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Magick Brother Mystic Sister

This is the latest in a line of spectacularly good albums to seemingly appear from nowhere and sit completely at ease on this blog. Earlier this year it was the somewhat more earnest, Egg-influenced Zopp, last year the startling Brazilian prog prodigies Stratus Luna, prior to that the dreamy psychedelic landscapes of Magic Bus.

Magick Brother Mystic Sister, of course, owe their name to a Gong album, that somewhat folky debut adventure before the band so magnificently morphed into punky discordancy with  ‘Camembert Electrique’. And in fact the band’s two main members Eva Muntada (keyboards/vocals) and Xavi Sandoval (bass/guitar) recall an inspirational meeting with Daevid Allen in 2000 on the first of their two trips to Canterbury Festival where they saw Gong, Caravan and Arthur Brown (the second time they saw Kevin Ayers). Daevid told us, “you come from Barcelona to listen to this music, you are crazy but we love crazy people, we are all crazy” It was a pilgrimage of sorts, as Eva puts it  “a great opportunity to see these great masters and learn a little”.

They kept in touch with Daevid and a few years later were responsible for unearthing the extraordinary Gong video shot in 1973 at the Santa Maria de Montserrat monastery, up in the mountains above their native Barcelona. The story of this might well be the feature of a future Facelift feature, as Eva has given me access to the emails between her and Daevid which led to the release of this on DVD. It’s a lovely story.

Yet the band they bear most resemblance to is probably Caravan circa ‘If I Could Do It All Over Again’, courtesy of a deliciously dated Sixties vibe, flute solos to die for and bossanova-flecked rhythms. The band is completed by another couple who joined in 2013, Maya Fernandez and Marc Tena (drums). Eva told me “Maya (came to us) with  flutes on Xavi’s original project of putting music to the Tarot (Fungus Mungus) and she brought her partner Marc, an old friend music producer and jazz lover. We loved doing versions of Soft Machine, Skin Alley and Jethro Tull in concert,  and really enjoyed making improvisations with them. Playing in a group opened up new possibilities and this album is part of the result.”

Marc Tena, Maya Fernandez

The first two tracks on the album were also the two pieces pre-released, which alerted me initially to quite how evocatively good this band is. The music (and video) for ‘Utopia’ sets the band’s stall out: a track which has in its foundations a bassline evocative of Soft Machine’s ‘Slightly All The Time’ floats away dreamily, picks up tempo before finally winding down once more with glissando guitar.

Waveforms’ is much more funky, going through the entire gamut of sixties clichés: spooked out organ, congas, wildly cavorting flute, wah-wah, sensual female vocals, woodwind a la Ayers’ ‘Joy of a Toy’ – this is a kind of anachronistic bliss….

After two such glorious tracks, the worry was that this release might have been frontloaded to contain the album’s highlights. Even if that’s the case the music continues to deliver. ‘Arroyo del Buho’ is simply fabulous: grandiose, with a classical piano intro moving on to eastern inflections, owl hoots, then virtuoso flute playing which is soaring, fluttering and magnificent. ‘Echoes from the Clouds’ could well be the album’s zenith – from a serene Canterburyesque chiming keyboard motif a buckling fuzz bass emerges muddily before disappearing behind another of those jaunty rhythms, with lovely harmonized vocals. Again the flute is to the fore, with a very Dave Sinclairesque trait restating the main theme before meandering off into carefully manicured solos.

The Magick Lodge!

‘Movement 2’ features mellotron and outraged flute squawks before settling on an Electric Orange-type groove with congas to boot. Elsewhere other familiar sounds from the late Sixties predominate: the Wurlitzer sounds at the start of ‘Love Scene’ eventually stretch out into a delicious Arthur Brown-like bluesy ramble, whilst ‘The First Light’ chooses Floydish serenading and wobbled vocals. Elsewhere the music drives on, with cheesed out swirls of Hammond organ, plunked bass lines and a lovely languid feel throughout. The penultimate track ‘Instructions for Judgement Visions’ sees the band really start to extend and give a flavour of what an extended live jam might sound like.

Whilst this is clearly an extremely tight band (Eva told me that “normally we play bass, drums, keyboards and flute (together) and add the guitars at the recording”) the stars are undoubtedly the two female members: with Muntada’s versatile and beautifully weighted range of keyboards, and a succession of glorious flute performances from Maya Fernandez which are probably the most inspiring I’ve heard this side of Jimmy Hastings. “We recorded it at home. We live near the Park Güell in Barcelona where we have a cabin with a recording homestudio. From our study we can see the amusement park and the Tibidabo mountain (The magic mountain of Barcelona). It’s a very inspiring sight.

“Although we work on playing the songs live, for the moment we are a studio group. In Barcelona you must pay to play which complicates things a lot.  So far we have been a totally underground group. We live in our own world and we believe that the time has come to share it, after all, art is about this. We make music for the utopian lifestyle that we would like to live.

Eva Muntada, Xavi Sandoval

“After Covid 19 we would like to play live, as soon as the gates are open! “

All hail to that!

Magick Brother Mystic Sister is out on June 12 on John Colby Sect Records in Spain, and Sound Effects Records everywhere else

https://magicbrothermysticsister.bandcamp.com/releases

https://www.facebook.com/magickbrother_mysticsister-1293033870845224/

https://www.soundeffect-records.gr/magick-brother-mystic-sister

https://thejohncolbysect.bandcamp.com/community

An interview with Harry Williamson

Harry Williamson with Gilli Smyth, Robot Woman Box Set

Harry Williamson is actually the first person I’ve interviewed twice. When I first met him, almost thirty years ago, in a tiny changing room above the Duchess of York pub in Leeds, I was primarily there to talk to his then partner, Gilli Smyth, at the end of a 4 day stint following their band Mother Gong around the North West. Interviewing a band on tour is probably not the most ideal way of going about factfinding – you either catch them prior to a gig, when nerves are aplenty and musicians are beholden to soundchecks and waiting for their food to arrive; or else in this case, it’s post-gig, with adrenaline pumping and clearly the last time would want to answer questions on the minutae of something that might have happened 20 years before!.

And so take two is very much a different experience. Over a video link to Melbourne, Australia, Harry Williamson is relaxed, charming and open-minded about our chat to delve into his memories of working with Hugh Hopper, a lesser-known but rather interesting chapter from Hugh’s life from as far back as 1981 when he popped by for a few days to Devon and ended up contributing to no less than 4 albums! Some of the finer details of Harry’s experiences of working with Hugh will appear in the forthcoming Hugh Hopper biography ‘Dedicated To You But You Weren’t Listening’, but we covered other ground too, which is what you’ll mainly find below. A useful starting point is reading the extensive liner notes in the 64 page album which accompanies the Mother Gong ‘Robot Woman’ boxset, which paints a picture of an idyllic setup in Ox’s Cross, Devon where Harry and Gilli accommodated many musicians whilst self-sustaining and producing copious amounts of music, some released officially, some on the GAS tape network, and some seemingly lost forever.

Harry takes up the story about the home studio and the community which revolved around it. “There’s a black and white photograph (in the box set) where it says Home for Owls and Home for Musicians – it was an A shaped building, an A frame studio. I don’t have any photographs of it from inside, unfortunately, but it had beautiful acoustics because it was all wood at angles, and books.

Ox’s Cross Studio, published Robot Woman Box Set

“We were super creative – we were doing 5 albums or so at the same time. Didier and Yan (Emeric) had come over to do Glastonbury in 1981 (with Mother Gong), essentially and part of the deal was ‘if we come over, can we do an album?’

“’Yes we can do an album. How long have we got?’

“‘Three weeks, oh that should be plenty!’ Forgetting of course that they had to learn the main album (‘Robot Woman 1’) and perform it in front of 70000 people! And then another album – Guy’s album (‘The Long Hello Volume 4’).

“‘Can we do some of that at the same time?’ ‘Sure, why not? And actually, how many albums are we doing?’

“I wouldn’t do that now – it’s too many. But, carpe diem, I was seizing the moment, because here everyone was, they were into it, it was fun and why wouldn’t you? But now I would be a bit more circumspect and have more discussions.”

The Guy in question was of course Guy Evans, drummer with Van der Graaf Generator, although by that time VdGG had disbanded, seemingly for good. The Long Hello project was a set of 4 albums based around the music of the constituent members of Van der Graaf Generator (excluding Peter Hammill) and had run since the band’s fallow period in the early Seventies. “Guy lived with us in Devon for a few years and he was on everything. We were just a musical community really. The saxophone player, David Jackson, he had this triple octave box and when he played a low saxophone you could hear the individual beats, a really huge sound. I liked him, they were a funny lot, really nice.”

The album that Didier and Yan Emeric had suggested, did come about, although it was never released other than as a GAS tape. This was ‘Melodic Destiny’ the lost Didier album. “One of the tracks we did on Melodic Destiny was ‘Bloomdido’, (Charlie Parker’s standard) which is quite ironic really. It’s a very funny track, it’s a scat track, it’s very well done actually, which makes it disappointing really (that the album never came out).

“I had no idea that (Melodic Destiny) had sunk without a trace and was one of those missing albums, and was missing at sea. I just gave them the masters and said goodbye to it. I just kept a seven and a half inch copy. I loved that album. I was very fond of it. I thought it was very cheeky, there were so many jazz references in an ‘out there’ way, but simple. Not overdone but well played. I was disappointed that the record company at the time thought it was a ‘good demo’. Yes, sure, but I think it was more than a demo. But that was their choice but our loss.

“There was one amazing thing I did with Shyamal and Didier which was where Shyamal does a 64 beat rhythm cycle – a long sentence of accents as you can imagine. It’s kind of like trying to recite an entire 8 verse poem as a rhythm exercise and trying to repeat that. So he did this amazing bit of tabla playing and Didier had a piece of music to go with it, and they said do you want to play along, and by the way can you engineer please? So I was doing all that and I was playing pads, but not much actually because I was quite blown away by what they were doing. We were very naughty and we started about 1 or 2am and right at the end of it at 4:30am Shyamal had just finished his final overdub and I was playing back the tracks, and he went out to get a cup of tea. Didier had gone to bed, and I was tidying up and doing a rough mix or something, and I heard this singing. And I was very sure there was no one else around.    I looked down through the double glass into the drum room, and couldn’t see anyone. But there was singing going on so I found a couple of tracks and recorded it and finished. What had happened was that a blackbird had woken up and heard this high frequency sound in the headphones and come into the booth and started singing back to the harmonics it was hearing in the music. And it was beautiful, it was amazing and so unlikely, I mean when does that happen? And I managed to record it! So I’ve got a blackbird finishing off the recording!”

The highlight of ‘Melodic Destiny’, was the track ‘Evidance’, which has recently resurfaced on the Robot Woman box set. “That strange track, Evidance, is also typically Bloom – ‘Heavy Dance’, like dancing in the mud. It’s also a reference to when we went to Norway to play at the midnight sun festival at Trondheim, with Jean Philippe Rykiel, Didier and Gilli and myself and the drummer from Henry Cow – Chris Cutler, and this was an unusual band, with Dayne playing bass. There was a hiliarious ‘petite histoire’ for this particular gig which, on second thoughts, I have decided not to include in this piece to protect the ‘innocent’. Chris Cutler has no memories of said incident although in a recent email he did concede ‘I remember I scratched my cornea and had to (be) an outpatient…’

I put it to Harry that the immense period of activity had its parallels to his work at the end of the Eighties, around the same time that Daevid Allen returned to the UK, resurrected the Gong project and was involved in other parallel solo projects which also involved Harry.

Harry Williamson, Gilli Smyth, Daevid Allen from Robot Woman Box Set

“You have me cornered sir! What was the common element of those two projects? Could it be me? You’re right about the Foel sessions – as you said we had Gong Maison, Wild Child, Australia Aquaria all at the same time and the tour – there were two tours actually, the Gong Maison tour and the Mother Gong tour. I suppose the thing was that we were there and we were only there for a short time and we had the opportunity to do these things.”

