invited music lovers to come and hear a bold master class at the Théâtre de la Mauvaise Tête.
The performers were a guitar, bass and percussion trio composed of musicians with different backgrounds and inspirations, a trio characterised by its improvisational playing, each member being carried along as his inspiration took him, in response to the offerings of the others.
Franck Vigroux, highly focussed on his guitar, Steve Lawson, conjuring weird sounds from his bass, and Jérôme Cury, attacking a strange arsenal of percussion, gave an astonishing experimental performance for the audience from the music college and Marvejols music lovers. The three musicians, from diverse backgrounds (modern jazz, ambient and classical music) performed their pieces as "stories to tell". The audience allowed themselves to be quietly carried along by their innovations and their musical risk-taking during the concert which, although weird, never became impenetrable.
The concert came at the end of a day which began when the trio met with students at the music college."
Review – And Nothing But The Bass (Bass Frontiers Magazine)
""Steve's Debut CD is as the title states, a bass only record. All but one cut are live, but through the use of effects life looping and the E-Bow, Steve is able to paint sonic landscapes and them compliment them in real time. His melodic fretless playing is amazing, and realizing that it is all live is a testament to his impeccable intonations.
And Nothing But The Bass was never intended for release but the overwhelming response to some sample tracks on his web site convinced him to go for it. "The Inner Game" reall showcases Steve's improvised solo playingwhich is full of melodic hooks that go deeper and deeper as the song progresses. "Virtue Of The Small" rings like an acoustic guitar piece dropped a few octaves. When the distorted guitar comes in you would hardly guess that this luscious guitar tone is actually Steve and his fretless bass. [actually it's a fretted bass! :o) – SL] His phraseing, the overtones, the harmonics all executed passionately and perfectly.
Did I mention that this is just one guy…live? Steve has something all his own, and with it a bright future as a solo bass performer and likely anything else he chooses along the way. Pick it up now so you can say you know of him from the beginning."
Review – And Nothing But The Bass (Bass Player Magazine)
"Compiled from various solo gigs, this CD boasts textures ranging from etheral to raucous, as Steve layers multiple loops and solos with the help of a Lexicon JamMan. The strictly live format allows an occasional wart, but there are many gems."
– Ed Friedland, January 2001
Review – And Nothing But The Bass (No Warning e-zine)
"And nothing but the bass! No, don't be afraid, you are not likely to get bored just because a single instrument takes the spotlight in this recording; in fact you will have the opportunity to discover a new world of sounds and colours conjured up by the intelligent use of the bass, which is perhaps too often written off as being unable to play an important role, except where it deals exclusively with rhythm. On the other hand, without going into the greats of the instrument in the fields of jazz and jazz rock, how can we forget the fundamental role played in rock by bassists such as Jack Bruce, Chris Squire, Mark King and Tony Levin? How can we ignore how many new horizons have been opened up by the courageous souls who have dared to abandon the "pedal" on the bass strings to venture in search of new possibilities on the high strings? What would Gentle Giant have been like with the bassist from AC/DC in the line-up? And the Clash with Stanley Clarke? But, without losing ourselves completely if "ifs" and "buts", you get the picture that Steve Lawson is a bassist who belongs to that group of musicians who consider the bass to be an instrument capable of breaking new ground in its own right. His approach has been praised by colleagues of the calibre of Michael Manring and Danny Thompson.
Steve Lawson began his career as a solo performer when a London dance company commissioned him to write music for a contemporary dance performance which was subsequently held in a car park in central London. He then took part in the National Music Shows in 1997, 1998 and 1999 at the Wembley Conference Centre and held various clinics on the use of effects, MIDI and real-time sampling.
His approach is based on the creation of superimposed layers, preferring melodic bass lines onto which he grafts solo phrases rather than focusing solely on soundscaping: this method is apparent right from the opening The Inner Game, where Steve plays and layers a couple of lines which form the basis for the whole piece, then solos over the top. In Drifting, on the other hand, a beautiful arpeggio serves as the foundation for tricks with volume and delay, harmonics and solos which display a remarkable sense of melody. It is notable that in pieces such as Virtue Of The Small and The New Country, the melodies take on a pronounced Mediterranean feel, which is a real surprise from a British musician. If you are a fan of Jetlag/Passpartù-era Premiata Forneria Marconi* you will certainly appreciate these marvellous solar episodes. In Chance, Steve buries himself in soundscaping of indescribable sweetness, keeping melody always to the fore. In Blue Sticks he reshapes the famous tune Blue Moon in his own style. And what can be said of the beautiful Bittersweet, a trio for two basses and piano…if in Virtue Of The Small and The New Country Steve is able to conjure the landscapes of the Tyrrhenian coast and the smell of Sicilian orange trees, with Bittersweet the mind turns to rainy London afternoons, with grey clouds hanging over elegant Victorian buildings. Only a musician with great talent and sensitivity can provoke such emotions, giving us these 52 minutes of pathos from solo bass and effects. The disc closes with the minimalist picture of Pillow Mountain, a soft blanket of fine layers which Steve Lawson enriches with a few tastefully played notes. Recorded live, mainly during a performance at the Troubadour in Earl's Court, London in December 1999, And Nothing But The Bass has already received favourable reviews from publications such as Global Bass Magazine, Cross Rhythms, Guitarist Magazine and Bass Frontiers. The album is available directly from the artist. To order it and to find news, images and free downloads, go to the website for Steve Lawson, and discover a musician about whom we will certainly be talking in the future."
The Inner Game / Drifting / The Virtue Of The Small / The New Country / Chance / Bluesticks / Bittersweet / Pillow Mountain


