Ray Russell has spent decades developing a guitar sound that is unmistakably his own. On Dangerous Bends, his latest album for Cuneiform Records, the British guitar hero continues to push that sound into adventurous territory, combining sophisticated composition, improvisation and the chemistry of a seasoned U.K. studio ensemble.
Russell’s playing can soar with the melodic intensity of David Gilmour, twist with the nuanced filigree of Jeff Beck and move with the angular fluidity associated with Allan Holdsworth. But these comparisons only hint at what makes Russell distinctive. As he puts it, “I believe in the sonic signature. Gil Evans used to say, ‘Everyone has a cry. Without it, only notes come out of the instrument.’”
That distinctive voice has been heard in some remarkable places. As a young guitarist, Russell played on vintage James Bond soundtracks while a member of the John Barry Seven, contributing to seven films featuring Sean Connery and Roger Moore. His career in film and television has continued throughout the decades, including an appearance on the soundtrack to Anchorman. His work has earned recognition from organizations including BAFTA, the Royal Television Society, ASCAP, OFTA and others.
His studio résumé is equally extraordinary. Russell has worked with Tina Turner, Heaven 17, George Harrison, Phil Collins, Cat Stevens, Robert Plant, Art Garfunkel and David Bowie, among many other major artists. Yet alongside this prolific career as a first-call studio musician, Russell has consistently pursued a more experimental path under his own name.
That adventurous side has earned the admiration of influential figures in experimental music, including Jim O’Rourke, who has championed Russell’s work and helped oversee archival releases. Dangerous Bends continues that evolution, putting Russell’s ever-changing Stratocaster sound at the center of a record that is both muscular and remarkably fluid.
The album is Russell’s fourth release as bandleader, composer and guitarist for Cuneiform, following Fluid Architecture (2020), Goodbye Svengali—his 2006 tribute to Gil Evans—and the label’s 2021 reissue of his 1972 album Secret Asylum. Cuneiform has also released Russell’s collaborative projects Stacked, a live improvisation with drummer Eddie Prévost and guitarist Nathan Moore, and Celestial Squid, his avant-improv collaboration with guitarist Henry Kaiser and a band. Russell also appears on Cuneiform’s archival Nucleus release Live in Bremen, recorded in 1972.
For Dangerous Bends, Russell wanted to capture the energy of a quintet playing largely live in the studio. He shared the melodic frontline with saxophonist Tim Whitehead, while bassist Laurence Cottle, keyboardist Jim Watson and drummer Ian Palmer formed a rhythm section capable of responding instinctively to his compositions. Russell describes their chemistry as “a telepathic thing—they know where you’re going when you start.”
That sense of communication gives the album its sleek, agile character. Russell composed with the live personality of the musicians in mind, often writing quickly in order to preserve the feeling of the ensemble. His approach was informed by his experiences with Gil Evans, particularly Evans’ ability to maintain the memory and shape of a composition even while allowing musicians considerable freedom during their solos.
That philosophy is evident on “From Here to Dexterity,” where Russell and Watson’s electric piano and ARP Odyssey interact with guest trumpeter and flugelhorn player Johnny Thirkell. The track constantly blurs the boundary between composition and improvisation, with the musicians moving naturally through its shifting musical landscape.
Melody takes center stage on “Airscapes,” a ballad built around Russell’s mournful, reverb-soaked guitar. The sound evokes the spare emotional quality of Steve Cropper, an influence Russell connected with through his early R&B work and memories of the classic Blues Brothers era.
Longtime collaborator Simon Phillips adds another dimension to the album. Best known for his work with artists including Toto, The Who and Joe Satriani, Phillips has maintained a creative partnership with Russell for decades. The pair co-wrote two tracks on Dangerous Bends.
They open the album together with “Just For Clicks,” a moody, shifting composition featuring Phillips on drums. His hard-driving groove provides a powerful foundation for Russell’s sinewy guitar lines, allowing the guitarist to stretch melodically while remaining firmly connected to the harmonic structure.
Phillips and Russell also co-wrote the title track, with George Baldwin on bass. Beginning as a hard-rocking, highly motivated workout, “Dangerous Bends” develops into something far more expansive, with large melodic intervals, angular chord changes and sweeping synthesizer textures. Russell responds with fiery guitar passages that demonstrate both his technical command and his extraordinary ability to use tone as an expressive tool.
Producer Greg Walsh, another longtime Russell collaborator from his work on Tina Turner’s “Let’s Stay Together,” completes the team behind the album.
With Dangerous Bends, Russell demonstrates that there is still plenty of unexplored territory in the career of a musician who has already done almost everything. His extensive studio history may have made him a veteran of the U.K. music scene, but the album sounds anything but retrospective. Instead, Russell remains focused on where the guitar can go next, surrounded by musicians who understand exactly how to help him get there.
As Jim O’Rourke observes, Russell plays “as if the guitar is not enough,” reaching beyond the conventional boundaries of the six-string instrument. On Dangerous Bends, that restless spirit remains very much alive.
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