One highlight of the whole batch of recordings was the seminal Mother Gong album ‘Wild Child’. “So, Gilli had come back after her mother had died – she died when Gilli arrived in the UK from Australia, so Gilli went straight to the funeral. When she came to the studio she was obviously visibly moved and very emotionally overwrought, and she put that energy, sadness, anger, compassion and insight, all these mixtures of intense female energy into those tracks. And it was great she had somewhere to put it, it could be very destructive to try and keep that inside you if you don’t express it.  I think that’s one of the reasons that album is quite a powerful album – it says a lot of truth in all sorts of ways, and it is her story of who she is, the Wild Child. But that’s an aside for another day….”

And so finally a sneak preview of what we talked about in relation to Hugh Hopper.  That brief stay in Devon yielded contributions not just to ‘Robot Woman 1’ and ‘Melodic Destiny’ but also Harry’s ‘Battle of the Birds’ album with Anthony Phillips and a Mother Gong GAS tape ‘WFM’ (or ‘Words Fail Me’) with instrument inventor Dave Sawyer.

“Hugh’s manifestation of his intentions was powerful. When he played a note, he always seemed to me to be doing so with a lot of meaning. I think I probably felt a bit overawed by him actually! Even though he wasn’t necessarily doing that much. He certainly wasn’t taking control or being a prima donna or playing everywhere. He was very easy to work with and understood tuning very precisely. There were little conversations about how we were going to do this. And he was saying, shall I follow the voices because they are slightly out (of tune) and I was aware of that so we were able to make decisions on the spot that were very sophisticated, so, great ear…. So I had Didier who was the soloist and I had Gilli who was soloing in her own orb and in her own world of sound which is amazing, and you have to be careful with that voice so you don’t swamp it or else you lose the subtlety.

“And then I had Guy – great drummer and very creative percussionist, Dayne, great bass player, very melodic and very funky – they were a great rhythm section together and I was thinking how can I afford to have someone like Hugh, because he was like, too big! – there’s not enough space for him! He was a force of nature – such a presence and great sense of humour too. He didn’t have to prove anything, because when you’re younger you want to try and prove stuff. I think what happens is that when you get older you play fewer notes and hopefully they mean more!”

All of which I think is a lovely personal and musical commendation to start my exploration of Hugh’s interactions with others. Many many thanks to Harry for being such a willing interviewee and passing on so many lovely stories.

The Strawberry Bricks Guide to Progressive Rock (3rd edition) – Charles Snider

Apparently the term Strawberry Bricks, which gives its name to this 572 page publication, is derived from a quote from Yes vocalist Jon Anderson when asked to describe symphonic rock. Had this not been specified in the introduction I might have guessed that the term referred to the combination of a colourful cover and the fact that this project is of such physical substance it could well be large enough to repel any lingering prog deniers. This is indeed a major project.

The central format of the book is to take each year from 1967 to 1981 and examine seminal LPs from each in a page or so’s depth each time, starting with the Beatles’ ‘Sgt Pepper’ and cleverly ending with Asia’s eponymous album as the sole entry for the latter year, presumably because that project’s barren combination of four key prog players (Wetton, Howe, Palmer, Downes) appeared to herald the point of no return for the genre.

What really works with this book is Snider’s consistently succinct style. Few words are wasted. In a few short paragraphs per entry he manages to provide historical context of the musicians involved, describe tracks, and critically evaluate the music before summarising later projects (if subsequent albums are not to be discussed). There’s a wry familiarity with all the subject matter covered which emphasises what is clearly a deep love for the music covered. The focus is primarily but not exclusively British, with European and in particular German bands getting a good look in. Albums are selected largely on merit or impact and although the key bands (Yes, King Crimson, Genesis, Pink Floyd, ELP, Jethro Tull –  ‘The Big Six’ as Sniding calls them) are comprehensively covered in terms of output, they far from dominate – the commercial success of a particular band or album does not translate to excessive column inches over another.

Suffice it to say that Canterbury bands are particularly well represented, which will come as no surprise to those of who will recognise the author’s name from various Canterbury Facebook groups.  Soft Machine, Caravan, Gong, Hatfield and the North and National Health get a comprehensive going over, but you’ll also find Egg, Khan, Steve Hillage, Robert Wyatt, Kevin Ayers, Didier Malherbe, Delivery and further afield to links with Henry Cow, Clearlight, Nucleus, Mike Oldfield, Isotope, Quiet Sun….. Few stones are left unturned and in that regards must be one of the first instances in printed form of a critical Canterbury discography of sorts.

The book is topped and tailed with some interesting additional features: a partly sociological analysis of the music which led to the launch of the progressive genre; a justification of the timeline used; an examination of the reasons for its demise, which interestingly enough absolves punk from blame in a somewhat enlightened outlook; and beyond that into examinations of successive new waves of prog. There are even a smattering of lists which are a nice diversion and will further give you an indication of the author’s own preferences. Whilst this impressive tome is ultimately a reference book, with comprehensive evaluations of 510 albums, no less, it’s also a portal into further exploration: whether revisiting those albums within its ranks that you had forgotten about, following new links within from familiar names, or opening up a whole new set of albums to explore. Or simply just to pat yourself on the back that you’d got it so right in the first place…

Read more and get your copy at https://strawberrybricks.com/the-book

Him Through Me – Pamela Windo

Making Love and Music in the Sixties and Seventies – a memoir

Firstly this is not a new book, it’s been something I’ve been meaning to purchase, read and review for quite some time. A research project I’m working on (big news soon!) hurried that purchase up a bit – it arrived on Saturday, I read it yesterday and it so inspired me that your review is here today! ‘Him Through Me’ was published in 2014 and was in preparation for a considerable time longer, apparently with several false starts. Pam Windo was the wife of saxophonist Gary Windo for 15 years from the late Sixties, was herself a musician (she appeared on various posthumous Gary Windo releases that were recorded in the Seventies, as well as being the leader of her own band at the turn of the Eighties) and is a novelist and poet. This book serves in part as a biography of both herself and Gary Windo, and after the heavyweight dissection of detail evident in the last two biographies of Henry Cow and Allan Holdsworth that we’ve reviewed on the Facelift blog, this is refreshingly narrative-based, a warts and all story of a love affair that navigated its way through musical and cultural events that most readers of this blog will be familiar with from both a narrow musical and much wider context.

I remember publishing a tiny tribute to Gary Windo in Facelift issue 9 after he died tragically early at the age of 50 in 1992 – at that point he was mainly familiar to me through three titanic and utterly unique solos performed at the extremes of the ‘Canterbury’ spectrum, Hugh Hopper’s funky ‘Minipax 1’, a moment of relative accessibility (Windo’s astonishing atonal solo excepted) from ‘1984’; his talkative, percussive interjections on ‘Alifib’ from Robert Wyatt’s ‘Rock Bottom’ and his joyous elongated outro to New York Gong’s ‘Jungle Windo(w)’. I’d also heard his contributions more in the background with Carla Bley’s band from 1977, and Centipede, and but it was during research for the Robert Wyatt biography ‘Wrong Movements’ that author Mike King unearthed considerably more artefacts from the Windo lexicon which ended up comprising the retrospective ‘His Master’s Bones’, and educating me and others as to his wider legacy.

Gary Windo

Not that that particular timeline is at all the point of this biography. Instead it portrays the colourful and compelling story of how Pam and Gary Windo started their lives in parallel a few streets apart in Brighton, had school and family connections at an early age, sowed their oats in different ways at the end of the Fifties, he with a conviction for heroin offences in America, she with a bohemian episode in Tunisia. Both had been married, her now a single mother with two young children, when Gary arrived back on the scene, having honed his saxophone skills in prison, playing there alongside former bandmates of Charlies Parker and Mingus, and now looking to break into the British jazz scene. The portrait within the book is of a larger than life man, off-the-wall, energetic, positive, hard-working and loveable, and no punches are held in the honesty in portraying quite how tough their lives were at the start of the Seventies, having escaped the love and support of their respective parents to live in London, bringing up two small children, whilst barely having a pot to piss in. There are stories of their lodgers (the first was Robert Wyatt, in the process of extracting himself from the Soft Machine, another was Nick Evans); Gary’s gradual acceptance on to the London jazz scene (although pecuniary reward was a long time in coming); Pam’s own travails as a pianist learning her trade (self taught with Gary’s encouragement); and accounts of being ripped off  during various overseas episodes during stints as house bands for more mainstream artists which had gone awry. Familiar names appear everywhere: Hugh Hopper, who became a friend of the Windos, that ongoing connection to Robert Wyatt; Nick Mason’s support; Marc Charig, Elton Dean, musicians like Richard Brunton and Frank Roberts who would appear on ‘Hoppertunity Box’; and later the likes of Daevid Allen and Fred Frith, alongside many more famous mainstream names.

Pam Windo

The writing style is disarming: honest, human and totally drawing the reader into the realities of Seventies bohemia: the hippy ideologies, which eventually for Pam was augmented by feminism; the revolving door which saw musicians come and go into the Windo house open enough to accommodate all-comers; and eventually the descent (if that’s the right word) into the lifestyle alluded to in the titillating subtitle of the book, the irony being that for all Windo’s earlier exposure to hard drugs, their parallel dabbling in dope, hallucinogenics and free love was something which appeared to only manifest itself in the mid Seventies when they were both in their early thirties. Then on to the saxophonist’s open embracement of the punk era, followed by their emigration to the States. The conclusion to the book, where Pam finds her own musical voice and exposure with her punk band Pam Windo and the Shades, whilst simultaneously watching her marriage disintegrate and Gary’s demons resurface, is often harrowing but portrayed without judgement or recrimination.

This is not particularly a book for the nitpicking Canterbury purist, it is instead a compelling read which I raced through in less than 24 hours – its real framework is the ultimately tragic story of two interlinked individuals set against wider larger cultural references such as the moon landings, the deaths of the three J’s (Morrison, Joplin and Hendrix), the exit from Vietnam, the Silver Jubilee and the punk phenomenon, whilst quotes are pulled from various wider literary contexts to embellish the points made. Ultimately this is a riveting, refreshingly personal read, with so much to commend it. And an essential addition to your bookshelf.

Visit the author’s website at http://www.pamelawindo.com/

Kavus Torabi – Hip to the Jag

When I met Kavus Torabi at the Deaf Institute in Manchester just before Christmas, it was the fifth time I’d seen him perform in a matter of months, firstly with Gong, then with Steve Hillage, then with both, and latterly twice with The Utopia Strong, his experimental trio with Steve Davis and Mike York. He was buzzing after an amazingly productive year, and when I suggested that he must be knackered, he quickly rejoindered with ‘Well, I’ve always wanted to be this busy’, marvelling at the breakneck speed of it all.

2020 was set to be (and may still be) just as productive. More gigs at the start in Ireland; a limited edition release of some new and particularly wigged out performances by The Utopia Strong; the release of this, his first complete solo album; further Steve Hillage Band and Gong tours (this time separate); and the promise of progress on a new Gong album, the third since Daevid Allen passed on the mantle entirely to Kavus and co before his death.

The new world order has already cancelled an exciting trip to South America, and Steve Hillage Band gigs in the early summer have followed suit. In the midst of it all, however, that promised solo album has materialised right on cue, in fact, somewhat ahead of schedule. It was preceded by a quite wonderful solo concert on Facebook Live which, I suspect will remain one of my pervading memories of the no-gig lockdown. From Kavus’ front room, with daughter Sima in tow on violin, this was a wonderfully intimate hour or so with guitar, voice and harmonium, and despite enjoying Kavus’ previous EP Solar Divination (reviewed here), this was the moment I truly ‘got’ him as a solo performer.