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← Can Sustainable Jobs Programs be Sustained?
Our natural systems are increasingly threatened by climate change, droughts, increasing population, and related crises. These coming crises will have massive economic impacts, and firms will soon need to learn how to operate in a setting where resources are constrained and old business models are no longer competitive.
Aleyn Smith-Gillespie (MCP/SM 2001), now an associate director at Carbon Trust, recently contributed to an Economist report on the future of business models in a constrained world. Aleyn notes that, for many products where the cost of ownership is high and the rate of utilization low, businesses have an opportunity to recognize resource constraints by shifting away from an ownership economy and towards a sharing or subscription-based one.
Many proactive businesses have already begun to move in this direction, by emphasizing shared ownership of under-utilized resources (like cars and industrial machinery) and advertising services over products.
As these new business models succeed and resource constraints continue to strangle the old economy, Aleyn expects this shift to become more pronounced. Read more about Aleyn's take on his guest blog at the Economist, or download the full Economist report, Supply on Demand.
Posted on February 11, 2014, in climate change, economy, international sustainability and tagged business adaption, business reform, climate change, economy, urban sustainability. Bookmark the permalink.	Leave a comment.


a random collection of bits from my some of my works in progress.
but I don't know when this joy will end."
Am I gonna slide away again?
I'm losing my mind again and again."
but what does tomorrow bring?
the depth of my pain."


Amazon Associate link builder not showing in gutenberg editor.
Gutenberg is still new and there are many plugins that are not still supported. The Amazon Associate Link Builder plugin from the Amazon's official Chanel also are not compatible with it.
They do not have an estimated date when they will update it or ever they will do it.
Solution: Right now you can install the classic editor plugin (https://wordpress.org/plugins/classic-editor/) and it will bring back the old editor panel with all the custom blocks you had, including the AAL search box.


Winnie Durham just wants to make an honest living selling magical items at her beloved store, Charmed, so she can afford to take care of her mother. But when Resolution 84 outlaws magic, Winnie must find a new way to make a living—and fast.
Caught between the law, her mother's escalating medical bills, and a vow to never deal in the dark magic of the Sable trade, Winnie is given an opportunity that's too good to refuse…and hurled into a world that puts her at odds with everything she thought she stood for.
Can Winnie stay ahead of the law long enough to discover the real reason magic was banned?