‘Hip to the Jag’ sets out Kavus’ stall fully as a solo artist: a diverse yet cohesive mix of gentle songs, invocations and genuinely inspiring moments, but always with a hint of something otherworldly, not entirely comfortable, just around the corner. The only previous time I’ve heard the harmonium played live was with Daevid Allen’s erstwhile partner Wandana Bruce (and prior to that on record in a somewhat different context with Ivor Cutler) , but on ‘Hip To The Jag’ it is used with intent, from its backing of the droned-out, chugging guitar of the opener ‘Chart The Way’, to the discordant ‘Radio To Their World’, (reprised from the EP), which bends the harmonium in all sorts of inappropriate directions.

Amongst the other early tracks ‘A Body of Work’ is a lovely piece akin to Soft Machine’s out-of-kilter ‘Dedicated To You But You Weren’t Listening’. Acoustic guitar and vocals follow each other in a delightful, obtuse melody to create the album’s first peak point. ‘The Peacock Throne’ in contrast is almost atonal, a sweep of sound akin to an orchestra of harmoniums tuning up, the flickering reverb sounds slowly engulfing the listener.

The centrepiece of the album consists of two beautiful pieces, both of which were aired during the broadcast. First up the simply stunning ‘You Broke My Fall’ – based around a simple two chord harmonium backdrop, which adds guitar, glissando, before opening out into a triumphant, uplifting progression of the main theme. ‘Cemetery of Light’ is similarly evocative but again so simple in its basic accompaniment, three rising and falling guitar chords. Even though Kavus turns in probably his only guitar solo of the album to conclude the piece, a brief, subtle turn, this relatively gentle fayre is the paradox of Kavus Torabi as a musician – the fiendishly complex Gong compositions (‘The Unspeakable Stands Revealed’ for example) , the guitar heroics of ‘Rejoice!’ and the wild man persona of live Gong performances are temporarily put aside for this most spiritual of projects. Even where there are hints of the song writing talents which helped produce ‘The Elemental’ or ‘Through Restless Seas’, they are subsumed into a gentler manifestation, the otherworldly ‘My Cold Rebirth’ being a case in point. ‘Where The Eyeless Walk’ recalls a little the folky hypnotism of Glastonbury bard Tim Hawthorn, before it is into the concluder ‘Slow Movements’, eerie and meditative and the longest piece aired, which closes out the album in something of a reverie.

I’ve heard some social media comments that ‘Hip To The Jag’, could be Kavus’ ‘Now Is The Happiest Time of Your Life’ moment, echoing a project where Daevid Allen’s showmanship was fully stripped away to reveal a more contemplative alter ego. That’s something of a high bar to aim for, but what’s for sure, the combination of this fine album and its associated performance on that Facebook feed have got me looking out for a solo Kavus set somewhere – whenever that may be…

Buy Hip To The Jag at https://kavustorabi.bandcamp.com/album/hip-to-the-jag

Paz with the Singing Bowls of Tibet featuring Allan Holdsworth – Live in London ’81: The Ron Mathewson Tapes Vol 2

This Jazz in Britain release with its rather expansive title has rather snuck below the radar in amongst the Allan Holdsworth biography ‘Devil Take the Hindmost’ and the release of the associated album ‘Warleigh Manor’. But you’d do well not to ignore this brief live performance, currently available as a free download.

This was rescued, as was ‘Warleigh Manor’ from the Ron Mathewson archive, and whilst it shares with it key personnel including Holdsworth, Ray Warleigh and Mathewson, this particular set of pieces could scarcely be more different. Beautifully constructed and evocative, this is reflective, melodic, somewhat transportative music. Other contributors are Geoff Castle on keyboards, with Dick Crouch credited as composer and Alain Presencer on the aforementioned singing bowls. Paz were always one of those names at the back of my subconscious – I knew they had musicians who crossed over into spheres I was familiar with: Dave Sheen (Soft Heap), Castle (Nucleus), Phil Lee (Gilgamesh), Henry Thomas (John Etheridge Band) but I had never heard any of their material. Not that this live performance is in any way representative of the music of a band that existed as a London collective for around a decade or more, purveying music more akin to Latin jazz funk fusion than anything heard here.

Prefaced by the sound of a singing bowl which gives the outfit its extended name, and a piano motif which recalls a little the backdrop to the Soft Machine’s ‘Tales of Taliesin’ the opener ‘Dream Sequence’ is a rather beautiful piece, notable for some very understated Holdsworth etchings but also yet more fabulous flute recalling Jimmy Hastings’ wonderful solo on National Health’s ‘Toad of Toad Hall’. ‘And They Speak For Themselves’ is the only remotely ‘free’ piece here – with bass grumblings and keyboards recalling some of the electronics on the Hopper/Dean/Tippett/Gallivan albums.

‘Kandeen Love Song’ is interesting as representing a bridge between the old and new for Allan Holdsworth – its swooning guitarscapes conjures up many of the sounds one would associate from his 80s solo albums onwards, countered by Castle’s gentle keyboard explorations. Shades of some of the pastiches later produced by Holdsworth’s protégé Jakko Jakszyk here.

Final track is another mellow ballad, dominated by acoustic piano and more wonderful performances from the flute of Warleigh, a glorious pastoral sound underpinned by warm bass. It is presumably the breaks in the transmission of this track, as well as the shortness of performance (only 25 minutes in total) which means that this artefact hasn’t been turned into an official, paid for release. Which presumably also means that unless more complete copies are found elsewhere, this will remain an unheralded, delightful little curio.

https://jazzinbritain1.bandcamp.com/album/live-in-london-81-the-ron-mathewson-tapes-vol-2

Devil Take The Hindmost – an Allan Holdsworth biography

Devil Take The Hindmost – The Otherworldy Music of Allan Holdsworth – Ed Chang – Jazz in Britain412 pages

with John Taylor – photo: Uli Rohde

It’s perhaps surprising that until now there hasn’t been an Allan Holdsworth biography: for many guitarists (and fans of guitarists) he simply is ‘it’, a phenomenally gifted and idiosyncratic player whose abilities, temperament and ideas took the guitar to places never before seen. Ed Chang’s comprehensive account of his work is a 400 page+ epic which follows an unusual format, but leaves few stones unturned in its seeking out of Allan’s (and others’) thoughts on his journey from working men’s clubs to adulation and critical acceptance. Around the time of his death he was voted the best guitarist of all time by the readers of ‘Guitar Player’ with 10 times as many votes as any other player(!), but seemingly any success never extended to material wealth or an exalted sense of self-worth.

The book is the second printed release on the roster from Jazz in Britain, whose stated role is as “A not-for-profit organisation, whose aim is to collect, curate, preserve, celebrate and promote the legacy of British jazz musicians”. The irony is that Allan in latter years gained the acceptance his talents deserved principally over in the States, coinciding with his movement towards more solo material. His CV was an extraordinary one prior to that, as almost unwittingly he passed through any number of bands with direct or loose connections to the Canterbury Scene: Nucleus, Tempest (latterly with Ollie Halsall), Sunship, Soft Machine, Gong, Bruford and UK.

‘Igginbottom – photo: Dave Freeman

Chang’s approach is an unusual one: each chapter concentrates on an album or a band stint (particularly in the Seventies, Allan’s sojourns with projects were generally brief), sets the context, and thereafter the narrative is largely quote-based. The analysis is saved for notes on each release which accompanies that chapter as Chang painstakingly describes, minute by minute, each musician’s roles, piece by piece. This format reflects the book’s web-based origins at http://threadoflunacy.blogspot.com/  – where particular periods in Allan’s musical history were assembled post by post in an ongoing blog. These analyses can also include additional quotes from musicians involved providing further commentary, increasingly so as the book progresses (the section on Allan’s late Eighties solo album ‘Secrets’ for example, extends to 8 pages!), presumably because there are many more contemporary interviews available from the late Eighties onwards. Personally I tended to skip these blow by blow accounts with the promise to myself that these might form an invaluable reference tool in the future when re-visiting the relevant albums. Which indeed they did when reviewing the accompanying CD release ‘Warleigh Manor’.

What comes across despite the heavy reliance on external quotes is that Chang really does know his onions: the introduction alone where the subject’s style was broken down into harmony, melody, rhythm and articulation is expressed in succinct understandable explanations for us musical Luddites, as close an explanation as possible as to why Holdsworth’s style was unique and strikes a chord with us, even down to an illuminating description (supported by quotes throughout the book) of Allan’s embracement of ‘wrong’ notes and chords, and his overarching approach to shifting time signatures which allowed him always to maintain his place within a piece. Chang’s writing style at the start of each chapter is fluid but not overly verbose, and therefore always accessible.

with Bill Bruford, photo: M Coralnick

What is particularly interesting for me (and presumably for readers of the blog too) are those chapters on those Seventies collaborations – and whilst a ’94 Facelift interview proves to be a major primary source for that period, there are other insights into Igginbottom, Nucleus, Sunship and Soft Machine in particular which I’d not seen before.  The book also brings into focus various connections with other, mainly British jazz musicians which continuously reoccur, not just Gordon Beck from the Sixties through to the Nineties, but also Ray Warleigh, Jack Bruce, John Marshall, Alan Pasqua, Gary Husband and many more.

For the Canterbury completist, it’s slightly disappointing that the odd relevant collaboration is only briefly referenced (e.g. the Gongzilla project is only alluded to in the discography, a shame as it was a reunion of old collaborationists with some particularly seismic solos, plus a clear reference to the book’s subject in ‘Allan Qui?’; Soft Machine’s ‘Land of Cockayne’ receives similar treatment); but frankly the scope of the book is so far reaching that this is nit-picking. And such is the all-embracing nature of the chronology that reading through the book had me reaching for a pen to note down new curios to explore: such as the ‘Sherwood Forest’ demos with Jack Bruce in the late Seventies, or a version of ‘The Abingdon Chasp’ with Ray Warleigh, Bill Bruford, Francis Moze and Jeff Young from around the same period.

with UK – photo M Coralnick

I’m guessing that as a personal fan I would have welcomed more in-text information about Allan’s progressions between bands (this is saved until a later appendix) and some more personal insight into a man who on a single meeting I found to be engaging but a severe perfectionist –  ‘allergic to compliments’, as Dweezil Zappa put it. The fact that the initial biographical notes on the circumstances of his upbringing stopped me in my tracks brought it home to me that I was yearning at times for more information about Allan the man. There are hints everywhere that when he was not happy with projects he tended to lay waste around him – and there are numerous inferences to personal hardship which we can deduce from the fact that he frequently appeared to be without record deals, equipment, or even money to get home at various points in his career. Plus, dare I say it, a love for the finer things in life evidenced by numerous song titles referencing ales and spirits (as well as mention within one section of him going on stage after ‘at least 10 pints’, his playing seemingly unaffected). Another quote mentions a ‘6 year hole’ which we can guess the timeframe of but not the context. In that respect the book is a function of its format, where chapters clearly concentrate on specific events rather than the overall flow of events.

The latter part of the book is a series of appendices which are illuminating in their own right: a summary of the ‘gear’ Allan used throughout his career, an analysis of his ‘musical style’ which again, in describing the initial appearance of a  ‘swooping, floating tremolo bar style’ on ‘Gazeuse!’ finally helped me understand the trademark sound I’d loved all these years; and a detailed chronology of musical events in Allan’s life from the early Sixties onwards which does much to address that overall progression. There’s also a fascinating compendium of the regular sessions Allan did with others for the BBC (featuring amongst others John Marshall, Ron Mathewson, Tony Coe, Ray Warleigh, Gordon Beck, John Stevens, Jeff Clyne, Pat Smythe and Geoff Castle) –  there were 13 in total between 1972 and 1981, which best contextualise Allan’s freejazz alter ego alluded to on the recently released ‘Warleigh Manor’ CD. Plus of course a comprehensive discography and the publication of two extensive interviews from 1991 and 2000 respectively.

As with all the best biographies, the reader emerges with something of a better understanding of the history of a musician, and a yearning to revisit the music which drew one to the biography in the first place; plus a desire to seek out some of the missing pieces in one’s own collection. And a satisfaction that this is a job well done, deserving of the considerable talents of its subject….

Order your copy of ‘Devil Take The Hindmost’ at DEVIL TAKE THE HINDMOST – The Otherworldly Music of Allan Holdsworth

Warleigh Manor

Holdsworth, Warleigh, Matthewson, Spring: Warleigh Manor – The Ron Mathewson Tapes Vol 1 (Jazz in Britain)

cassette 1

This previously unreleased session from four established British jazzers was unearthed as a byproduct of research for the Ed Chang’s Allan Holdsworth biography ‘Devil Take The Hindmost’ by Jazz in Britain, and represents part of a series of projects which encapsulates a lesser known aspect of Holdsworth’s history which Facelift first explored in issue 2 as far back as 1989. There was a period right at the end of the Seventies, largely before his movement towards solo bands and compositions, and intertwined with his bread and butter work as a blindingly brilliant solo guitarist, when there existed a parallel universe in which Holdsworth was involved in freeblows with key improvisers from the British jazz scene including John Stevens and Ron Mathewson. It is the opening up of the latter’s extensive archives for Jazz in Britain which has produced this particular slice of history. Memories are so vague that the session cannot even be accurately dated, although the best guess is 1979 or 1980.

In fact the genesis of this particular recordings could be traced back much further – when I interviewed Allan Holdsworth back in 1994, he talked of a particular period in his life when, in the middle of a three year stint in the very early Seventies as a jobbing musician for the Glen South Band, he attended a jazz workshop and met Ray Warleigh, who offered him a room in his house down in London should he ever decide to relocate – which he subsequently did, opening up a whole host of opportunities which led on to Nucleus and then beyond… Appendices in the forthcoming biography also allude to BBC sessions with double bass player Mathewson and drummer Bryan Spring going back as far as 1972 and 1974 respectively.

cover

Whilst ‘Warleigh Manor’ is very much in the manner of those late Seventies John Stevens freeform blasts, it’s  softened considerably by the joyous nature of Ray Warleigh’s performance, initially through his warm, florid, flute (Soft Machinists will be familiar with his appearances on ‘Bundles’ and later ‘Land of Cockayne’) but also through tenor sax which alternately squawks and croons. On the opening track (‘Warleigh Manor Part One’) the initial bursts are pretty much one player soloing at a time, flute, semi-acoustic guitar and bass, before eventually this hardens into tenor sax and hitempo guitar flurries. We do eventually get the expectedly difficult high intensity listening, somewhere between the full on blast of Stevens’ ‘Touching On/Retouch’ projects and the sometimes mellower collaborations with Gordon Beck but it is Warleigh bringing the piece back to some semblance of melody which rescues the listener time and again.

inside CD

Interestingly enough, Holdsworth spends most of ‘Warleigh Manor Part 2’, another track in excess of 17 minutes, on violin – the only time I can instantly recall him playing that is for very simple motifs on ‘Flight Part 4’ on Gordon Beck’s magnificent ‘Sunbird’. Here he plays more adventurously in a 3-way somewhat manic workout with flute and double bass (Mathewson’s bowed sections here are probably the highlights of his contributions on this album; drummer Spring is generally well down in the mix), before the piece eventually settles back into more considered tones with guitar with even some reflective passages. But there are no easy gains here.

Track 3 is a series of ‘Outtakes’ featuring some truly superb flute soloing over walking bass and relatively conventional guitar patterns. As the title suggests, this ‘piece’ is broken up by studio discussions, which, depending on your viewpoint either gives either context or possibly frustration to what could well have been the highlight of this album. But any doubt that it is Warleigh who is the clear star of the show is dispelled with more memorable flute passages throughout the bonus track ‘Do It In Two’, where, with the most established swing rhythm of the album, Holdsworth also briefly starts what probably constitutes his only conventional solo of the album, away from what appears to be a standard diet of improvisational counterflurries, before he appears to have second thoughts, allowing flute to come to the fore again.

If the glory here is Warleigh’s (a real revelation for me) then this is still a fascinating further opportunity to see the lesser spotted Holdsworth in his late Seventies freejazz alter ego. And it whets the appetite nicely for further discoveries both within and beyond the forthcoming biography.

Order ‘Warleigh Manor’ below:

Warleigh Manor: The Ron Mathewson Tapes Vol.1 (Holdsworth, Warleigh, Mathewson, Spring)

And the biography here:

DEVIL TAKE THE HINDMOST – The Otherworldly Music of Allan Holdsworth

How to support our musicians on Bandcamp Friday!

bandcamp

In these uncertain times, I’m seeing lots of posts from musicians we all know and love who are having gigs cancelled left right and centre with no immediate prospect of any income from live performances.

Thought it might be a good time to post a list of links to musicians we can all support through their bandcamp pages – Bandcamp are waiving commission fees tomorrow, which presumably means that more money from sales goes to the artists.

The list is, I’m sure far from exhaustive at this stage (and not all links are Bandcamp ones) , but please feel free to contact me with additional links I can potentially add…

(And I appreciate that many others apart from musicians are being affected economically at the moment)

Bands/Musicians

Soft Machine https://www.softmachine.org/news

Planet Gong https://www.planetgong.co.uk/ – go to the Bazaar page

Caravan – https://officialcaravan.co.uk/shop/

Steve Hillage  https://stevehillage.bandcamp.com/

Dave Stewart – https://burningshed.com/store/davebarb

Daevid Allen – https://daevidallen.bandcamp.com/

Theo Travis – https://www.theotravis.com/index.php/shop

Ian East – https://ianeast.bandcamp.com/

Fabio Golfetti – https://fabiogolfetti.bandcamp.com/

Dave Sturt – https://www.davesturt.co.uk/

Kavus Torabi – https://kavustorabi.bandcamp.com/, Utopia Strong https://theutopiastrong.bandcamp.com/

Mark Hewins – https://markhewins.bandcamp.com/

Friendly labels

Discus – https://discusmusic.bandcamp.com/

Moonjune – https://moonjunerecords.bandcamp.com/

Phil Miller Legacy https://philmillerthelegacy.com/ – lots of freebies!

Jazz in Britain  – https://jazzinbritain1.bandcamp.com/music

Links to other stuff we’ve reviewed:

Zopp – https://zopp.bandcamp.com/

Cary Grace – https://bandcamp.com/cary_grace

Lapis Lazuli – https://lapislazuli.bandcamp.com/

Invisible Opera Company of Tibet – https://invisibleoperacompanyoftibet.bandcamp.com/

Magic Bus – https://magicbus2.bandcamp.com/

Diratz – https://carla-diratz.bandcamp.com/releases

Ultramarine – https://real-soon.bandcamp.com/

System 7 – https://system7.bandcamp.com/

Manna Mirage – http://www.mannamirage.com/

Droog5/Relatives http://www.relativesrecords.com/

Andy Bole – https://andybole.bandcamp.com/

Wizards of Twiddly – https://twiddlywizards.bandcamp.com/

Gong Expresso – https://www.facebook.com/GongExpresso/

Soften The Glare – https://softentheglare.bandcamp.com/

Acid Mothers Temple – http://acidmothers.com/

Syd Arthur – https://sydarthur.bandcamp.com/

Magick Brother & Mystic Sister – https://magicbrothermysticsister.bandcamp.com/releases

Zopp: Zopp (Bad Elephant Music)

zopp pic

I’ve rarely seen excitement from various Canterbury uberfans to rival that which has accompanied the airing of a single sampler track from this debut album, and having been in the lucky position to have had access to the entire release for a month or so now, I can confirm that Zopp is a significant event in the pantheon of new ‘Canterbury’ music even if it emanates from a relatively youthful individual from the East Midlands!

‘Zopp’ is almost a lost album in the Egg canon, albeit imbued with a fresh energy without some of that band’s austere and self-consciously classical reference points. Ryan Stevenson comprises the vast majority of Zopp (the only other ‘constant’ member is drummer Andrea Moneta). Whilst Stevenson acknowledges Mont Campbell as a reference point in conversation, and even more obviously so Dave Stewart in sound, there is a lightness of touch more in common with the expanded instrumentation of Hatfield and the North, the comparisons helped by the fact that Stevenson doubles (or triples) on guitar and bass respectively.

The opener ‘Swedish Love’, with its high plaintive wordless voice (from Caroline Joy Clarke), in unison with keyboards, could not be more of an obvious reference point to Amanda Parsons circa ‘Tenemos Roads’, but it is not long before ‘Before The Light’ sets the project’s stall out fully. Used as a taster introduction to the album (you can listen to it here – tasty indeed) – the  blaring, weaving introduction eventually settles to a myriad of time signatures and keyboard sounds, instantly recognizable from the Canterbury idiom, before being topped off by cyclical Oldfieldesque guitar.

zopp cover

Possibly best of all is ‘V’ –, punctuated almost throughout by mesmeric pulsing keyboards. This also contains many of the classic Canterbury elements. Bass sounds wander around underneath keyboards which alternately ripple or fanfare stridently Dave Stewart style, in search of that perfect countermelody. This is also the track that Theo Travis is credited on for flute, although you could be forgiven for missing this in amongst the orgy of Hammond and Mellotron, whilst fellow Tangent member Andy Tillison, who guests throughout the album, is also credited here for piano. This is a piece which, ‘Newport Hospital’ style, returns time and again to base for its imposing central theme before noodling off for another fine solo.

Also right up there is the final track, the fanfarish, brilliant ‘The Noble Shirker’ where the main theme reprises continually, with keyboard soloing around it in more considered fashion – more Dave Sinclair than Stewart in its clinical quest for each perfect note. As this track develops, it’s clear that this is something of a statement, a triumphal squaring of the circle, an exultant conclusion that recalls Khan’s ‘Hollow Stone’, with the soloing sax of Mike Benson added to boot.

And for a while, those latter three tracks were all I listened to on this album, impossible as it was to wrench myself away from the repeat button. But there are hidden depths and slow burners elsewhere: ‘Sanger’, almost an outtake from National Health’s ‘Missing Pieces’ (or even Gilgamesh), with its dual guitar/keyboard dual lines recalling Alan Gowen and Phil Lee as much as Stewart/Miller, time signatures changing at drop of a hat – themes which are gentle but disquieting rather than soothing  until drums help to ramp up the momentum. ‘Eternal Return’ chugs along with a series of heavy organ riffs competing for space with a National Health-like guitar line, and the lovely piano-based ‘Sellanra’ is a brief moment of reflection amidst the shifting sands of its surroundings. And I’m still discovering new elements on practically every repeated listen.

Zopp is a quite superb project and album, instantly recognisable in all its challenging glory for lovers of the Canterbury genre – how lucky we are to have such a fresh and innovative interpretation of familiar styles 50 years on.

Order Zopp at https://zopp.bandcamp.com/

Discus Music

discus

A short and well overdue post regarding the label Discus Music, Sheffield’s innovative and well-regarded music label which is at the forefront of new releases varying from leftfield rock to jazz and songform, and which also features many musicians fondly regarded by fans of the Canterbury scene.

The label is a champion of releases from Keith Tippett, who in the wake of a very serious illness recently, has a forthcoming album with partner Julie Tippetts which relies on your support via crowdfunding for its release in 2020. Elsewhere in the catalogue is the excellent MPH album ‘Taxonomies’ reviewed here last autumn and featuring Hatfield and the North’s Alex Maguire and the ubiquitous Mark Hewins alongside Martin Pyne. Label owner Martin Archer’s Anthropology Band, an ambitious electro-jazz collective,  is powered along by Gong bassist Dave Sturt, whilst The Eclectic Maybe Project’s  ‘Reflection in a Moebius Ring Mirror‘ is a progressive/experimental album from  Guy Segers which includes recent Facelift reviewees Carla Diratz and Dave Newhouse and Michel Deville, alongside fellow Univers Zero emigre Andy Kirk.