Elevated free radical production and/or insufficient antioxidative defense results in cellular oxidant stress responses. Sustained and/or intense oxidative insults can overcome cell defenses resulting in accumulated damage to macromolecules, leading to loss of cell function, membrane damage, and ultimately to cell death. Oxidative stress (OS) can result from conditions including excessive physical stress, exposure to environmental pollution and xenobiotics, and smoking. Oxidative stress, as a pathophysiological mechanism, has been linked to numerous pathologies, poisonings, and the ageing process. Reactive oxygen species and reactive nitrogen species, endogenously or exogenously produced, can readily attack all classes of macromolecules (proteins, DNA, unsaturated fatty acid). The disrupted oxidative-reductive milieu proceeds via lipid peroxidation, altered antioxidative enzyme activities and depletion of non-enzymatic endogenous antioxidants, several of which can de detected in the pre-symptomatic phase of many diseases. Therefore, they could represent markers of altered metabolic and physiological homeostasis. Accordingly, from the point of view of routine clinical-diagnostic practice, it would be valuable to routinely analyze OS status parameters to earlier recognize potential disease states and provide the basis for preventative advance treatment with appropriate medicines.
Đukić MM. Reaktivne hemijske vrste i oksidativni stres. U: Oksidativni stres - slobodni radikali, prooksidansi i antioksidansi. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 15-39.
Ćurčić Jovanović M, Đukić M. Azot(II)-oksid u neurotoksičnosti herbicida dipiridilske strukture. U Oksidativni stres - slobodni radikali, prooksidansi i antioksidansi. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 217-32.
Jelenković A, Jovanović DM, Bošković B. Azot oksid: sinteza, metabolizam i funkcija. U Oksidativni stres - slobodni radikali, prooksidansi i antioksidansi. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 41-65.
Wallace BK:. Fre Radical Toxicology. Publisher: Taylor & Francis 1997.
Halliwell B. Free radicals, antioxidants, and human diseases: Curiosity, cause, or consequence? Lancet 1994; 344: 721-4.
Đukić M, Jovanović M, Nedeljković M.: Production of superoxide anion in alcoholics treated with disulfiram. Journal of the Neurological sciences 1997; 150.
Đukić M. Prooksidativno delovanje ksenobiotika. U: Biohemijski markeri oksidativnog stresa u eksperimentalnoj i kliničkoj medicini. Urednici: Prof. dr. Vida Đorđević i prof. dr. Dušica Pavlović. Izdavač: Medicinski fakultet u Nišu 2006: 114-118.
Matović V, Đukić-Ćosić D. Proksidativno dejstvo metala. U: Oksidativni stres - slobodni radikali, prooksidansi i antioksidansi. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 183-99.
Đukić M, Miljković B, Tasić Lj, Dikić M. Lekovi sa prooksidativnim i antioksidativnim delovanjem. U: Oksidativni stres - slobodni radikali, prooksidansi i antioksidansi. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 163-81.
Simić MG. Antioxidant compounds: An overview. In:. Oxidative Damage and Repair. Chemical, Biological and Medical Aspects. Davies KJA. ed. Oxford: Pergamon Press 1991: 47-56.
Kehrer J, Lund L. Cellular reducing equivalents and oxidative stress. Free Radic Biol Med 1994; 17 (1): 65-75.
Jovanović D, Nagorni Lj, Popević S, Velinović M, Škodrić V. Oksidativni stres i bolesti pluća. U:. Oksidativni stres - kliničko dijagnostički značaj. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 147-74.
Todorović T, Dožić I. Uloga slobodnih radikala u patogenezi oralnih jedinjenja. U Oksidativni stres - kliničko dijagnostički značaj. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 175-85.
Savić S, Đukić M. Oksidativna oštećenja kože. U Oksidativni stres - kliničko dijagnostički značaj. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 187-95.
Đorđević BV, Cosić V, Vlahović P. Molekulski mehanizmi apoptoze. U: Oksidativni stres - kliničko dijagnostički značaj. Urednik. Mirjana Đukić. Izdavač: MONO I MANJANA, Beograd 2008; 49-62.
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Čolak E, Majkić-Singh N, Stanković S, Srećković-Dimitrijević V, Đorđević PB, Lalić K, Lalić N. Parameters of antioxidative defense in type 2 diabetic patients with cardiovascular complications. Ann Med 2005; 37: 613-20.


Hi! Sign in to let us know how Center Bowling Lanes was?
by GOPER at Citysearch Nov 10 .
Lanes are nice, place is clean but the day time employees seems to be not all that friendly which is why I gave them 3 stars. I really like the lanes!
Pros: Great Lanes, Great place for the family!
Cons: Day time employees seems to be not all that friendly.
If you've been to or used Center Bowling Lanes, leave a review.


Joanna, from New Zealand had extended tummy tuck and armlift with us in May 2017. Joanna had weight loss surgery done in New Zealand and she lost a lot of weight and ended up with loose and excess skin. She knew she needed to remove the excess skin around her tummy and arms and that was when she decided to come to Destination Beauty. Joanna enjoyed her recovery time whist in Bangkok and had a chance to discover around the city.