Gong/Magick Brothers violinist Graham Clark appears on East of Eden’s Ron Caines’ album with Archer ‘Les Oiseaux de Matisse‘ whilst ex In Cahooter Sarah Gail Brand and long-standing Elton Dean collaborator Mark Sanders appear on Orchestra Entropy’s ‘Rituals’ and I dare say if you work your way through the 80 or so strong back catalogue you will find many further links. Well worth signing up for email updates perusing the full catalogue at http://www.discus-music.co.uk  or even better sample some of the various wares at http://www.discusmusic.bandcamp.com. A full press release of current/future releases follows:

DEAR LISTENERS – Thanks for taking a few minutes to read about these recent CD/DL releases from Discus Music.  We hope you’ll find some sounds to enjoy within our ever expanding catalogue!  Please visit http://www.discus-music.co.uk to buy or http://www.discusmusic.bandcamp.com to have a browse through the sound files.  Click on each sleeve image below to visit the Discus website.  All prices include post and packing worldwide.  And don’t forget there’s a 30% reduction on everything you spend over £25 on the site (discount not available on Bandcamp purchases) – MARTIN ARCHER

MARTIN ARCHER – ANTHROPOLOGY BAND – DISCUS 90CD.  Taking the electric music of Miles Davis as its starting point, Anthropology Band is about finding the atmosphere through a deep rhythm, a searing blues run, a delicate melody, or a cascading solo statement. Band leader Martin Archer has kept the music as simple as possible – often driven by the bassline – and the structures loose, to enable this who’s who of UK creative musicians to let the music breathe in a different way each time it is played. There are multiple chordal instruments in the centre of the sound, allowing each soloist to sit on a kaleidoscopic wave of intercrossing figures which push the music forward.

“Five stars.  Again a creative project by Martin Archer….. And so we can have two versions in one fell swoop: a great idea, ambitious and winning. The style is towards electric Miles, progressive rock, and, on some tracks, improvised modern jazz. Wide and open structures, imbued with a beautiful blues feeling, which allow those who find the inspiration to assert their expressiveness. However, it is always Miles’ imprint that dominates, not least because of the pervasive presence of Charlotte Keefe’s trumpet ….. Archer’s stable does not disappoint, nor does it disappoint those who, with skilful creativity, organiSe and guide it.” – A. G. Bertinetto, KATHODIK

“Though Martin Archer’s Anthropology Band readily acknowledges its debt to electric era Miles as its starting point, it quickly hurtles off into its own distinctive space.  Chris Sharkey’s vivid, blazing guitar adds a fevered counterpoint to Archer’s sinuous brass themes which frame much of this 2 CD set.  Gong bassist Dave Sturt adds notable definition.”   – Sid Smith, PROG

On this double CD the music is presented in two versions, firstly by the live band:  Martin Archer – saxophones, electronics, composer / Charlotte Keeffe – trumpet, flugelhorn, arranger / Chris Sharkey – guitar, electronics / Pat Thomas, keyboards, electronics / Corey Mwamba – vibraphone / Dave Sturt – bass guitar / Peter Fairclough – drums.  And on the second CD an 11 piece brass and woodwind section, arranged by Martin and Charlotte, is added.  We wrote these parts with the idea in mind “what would Gil Evans have written for Bitches Brew?”

WALT SHAW – BURNT WITH A BRILLIANT LIGHT – DISCUS 91DL. (Download only)  “At the opening of my solo visual art exhibition at Déda, Derby, January 11th 2020, I did a solo percussion performance. I used drums, cymbals, gongs, bowls, home-made instruments and objects.  The performance consisted of 10 short sound ‘sketches’, each one dedicated to a different artist that has meant a lot to me in my artistic development. I am always looking for processes that in some way fuse my love of sound and the visual art medium.  So hopefully each percussion ‘sketch’ appropriately invokes the spirit of each artist with my personal sound interpretation.” – Walt Shaw

“We’re not sure whether he was a painter or a percussionist first, only that he has been doing this for quite a long time and is incredibly talented.  Shaw also makes many of his own instruments (often from scrap) and has a special affinity for gongs.  Earlier this year, his two worlds collided in an enjoyable way: a solo percussion set performed at the opening of his art exhibition at Deda.  Each short “sketch” is dedicated to an artist who has influenced Shaw…..But whether the cover draws the attention to the music, the music to the art, or the titles to the work of others, all components work in connection ~ like an assemblage or a collage.  The circle is complete.”  – Richard Allen, A CLOSER LISTEN

ARTICLE XI – LIVE IN NEWCASTLE – DISCUS 89CD.  Article XI came together in 2014 when Anton was commissioned by the Manchester Jazz Festival to create a new set of music for large ensemble. This record continues the group’s explorations into large ensemble collective composition, with two new pieces alongside re-imaginings of two pieces from their debut 2018 album. “Live in Newcastle” was recorded at the Bridge Hotel during a concert for Jazz North East, long-standing supporters of improvised music, and a night which bandleader Anton Hunter has had a long relationship with over the years.

Sam Andreae – alto saxophone / Oliver Dover – alto saxophone / Simon Prince – tenor saxophone & flute / Cath Roberts – baritone saxophone / Graham South – trumpet / Nick Walters – trumpet / Kieran McLeod – trombone / Tullis Rennie – trombone / Seth Bennett – double bass / Johnny Hunter – drums / Anton Hunter – guitar

THE GEORDIE APPROACH – SHIELDS – DISCUS 84CD.  Ståle Birkeland – Drums / Petter Frost Fadnes – Saxophone & Electronics / Chris Sharkey- Guitar & Electronics

“Shields is their major statement: two long, no-edits performances recorded in a converted Methodist church in Leeds.  The saxophone, guitar and drums trio…..sound like anything but – the huge, echoing rumbles of “North” resemble slowed down whale song or tectonic chatter; they just come from sax or guitar, but flanged and gated and utterly, fascinatingly denatured.  There is a deep understanding between the players, bacause both movements…..move with an almist narrative logic, as if a journey has already been made.” – Brian Morton, THE WIRE

RON CAINES / MARTIN ARCHER AXIS – DREAM FEATHERS – DISCUS 88CD.

“Challenging categorisation, Dream Feathers is a three-dimensional, headphones-on exploration of beauty and openness. The grooves may become pleasingly familiar, each time you listen, but the improvisatory spirit also sustains interest to return again and again to discover more.” – Adrian Pallant, AP Reviews

“I could do a track by track description, much better to hear this wonderful recording for yourself.  These are all Ron Caines tunes, yet the ensemble is everything.  In places the Gus Garside/Johnny Hunter bass/drums team hang on it like Carter and Williams from the Miles Davis Quartet, such is their stealth.  Laura Cole’s piano (acoustic & electric) structures the fix.  Anton Hunter’s guitar, pithy, not over played.  Archer’s multiple “hornweb” on African Violets, a gift.  He and Hervé Perez provide all kinds of enhancing, yet nothing diverts from the Caines tenet. By the time the ensemble reach the final track, Almazon/1934, they are essential.  That hanging piano rings out a melody like bells from a high tower. Ron Caines, tenor purchasing another plangent melody squeezed by electrophopia. In the transfer from Almazon to 1934 the guitar is pushed through a gizmo, grinding the notes to audio dust accompanied by a field recording of bird song.  And the horn, a lone deity left to flood the senses. Magnificent.” – Steve Day, stevedaywordsandmusic

In this continuing series of releases with Ron – the mastermind behind East Of Eden, one of the most creative and adventurous groups to come out of the 1960s collision between jazz, rock and psychedelia – we seem to have arrived at an interesting place where an ostensibly straight jazz group playing beautifully realised melodic material is somehow unexpectedly pulled sideways into a strange alternative electroacoustic universe. We like this little clearing in the forest which we’ve found for Ron’s music – and in many ways it mirrors the pioneering work of his early music with East Of Eden, all be it with technology which was not available to those musicians in those days. Come hear this master melodist at work. Album artworks by Susan Caines.

credits

Ron Caines – soprano, alto & tenor saxophones
Martin Archer – bass clarinet, organ, electronics, horn section
Laura Cole – acoustic and electric pianos, harmonium
Hervé Perez – field recordings, electronics, sound design/processing
Anton Hunter – guitar and electronics
Gus Garside – double bass
Johnny Hunter – drums
Gus G

MPH – TAXONOMIES – DISCUS 87CD.  Alex Maguire – piano, Hammond organ / Martin Pyne – vibraphone, drums, percussion, electronics / Mark Hewins – guitars, electronics.

“The titles of the works are inspired by various flora and fauna, sich as ‘False Jasmine’, ‘Meadowsweet’, ‘Purple Loosestrife’, and ‘Sally Lightfoot’. The names are to suggest “timeless narrative, characters, landscapes and mindscapes.” This they do, in full bloom. The catholic palette of settings from lazy daydreaming to rippling directions, and exotic chance, provides the audience with a series of short films for the ears and imagination. ‘Taxonomies’ is very curious, distinguished and inventive.” – Lee Henderson, BIG BEAUTIFUL NOISE

MPH is a trio featuring three of the most creative musical minds on the improv scene today. Their music draws from a huge range of genres to create bewitching and astonishingly original sound pictures, shot through with vitality, tenderness and humour. Taxonomies is the trio’s debut album, taking inspiration from a quirky perspective on the natural world.

COREY MWAMBA – NTH – DISCUS 86CD.  Corey Mwamba – vibraphone, glockenspiel, beak flute / Laura Cole – piano / Andy Champion – double bass / Johnny Hunter – drums, small percussion

“NTH is a rhythmically minded beast. The beautifully rhythmic drumming of Johnny Hunter allows Corey’s searching vibes and the playful piano of Laura Cole full rein in chasing and tagging one another. To me the vibes always sound as though they are the precursor to something mysterious and unknown; a sense of expectation is always present in that soulful ring and it is never more so than here.” – Mr Olivetti, FREQ

“The idea for putting together this group, at the time I did, represents a slow movement. This is a group of people that I had wanted to put together for a while; some of the music was written almost fifteen years ago. But then, as it began, we accelerated; we played live four times, the final time coinciding with my last time. Andy, Johnny, and Laura have given so much in performing and dealing with the material. What these musicians and friends have done, to me, reflects a core tradition in jazz — to deal and commit to the material and make new things, present new ways of listening and expressing: to move beyond the limits of the marks on the page, towards feeling.” – COREY MWAMBA

ORCHESTRA ENTROPY – RITUALS – DISCUS 85CD.  The classic language of European free improvisation carefully sculpted into a series of movements for large ensemble by composer / improviser Matt London.

“The Discus catalogue is now large and incredibly varied. This is one of its finest moments.” – Brian Morton, JAZZ JOURNAL

“On Rituals, composer and saxophonist Matt London expands his new music group Ensemble Entropy into a ten piece improvising orchestra.  The musicians are free to interpret London’s language score as they see fit, the intention being to sculpt the improvisations so that the music develops and transforms along an ancient element journey.  As powerful as the full ensemble can be, London maximises its impact by breaking it down into smaller groupings via two trio sub-pieces.  “skelf” (Scots for splinter) is a scrabble of electric guitar, double bass and drums, while “antiphon” is an elegant interlude for strings.  Tom Ward’s inquisitive clarinet and Sarah Gail Brand’s puckering trombone bring the orchestra back in over Mark Sanders’ woodpecker percussion, leading to a stately closing theme reminiscent of Eyvind Kang.”   – Stewart Smith, THE WIRE

“RITUALS is an extended work for ten improvisers presented on two hand drawn panels. This language score consists of various open notations, graphics plus two trio sub-pieces titled skelf (electric guitar, double bass and drums) and antiphon (violin, viola and double bass) for the performers to decipher. The intention is to sculpt the improvisations so that the music develops and transforms along an ancient elemental journey, with the composer not as a totalitarian figure of authority, instead giving the performers the guidance, the licence to explore and discover who they are within it.” – Matt London

Matt London – tenor saxophone, director / Georgia Cooke – alto flute / Tom Ward – bass clarinet / Seb Silas – baritone saxophone / Sarah Gail Brand – trombone / Rebecca Raimondi – violin / Benedict Taylor – viola / Seth Bennett – double bass / Moss Freed – electric guitar / Mark Sanders – drums

ECLECTIC MAYBE BAND – REFLECTION IN A MOEBIUS RING MIRROR – DISCUS 83CD.  A second volume of the Guy Segers (ex Univers Zero) project where the basic live band session is enhanced by an extensive post production involving contributions from a wide range of improvising musicians. Located musically between edgy jazzrock, electronics and improvisation, the release has been a surprise best seller, and this time round the tracks are built around a large and ever shifting cast of players:

Carla Diratz (Vocals)  Cathryn Robson (Vocals) Roland Binet (Flute, Piccolo) Martin Archer (Sax Sopranino & Alto) Joe Higham (Sax Soprano & Tenor, Electronics) Dave Newhouse (Sax Alto & Tenor, Bass Clarinet) Jean-Pierre Soarez (Trumpet) Ariane Plumerel (Violin) Sigrid Vandenbogaerden (Cello) Michel Delville (Guitar) Eric Lemaître (Guitar) Ángel Ontalva (Guitar) Andy Kirk (Guitar, Keyboards) Catherine Smet (Piano, Keyboards) Guy Segers (Bass, Programming Virtual Instruments) Franck Balestracci (Keyboards, Drums) Dirk Wachtelaer (Drums)
“Overall, Reflection In A Moebius Ring Mirror is a release of unparalleled scope, almost astounding in its reach, but with its beauty and sense of questing allowing the listener opportunities to immerse themselves. The players are all superb, and Guy’s way around the studio means that his constructed tracks are seamless yet exploratory. It is well worth taking a dip into these welcoming waters — but watch out for the currents.” – Mr Olivetti, FREQ

INCLUSION PRINCIPLE – ARKIV – DISCUS 82DL.  Nu-Jazz / electronics / improv group Inclusion Principle has been performing live since 2006. Commencing 2019, we have started to create an archive of our concerts under the ever evolving catalogue number Discus 82DL.  The first three concerts, featuring the group in its early duo format of Hervé Perez and Martin Archer (saxophones and laptops) are available now.

KEITH TIPPETT – THE UNLONELY RAINDANCER – DISCUS 81CD.  We’re massively proud to be bringing to you this re-release from 1980 – Keith’s first ever solo piano release, which predates his Mujician series from the following decade.  These exciting and vibrant performances, recorded live on a tour of the Netherlands in 1979, have been carefully remastered from the source tapes.  In Keith’s view, this music forms the template for his future solo work up to the present day.  Out of print for many years, and unknown to most, this vital document will be a must for all fans of UK creative music.

“The re-blossoming of a long dormant rose.  Or oak, as Tippett twice visits the folk melody of Tortworth Oak, though he soon transcends the tune with his massive chording, ocean-wide sense of dynamics and wrists of iron that allow him to repeat hot forged figures and trills with an unremitting, unswerving attack.  With different pianos at different venues, there is a variation in tonality and ambience, but that adds to the overall richness of the sound quality, the narrative of the tour, as well of each cut.  And that is Tippett’s gift to the listener, that even in the most expressionistic passages, there’s an organic storytelling arc to each piece, even within the epic Steel Yourself.  This is improvised but not avant-garde music that disappears up its own arch.  It’s music with a heart of soul that can barely contain itself.  But it does, just.” – Andy Robson, JAZZWISE – EDITOR’S CHOICE

MARTIN ARCHER – ANOTHER FANTASTIC INDIVIDUAL – DISCUS 80CD.  Solo music for woodwind, percussion and minimal electronics. “This is the first time I’ve made an album on which I’m the only performer. I’ve been playing AACM style saxophone for more than 40 years now, and this collection – a mixture of solo and small ensembles, sometimes with percussion or minimal electronics – presents everything I’ve learned about the instrument as a player and composer in that time.” – Martin Archer

“One of the pleasures of Martin Archer’s recordings is anticipating what he has in store for the listener…Very carefully overdubbed…The improvising is excellent and some of the tunes are masterful…Outstanding!” – CADENCE

FROSTLAKE – ICE & BONE – DISCUS 79CD.  Ice & Bone – long awaited second CD by multi-instrumentalist frostlake (Jan Todd) who has been busy writing and recording for the improvising band Orchestra of The Upper Atmosphere. Ice & Bone is now finally released and the distinctive sound palette of her debut CD ‘White Moon, Black Moon’ continues – acoustic and electronic sounds washed with layered vocals and the creative bass of Terry Todd.  They have played out live as a duo and here are studio recordings of their live set.  The mix of acoustics strings/wind instruments with ethereal synthesizers and percussion takes you to another world- from the gentle terror of ‘60’s B movie ‘The Lake’ to the classic folk horror of ‘When Trees Sing/Find Me’.  Ice & Bone unwraps the darker layers of the mind in dreams and the unexplained.  Driving bass and drums grind it back to reality in ‘Just A Game’ and ‘The Last Time’ so this album is caught between the worldly and the unworldly – British psychedelia at it’s best. Field recordings add a sense of time and place in the eerie, natural world that frostlake creates and shares it’s stranger secrets.

‘Ice & Bone’ is a gorgeous, dreamy and rich with haunted folk, of lost ghosts, calling from another world, whispering sweet things in your ear. – Lee Henderson – BIG BEAUTIFUL NOISE

BECK HUNTERS – HAS IT BEEN FOUND? – DISCUS 78CD.   Mick Beck – tenor sax, bassoon, and whistles / Anton Hunter – guitar / Johnny Hunter – drums.  A new set of improvisations from this formidable team of master musicians.

Terrifying thunders, trembling solos, vibrant and powerful climaxes, light, expressive, passionate or luminous melodies, turbulent rolls, breaking sessions, driving sequences of repetitive notes – all these elements and moods are gently combined together. The music has impressive sound – it has driving and expressive mood. – AVANT SCENA

DAS RAD – DAS RAD – DISCUS 75CD.  Nick Robinson – electric and acoustic guitars, loops, electronics
Martin Archer – saxophones, clarinets, flutes, recorders, melodica, keyboards, electronics, synth bass
Steve Dinsdale – electric drums, acoustic percussion, synth.

Stunning prog-friendly improv-rock from Sheffield stock.  If you don’t know the name of multi-instrumentalist and Discus Musics’ owner Martin Archer, then you’ve not been paying attention to some of the most interesting developments in British jazz, psych and rock during the last 25 years.  His latest cross-genre experiment finds him in the company of guitarist Nick Robinson and Radio Massacre International’s keyboardist / drummer Steve Dinsdale.  An extremely accessible, at times almost poppy collection of instrumental tracks, it’s a skilful integration of jazzy muscularity, noodling electronica and invigorating surges of air-punching rock.  Mostly they appear as concisely constructed bursts with a punk-like brevity that brings urgency and impact to scrunching guitar riffs and luminous shafts of Mellotron strings.  However, their two epic-length explorations Porto Steps and London Steps combine mesmeric mid-tempo beats and throbbing bass to frame scudding sax drifts, twinkling daubs of guitar and billowing atmospherics to form a blissful and immersive environment.  Elsewhere two sumptuous acoustic guitar pieces add bucolic interludes to an album already overflowing with expressive tunes and startlinf quality. – Sid Smith, PROG

MAJA BUGGE – NO EXIT – DISCUS74CD.   Maja Bugge – cello

The Norwegian cellist Maja Bugge’s second solo album “No Exit” was recorded inside Standedge canal tunnel by Hervé Perez. The music on this album is mainly improvised and responds to the 3 ¼ mile long tunnels unique acoustic and sounds. She is also using the history of the site as an inspiration echoing the rhythmical patterns of feet moving the boats through tunnels in the 19th century and the sound of stones being carved out of the ground 200 years ago.  This results in a haunting, meditative and expressive improvisation. It is a homage to a unique site and its sound. The “lone” cello responds to the unpredictability of the space and together they make something.

Recorded by sound engineer Hervé Perez in the tunnel, 200 years old and over 3 miles long, of Standedge, West Yorkshire, the disk has the solo performance of the Norwegian cellist, residing in Lancaster, Maja Bugge. Her instrument interacts with the unusual environment, meditative atmosphere-generating sound improvised melodic lines and melancholy. The Standedge Tunnel, five tracks Lullaby for Legging, Passage, Boat and No Exit recall the experience of the tunnel through which the monologue of the arc of the musician seems to seek a dialogue, an interaction, a possibility of communication. The dramatic character of the music is appreciated especially knowing the particular situation of the context of his performance. – A G Bertinetto, KATHODIK

 

RON CAINES / MARTIN ARCHER AXIS – LES OISEAUX DE MATISSE – DISCUS 72CD.  Ron Caines -alto and soprano saxophones / Martin Archer – saxophones, clarinets, software instruments / Laura Cole – grand piano, electric piano / Gus Garside – double bass / Johnny Hunter – drums / Hervé Perez – live sound processing, shakuhachi / Graham Clark – violin, electric guitar.

Ron Caines was the mastermind behind East of Eden, whose groundbreaking first two albums Mercator Projected and Snafu, mixing psychedelic rock, jazz, bluebeat, poetry, electronics and studio experimentation, were massively influential on teenage me at a stage when I was starting to explore the limits and possibilities of music.  It is a massive honour to be able to record with Ron all these years later.  This CD is a collision of pure jazz skill happening in real time and studio collage.  We hope, even though the music is quite different, that it contains a spark and continuation of the “arts lab” ethos of Ron’s early work with E of E.

This is outstanding!  Loose and supple playing. Hints of Mingus at his freest, mixed with Eastern influences and even traditional jazz. Really strong compositional ‘springboards’. Record of the week!! – MATT PARKER, BRITISH PROGRESSIVE JAZZ

 

LAURA COLE – ENOUGH – DISCUS 71CD.  Laura Cole – piano

“A mood of calm introspection sits over this collection of pieces for solo piano.  Yet, within that, Cole succeeds in exploring divergent avenues of expression.  the first disc contains her arrangements of compositions by various associates from the UK jazz scene:  Jason Yarde’s “Unisome (Unisin, Unison, Unisone, Unisum)!” is a fugue-like puzzle tackled with insouciant Monkish precision;  Kim Macari’s “Default Settings” mingles harp-like sweeps of the piano strings with intensely intimate vocal mutterings:  while Corey Mwamba’s “forgotten letters; Bereft; Tears: bright grey” is a solemn 15 minute suite of scattered stipples and enigmatic phrases.  On the second disc, Cole presents her own compositions and improvisations, revealing a quietly emphatic sense of space:  “The Crossing…” employs long pauses and isolated sonar-like notes, while “Extinguish” bathes in the warm glow of the sustain pedal” – DANIEL SPICER, THE WIRE

 

“A very personal statement from an engaged  musician! “– VITAL WEEKLY

 

 

ORCHESTRA OF THE UPPER ATMOSPHERE – THETA FOUR – DISCUS 70CD. 
A snarling mix of prog / zeuhl / Alice Coltrane / Terry Riley

“When it comes to Orchestra Of The Upper Atmosphere’s Theta Four, describing it as ‘epic’ feels like selling it short. The large ensemble harnesses a hybrid patchwork of electro-acoustic textures that brings to mind the spacey explorations of Alice Coltrane, Terry Riley, Tangerine Dream, Can et al. Choirs, choppy strings, throbbing beats, dreamy vocals and snarling bass rise and soar into bold themes creating a diverse and thrilling listen. If you’re unfamiliar with their previous three albums, then start here.” – SID SMITH, PROG

 

“Spare me for a few minutes to tell you about an amazing album that came out last month. This album is θ4 (Theta Four), by the incredible Orchestra of the Upper Atmosphere. This experimental album takes you many places, from the atmospheric, almost ambient and contemplative, nebulous threnodies to the upbeat, vigorous, and eclectic parts more reminiscent of some of the more creative progressive rock of the 70s. This album is fabulous and deserves your attention for every minute of its runtime”. – Dave Tremblay, HEAVYBLOGISHEAVY

Cary Grace: Lady of Turquoise

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Photo credit: Mark Brookes

Cary Grace has become something of a fixture at Kozfest, that annual celebration of psychedelic music which doffs its cap more than a little to the legacy of Daevid Allen and company. On my first visit there she appeared in a band including erstwhile Gong/Here and Now guitarist Steffe Sharpstrings (the performance was captured as ‘The Uffculme Variations’), then in 2018 we saw her with Yamma, a pop up band featuring Mike Howlett, Graham Clark and Basil Brooks of Zorch. She clearly has a knack for getting on board seminal figures in the scene. However, I think Yamma, the first time I’d seen her perform, might have given me the wrong impression of her work, as this ambient, experimental music with only the occasional smattering of vocals, is almost entirely removed from her latest project ‘Lady of Turquoise’, an ambitious double album which is largely song-based.