Love camel and blue…actually love camel with almost all colors! Would love to see some an "olive column"
Oh, blue and camel is becoming one of my summer favorites. I love this!
More wonderful stuff! I luv-luv that beautiful feline scarf; it's fascinating. These are gorgeous shades of blue; I especially love the turquoise loafers. Lots of great ideas here; a way for me to actually, maybe, pull off some camel/beige/browns. Thanks! I totally love this entire post.
Great sets! The blue is such a delightful shade.
Wow! many thanks for this. I love this scarf in the teal/green shade (number 04) but the blue is perfect for summer.
Thanks for this, I have just received my Tendress – bricque/orange/bleu for my birthday last month (about the time I discovered The Vivienne Files!) Have used your concept and created a 'travel capsule' for my trip to England next month. Currently working on my Hermès Madam Monsieur for my trip to Paris later in the year – in Black of course! Now if only I could get the hang of Project 333 I would be laughing.


text:
About the National Endowment for...|
Experts|
Scott D. Taylor
Professor in the School of Foreign Service (SFS) at Georgetown University
Scott Taylor is a Professor in the School of Foreign Service (SFS) at Georgetown University. In 2020, he was appointed Vice Dean for Diversity, Equity and Inclusion in SFS. He is the former Director of Georgetown's African Studies Program, which he led from 2007-2020. Prior to joining the faculty at Georgetown, he held the Gwendolen M. Carter Lectureship in African Politics at Smith College.
Taylor has written widely on governance, political and economic development, and political culture in Africa, including numerous articles and four books: Globalization and the Cultures of Business in Africa; Business & the State in Southern Africa; Politics in Southern Africa; and Culture & Customs of Zambia. He has resided in both Zambia and Zimbabwe, and traveled widely throughout the African continent. He has consulted extensively on issues of governance, elections and political economy for bilateral and multilateral development institutions, as well as for corporations and non-profit organizations, and for nearly a decade he served as an advisor to Freedom House for its annual Freedom in the World report. Taylor has observed elections in Ghana, Liberia, Mozambique, Nigeria and Zimbabwe, and served as senior political advisor for Carter Center election observation missions in Kenya in 2017, and Zambia in both 2001 and 2016. Prior to working in academia and African affairs, he was Assistant Treasurer in the Financial Institutions Division at the Bank of New York (now BNY-Mellon).
Dr. Taylor received his AB in Government and a Certificate in Environmental Studies from Dartmouth College, and his MA and Ph.D. in Political Science from Emory University. He is a member of the Council on Foreign Relations.
Elise Stefanik
Rich Verma

redpajama_set_name: RedPajamaCommonCrawl


text:
The impact of the crisis on the Orthodox Church of Greece: a moment of challenge and opportunity?
Author: Molokotos-Liederman
This article explores the impact of the economic crisis on the Orthodox Church of Greece (OCG). The first three parts of the article set the current stage by offering a short overview of the crisis and the response of the OCG through its charitable social welfare activities. The fourth part looks at church–state relations in Greece, covering more particularly its financial aspects. The fifth and final part discusses how the economic crisis has affected the OCG itself, including its own finances and governance, and sustainability and mission in the long term. Although the OCG provides social assistance to the Greek population during the economic crisis, it also finds itself very much affected by the same crisis. The economic crisis has forced the OCG to reduce its operating costs while at the same time continue its extensive social work. The crisis has also prompted public debates and questions about the finances of the OCG. This situation may gradually force either the Greek state or the OCG, or perhaps both, to rethink their relationship in the future.
Keywords: Greece; Orthodox Church; church–state relations; economic crisis; financial aspects; governance; social welfare
Affiliations: Religion and Society Research Centre (CRS), Uppsala University, Uppsala, Sweden


The Mana Recovery Trust had a helping hand from Transpower's CommunityCare Fund with a $29,000 grant for a baler.
Mountain bike users at the Craters of the Moon in the Wairakei Forest, near Taupo, are pleased with the installation of new public toilets thanks to funding from the Transpower CommunityCare Fund.
Transpower is currently upgrading its communication system that underpins the operation of the National Grid.
The West Coast Wilderness Trail recently received a $30,000 boost from the Transpower CommunityCare Fund.
Paraparaumu School recently completed their new senior playground thanks to the help of a $20,000 grant from the Transpower CommunityCare Fund.
Transpower has awarded a CommunityCare Fund grant to 23 community organisations across New Zealand, totalling $422,803 in funding.
The Oruanui Pony Club celebrated a new jump in their show ring circuit thanks to a grant from the CommunityCare Fund.
Transpower announced today that it had launched a new community programme aimed at assisting community-led environmental projects in partnership with communities that host transmission assets.
Waitaki Valley Preschool has opened new premises after a five year long effort to develop the facilities.