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Cary Grace is an avowed champion of modular synths (and a few squirming Blakeesque motifs are evident of this on the instrumental opener ‘Khepera at the Dawn’), yet ‘Lady of Turquoise’ is more than anything a celebration of hypnotic, droned out guitar from a variety of proponents, including Grace herself. The first notable evidence of this is the excellent ‘Into Dust’, a hypnotic, feedback-heavy trudge with guitar from John Garden and treated vocals. ‘Afterglow’ is doomier still, with restrained guitar distortion in the background  as Grace drawls through a spoken word accompaniment, her American accent softened by a decade or so’s residence in the West Country but no less impactful for that – often dipping into edgy, disquieting menace.

The ballad ‘Film Noir’ features an aching introduction courtesy of the sax of Ian East. Often within the chaos of live Gong it’s easy to forget quite what a sweet soprano sound he makes, this is equally matched by the beautifully delivered vocals, perhaps Cary’s strongest performance on the album. This is one of three tracks Steffe Sharpstrings adds guitar to, apparently the original recordings of his contributions dating back to sessions for her album ‘Tygerland’ back in 2015, although he makes his own mark most tellingly through the blisteringly bubbling soloing on the rocky ‘Castle of Dreams’.

Graham Clark also adds an electric violin to the country-ish ‘Costume Jewellery’, alongside the plucked strings of Andy Bole on bouzouki and laouto – this track is notable for some quite Daevid Allenesque guitar obtusions from John Garden in what turns out to be an eleven minute extended cool down, which I suspect might be most representative of the band’s live performances.

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Best of all are ‘Letterbox’, elevating from some initial campfire strum’n’croon into  glorious raucous wahwah from Garden, and ‘Sacrifice’, another track going into double figure length, a memorably simple slow bluesy guitar riff performed by the author herself, and embellished by frequent soloing breakouts (from Steve Everitt), some lovely Hammond noodling beneath and increasing swathes of texture from all directions – a fantastic barrage of interconnected sounds all told. Whilst there are moments throughout the album of quiet reflection, and Grace’s fine, clear voice means she is adept enough at this (witness the harmonized vocals on ‘Without A Trace’) , the music defaults time and time again to those drawn out bluesy, guitar-heavy drones, powered along by a core band of Andy Budge (bass) and David Payne (drums), It is these core three, who along with Victoria Reyes (keys) and Everitt, will be performing with Cary Grace at the Avalon weekender at Easter and beyond. And as she ascends the Kozfest bill with every passing year, who can predict who else might join her on stage this year?

https://music.carygrace.com/album/lady-of-turquoise

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Thanks to the English Language students at Oldham Sixth Form College for their input into this review!

 

Exclusively stream ‘Warleigh Manor’, featuring Allan Holdsworth

Ahead of the publication of the Allan Holdsworth biography ‘Devil Take The Hindmost’ by Ed Chang, the very good people at Jazz in Britain have allowed Facelift an exclusive stream of the entire contents of a rarity unearthed during research for the book, to be released on April 15th 2020, the same day as the biography.

Warleigh Manor: The Ron Mathewson Tapes Vol. 1 features Allan Holdsworth, Ray Warleigh (ex Soft Machine), Ron Mathewson and Bryan Spring in a free blow from (probably) 1979.

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Many thanks to Matt Parker from Jazz in Britain for allowing us to share this with you.

Full ordering details for the album at https://jazzinbritain1.bandcamp.com/releases

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Full details of how to order ‘Devil Take The Hindmost’ to follow…

 

Lapis Lazuli double live CD featuring Damo Suzuki – with thoughts from Adam Brodigan

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Without doubt currently Canterbury’s most innovative and questioning band, Lapis Lazuli have just released their sixth album, this one a double CD of improvisations, the first capturing their recent performance with ex Can vocalist Damo Suzuki in nearby Ramsgate last September, the latter a series of 8 individual pieces recorded in the studio. The band’s drummer and founder member Adam Brodigan took time to answer a few questions in our latest interview feature.

The first time I saw Lapis Lazuli was at the ‘Canterbury Sound’ Day in 2017 when assorted academics, musicians and writers assembled to not only speak about the genre that we all know and love but to listen to an excellent programme of music including Soup Songs, Jack Hues and the aforementioned Lapis Lazuli. At one point during their blindingly manicured set, the luminary standing next to me, who really should have known better, asked me whether I thought the music was improvised, something of a travesty considering we were listening to two tracks from ‘Wrong Meeting’, possibly the most densely crafted music since the composed work of Henry Cow. Their masterpiece ‘Brain’, released at the end of 2018 was even more meticulously and adventurously structured.

The irony of course is that since that Canterbury gig Lapis Lazuli have started to regularly perform improvised pieces, both live and in the studio. Having heard some of their early excursions (released as a bonus side on the vinyl version of ‘Wrong Meeting’) it would appear that the band have been simultaneously dabbling in improv for quite a while, although ‘Hi Jazz’, as it was collectively known, is probably best described as some initial thoughts from which some of their structured ideas have emanated from. However, the appearance of the extraordinary video ‘Shall We’ rather took this further, a precisely timed 30 minute romp from around the time ‘Brain’ was recorded. Whilst much of this is frankly a row, there are genuine moments of inspiration and coherence and it captures the band’s exuberance as fantastically as hearing them perform any of their 5 studio albums to date.

The bonus material from ‘Brain’ (available as a free digital download if you purchased a vinyl copy of the album) continued the experimentation: whilst some of the tracks are clearly pre-prepared, such as the mellow version of ‘Low Key’, and the magnificent ballad ‘The Slowening’, others are not, and again, this was a blend of the inspired and the exploratory.

Which takes us to the band’s sixth release – the Damo Suzuki recording is a single stream-of-consciousness performance lasting over an hour, which slowly develops from its initial warped churchy, distended feel into a series of slow grooves and funk licks, embellished by Suzuki’s various vocal techniques: spoken word, a fulsome growl here and there, and even some bluesy crooning. I’m aware that Suzuki’s tours often involve him appropriating pick-up bands en route (my good friend, the late Mick West, was in one such when Suzuki played in Hebden Bridge a few years back) but hadn’t realized the process was quite so ad hoc. Adam Brodigan takes up the story “We had quite literally not met Damo, played with him, talked on the phone or anything until about 6pm the night of the gig!”

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But the gig at Ramsgate Music Hall, from which the recording was taken, was far from an accident: “We had got our spot supporting Gong at RMH (in July 2017) because their sax player Ian East had started coming to the Crash Of Moons Club nights I was putting on, at the time in Bramleys, Canterbury. When he told me Gong were booked there, I convinced him to put Lapis as support. That was our way into the venue. After that, Andre and Al (from the venue) were both very impressed and happy with the band, so much that they then booked us for the Acid Mothers Temple support (later that year), and we then went and recorded our album ‘Brain’ with Al at his studio. We were therefore RMH’s first choice for Suzuki’s ‘Sound Carriers’ once they had secured him for the Kent leg of his tour.”

So how does a gig with such an unknown quantity work? “We were told to simply follow his lead, as he probably wouldn’t look round to us, and he’d just do his own thing. It was all spontaneous, the only thing we worked out was who went on stage first, based on choosing numbers, which was his idea”

Suzuki’s vocals are slightly distant, echoed and somewhat spookily appears as almost a commentary on the music or the prevailing atmosphere – a work colleague of mine described a Suzuki gig he’d attended in London as something of a shoutfest, but this is far from the case here. The words themselves might be indecipherable but there is subtlety and coherency as the band adjust to the vocal overlay, or him to the music manifesting around him.

The second CD is a somewhat different beast, shorn of vocals and with many more of the trademarks of the ‘core’ band. ‘Louis Padilla’s Muzik Uzi’ (a cursory examination will reveal this is an anagram of the names of the performers of collaborators from Disc 1) does also contain pieces which are clearly off the cuff performances, and for me the tracks at the more aggressive end of the spectrum (such as the brief riff ‘Free Haircut’) perhaps fare less well, serving as microcosms of some of the more dissonant workouts on previous improvs. ‘James Black’, a jarring funky workout is symptomatic of this – tremendous sparring but never quite finding that knockout blow. But ‘Tribe of Tribes’ gives a lovely hint of what is to come throughout the better half of this album with its mellow bouncy bass theme, whilst drums chatter and guitars noodle. And the last four tracks, sharing 35 minutes between them, are universally excellent. ‘Abrubtion’ continues the bass groove backed by ever more frenetic drumming, ‘Cheap Minor’ starts off slowly but etches out a haunting guitar theme. Best of the lot are the last two pieces: ‘Untraceable Customs’, a superb track opening out from its sirenic guitar to slither into a hypnotic drum and bass rhythm, mellow yet propelling, reminded me of Hugh Hopper’s ‘Hughscore’  in its underlying vibe, topped off by the best guitar interplay on the album. And last up is ‘Sea’s Harp Apocoly’, with its atmospheric midi’d sounds, crafted guitar lines and unmistakeable funked up bass – this could almost be an outtake from the more laid back parts of ‘Hired Soul’ or ‘Falling Line‘ from ‘Brain’. What’s interesting to these ears is that a band so well defined on their composed pieces by Adam Brodigan’s constantly shifting time signatures and Luke Mennis’ dexterous bass playing so easily shifts into extended groove mode in these improvs, providing the space up top for the dual guitar approaches. And ‘Sea’s Harp’ is symptomatic of many tracks on the album that appear so well-formed that it’s difficult to fully accept that these ideas could be straight out of the box.

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This is the first recorded excursion for Martin Emmons who has replaced Dan Lander on rhythm guitar – quite how his interplay with Sullivan will match the sublime intertwining the latter achieved with Lander will probably have to wait until the next composed release: these recordings normally take the form of one guitarist providing the soundscapes, whilst the other etches out a motif.  Of the latest personnel change, Adam was at pains to point out that this was symptomatic of the band being more of an open door than a revolving one:  “The band started life as a four piece, the guitarist of which was a big Hendrix and Ben Harper fan, (and) had a solid, smooth sound. He left and was replaced by Dan, who had a far more aggressive, angular approach, as we expanded to a six piece. We also changed bass players – Luke is the fourth we’ve had! Boiling down to a five piece for ‘Wrong Meeting’ made us lose quite a lot of the palette of sounds we had enjoyed previously, and again losing the sax reduced dramatically the ‘vintage’ and jazzier sound we had adopted.” These earlier line-ups are captured on Youtube performances and often include accordion, trumpet, extra percussion and a much more catholic set of styles. Adam continues, “changing guitarists for the third time has indeed brought a new sound, and as we prepare to write new material it is very clear Martin will take the band elsewhere.”

“Lapis has always been very flowing – no restrictions have ever been imposed within the group on how to tackle composition. It becomes very natural therefore to hear the metamorphosis of the band’s sound as you go from the 2012 material to the latest stuff. ‘Brain’ became grittier and heavier due to the dominance of guitars and Luke’s particular love of ‘spicy’ chords and cross rhythms.”

And as to the band’s burgeoning relationship with improvised music, “our first fully fledged live improvised set came about when Sam Bailey booked us for one of his avant-garde Free Range nights in Canterbury. After this, we played a Crash Of Moons improv set, and a secret warm-up gig for the Damo show, again purely improv. Our recent album launch show was a mix of pure improv, jams of the grooves from ‘Louis Padilla’s Muzak Uzi’, the 20 minute ‘Reich’ (from ‘Wrong Meeting’) and a tune from ‘Brain’. We have only just taught Martin ‘Reich’, and we plan on getting him to grips with ‘School’ from the same album too, so that we have plenty to go between at shows whilst heading toward new compositions.” What was evident from the gig I saw in Canterbury last June (for me one of the musical highlights of the last decade), where Martin made his debut and the band performed ‘Low Key’, ‘And Stay Out’ and ‘The Slug’, all from ‘Brain’, is that the new guitarist barely dropped a note in the performances of these fiendish pieces.

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I put it to Adam that it must grind one down putting so much obvious effort into an existence which is so criminally underrecognised. “It is a labour of love- we keep the small amount of cash made in a pot for band spending, so have to keep our dayjobs and make sure our lives can cope with the band! It has meant avoiding some of the traps in life that would otherwise make this sort of thing impossible. 

“Playing shows where people commend your work passionately helps very much. We do not have a massive reach, and are in no way a ‘big’ band, yet some people show such amazement at our shows that it makes the thing even more worthwhile, mixed with the simple pleasure of trying to get from the very beginning to the very end of one song!”

As I write, the band are just about to head off to France for a 4 date tour “we try to do that every couple of years at least” , and there are further compositions in mind. “There are ideas the other members of the band have been putting forward to work on as new material, which we will start looking at very soon. As for festies, we seem only to have Sonic Rock Solstice and Smugglers Festival this year, – we do hope for a few more though!

Watch this space… Thanks to Adam for agreeing to answer a few questions.

Previews and ordering of all the Lapis Lazuli discography here: https://lapislazuli.bandcamp.com/

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Fred Baker featured!

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Just back from a post-Christmas trip to my native Derbyshire, where my dad had saved me an article from a local monthly free magazine called ‘Reflections’ about Fred Thelonious Baker. There seems a nice symmetry about publishing something about this, as 2019 started with the Phil Miller memorial concerts, of which Fred, who was very much Phil’s right hand man for so many years, was an essential part.

The Reflections article is here

It also brought back memories of a gig almost exactly 30 years ago in Fred’s home town of Chesterfield, not long after I’d started Facelift magazine. In something of a transitional stage of my life, I’d briefly left Manchester and was camped up for a month or so in nearby Matlock with my parents, and had persuaded my dad, an old jazzer, to accompany me to see Elton Dean and John Etheridge. It was a lovely moment when our musical worlds collided – my dad was intrigued to see Stephane Grappelli’s guitarist, who also happened to be one of two ex-Soft Machinists performing. It was also my own live introduction to Fred, and he clearly made quite an impression. Interestingly enough I talked this year at a Soft Machine gig with John Etheridge about this particular band, although I’m still not entirely sure who the drummer was that night. If it was indeed, as is suggested online, Mark Fletcher, then that is also neat symmetry given his phenomenal performances at the Miller memorial gigs.

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Great to see Fred covered in such depth here and given the stories of his own family history, it clears up any doubt as to where his trademark middle name emanates from! And, Fred if you do celebrate your 60th birthday with a solo performance in the Crooked Spire (Chesterfield’s baffling landmark) then I’ll be there…

The review from Facelift Issue 3 is below:

Elton Dean/John Etheridge Quartet – Chesterfield 14th December 1989

Two figures from contrasting eras of the Soft Machine at work here: both are now respected figures in the British jazz scene. The gig itself was billed as ‘fusion’, and indeed, given John Etheridge’s influence over the material, it was some distance away form the type of music Elton Dean performs with his own quintet and quartet. That said, the band appeared to approach the various composite styles in turns, rather than produce a hybrid sound as Phil Miller might. The band played two sets of very lengthy compositions ranging from the free improvisation of a John Coltrane number that I’m certain contained mutilated segments of ‘Seven Drones’, to Etheridge’s flurried, meticulously-structured solos. Etheridge spent the entire gig on his semi-acoustic guitar, producing a sound much closer to the likes of Django Rheinhardt than the strident guitar-hero tones of ‘Softs’ or ‘Alive and Well…’ and sounding all the more accomplished for it.

The real revelation of this band, for me, was Fred Baker: the fretless bassist who succeeded Hugh Hopper in In Cahoots Quite apart from laying down some fairly uncompromising rhythms, two or three times he was allowed to take fairly lengthy solos not only showing a dexterity that most guitarists would have been proud of, but producing some genuinely moving passages, rare for a bassist in an entirely solo environment. One almost takes for granted Elton Dean’s biting intrusions into the line, but no better testament to his talent came during the encore, when, seemingly isolated by an esoteric excursion into the blues by Baker and Etheridge, he almost casually unleashed a ferocious assault on the eardrums on his alto. It’s often difficult to see if there are any new directions left to take in music: this quartet, with the possible exception of Fred Baker, certainly weren’t breaking any new ground, but the music they produced was far more than the tired restatement of ideas that many ‘fusion’ bands seem to be content with.

There are lots more old Facelift articles at http://www.faceliftmagazine.co.uk

MPH: Taxonomies (Discus Music) (Alex Maguire, Martin Pyne, Mark Hewins)

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Wholly improvised music doesn’t hit my radar much these days – gone are the days when some of Elton Dean’s more obtuse workings arrived through the postbox with a reverberating clunk – and a slight nervousness on my part as to what they might contain musically. ‘Taxonomies’ is the opposite – an album I actively sought out as it was clear on hearing the first few bars on Bandcamp that this was an album not only worth pursuing, but likely to involve rewards for repeated listening.

Some context: this is a collaboration between three musicians, two with a clear Canterbury vintage. Guitarist Mark Hewins is something of a hero in these quarters: he pursued many of our mutual inspirations to Canterbury in the Seventies where he collaborated with the likes of Dave and Richard Sinclair and Graham Flight in the Polite Force, resurrected Soft Heap with John Greaves, Pip Pyle and Elton Dean in the Eighties, and collaborated with Hugh Hopper extensively in the Nineties. He also pioneered the Canterbury scene’s presence on the web with musart.co.uk, and remains particularly  active in convening various Canterbury ‘supergroups’ of sorts – a resurrected MASHU with Shyamal Maitra and Jack Monck this autumn in Gasny, plus a current collaboration with Lyn Dobson (from Soft Machine’s ‘Third’) and Eric Peachey (Khan). Pianist Alex Maguire was a long-time collaborator with both Pip Pyle and Phil Miller and architect of the remarkable memorial concerts which celebrated the musical legacy of the latter at the start of 2019. Martin Pyne is the multi-faceted percussionist player who completes this rather excellent trio.

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‘Taxonomies’ is relatively sonically benign for the most part: with piano and vibraphone providing wonderfully organic sounds, often in tandem, whilst Hewins alternates between etched out guitar textures one will recall from his ‘Adreamor’ album with Hugh Hopper, and some subtle bluesy themes. Best of all are the opener ‘Tormentil’, where Maguire’s tinklings recall Sophia Domancich’s beautiful melodies on Pip Pyle’s ‘Up’ (common ground here as both were latter-day keyboard players with Hatfield and the North), set against some gently propelling hand drums from Pyne. Or ‘Finger Muscle’, a sleazy jazz growler with cascading piano and vibe brought back to base time and time again by Hewins’ guitar. The eerie building of atmosphere within ‘Meadowsweet’ and the beautiful chimes of ‘Eyebright’ set against the gentle pitter patter of percussion, are also fine moments.  Elsewhere the soundscapes are more questioning, particularly further into the album, where Maguire’s spooked out Hammond organ, particularly on ‘Purple Loosestrife’ conjures up visions of a somewhat nightmarish fairground ride.  Or ‘Rocket Larkspear’ where Maguire’s virtuosic navigation around his piano creates a Keith Tippett-like pummelling of the eardrums.  These later tracks are not an easy ride, but shouldn’t detract from some of the simple beauty of many of the earlier themes in the album.

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Just an explanation of the various exotic titles here: ‘Taxonomies’ was recorded live over two days, taking its inspiration from a variety of unusual fauna and flora, and is namechecked not only in its track listings but also captured in Mark Hewins’ stunning photography contained in the packaging surrounding this unusual release.

‘Taxonomies’ is one of many innovative releases on the excellent Discus Music label – to order please visit https://discusmusic.bandcamp.com/album/taxonomies-87cd

 

 

Shooting at the Moon – The Collected Lyrics of Kevin Ayers (Faber Music)

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Perhaps it’s surprising there’s never been a Kevin Ayers biography. In many ways, of the all the Canterbury scene artists, Kevin was the one flecked with stardust, the one who (almost) transcended into the mainstream. Yet in most Canterbury scene accounts Kevin is almost forgotten, his exposure limited to his involvement with Soft Machine’s pioneering psychedelia, or perhaps to the lunacy of the Whole World. Conversely you will often come across people outside of the scene who have an attraction to Kevin without any affinity to where he came from musically.

The closest there came to a biography was Martin Wakeling’s ‘Why Are We Sleeping’ fanzine, and because Martin became a close friend around the time of Facelift’s infancy, I received a kickstart education in Kevin’s history, his foibles and his tendency to disappear to the sun at the point at which he was just about to assume star status. Kevin collaborated with contemporary musicians I knew and loved in the Nineties: the Wizards of Twiddly and Ultramarine, and through the former (who had become his backing band) I attended many gigs which combined consummate musicianship with his own languid charm. I was aware anecdotally that this didn’t reveal the full story and by the  last time I saw him, in 2006 in, of all places a snooker club in a fairly rough suburb of Manchester he had retreated so far into his own bubble that the only lights he would allow were those from the emergency exit door. It was still a fabulous memory. In the last few years I’ve become fascinated by the Deia connection which embraced principally him and Daevid Allen but also many others with Canterbury scene connections, and so soon after a recent visit (where I chatted with people who knew him well) it feels particularly relevant to see this compendium.

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Photo: Claude Gassian

So – whilst ‘Shooting At the Moon’ is not a biography, it is at least a long overdue recognition of Kevin’s talents by someone in the best position to appreciate them – Kevin’s daughter Galen, herself a musician, now based in the States (she has recently released an album called ‘Monument‘). Various interviews surrounding the release of this book have painted a warts-and-all picture of the relationship between Galen and her father, or more pertinently the reality of propping up a character whose disarming demeanour masked a considerably more complex story. This is not an attempt to either hide or embellish the complexities of Kevin’s persona, it is instead a charming coffee table selection of lyrics from all Kevin’s solo albums, beautifully presented, with as many lyrics as possible presented from Kevin’s beautiful own handwriting (whether or not these were transcribed at some point for such a purpose as this book, an aide memoire for concerts, or even originals is not clear, although there’s a fascinating amount of material that was clearly work in progress at some point).

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Photo: Ronald Kienhaus

The book is full colour, softback with lavishly reproduced publicity photographs, photostrips, marketing material, press clippings and some clearly from Galen’s and others’ personal collections. Each album is represented chronologically, a song to each page, with each release accompanied by at least a couple of artefacts and preceded by a quote, either from Kevin or his collaborators. Galen sought out fans’ feedback around 6 months ago about what Kevin meant to them and some of these thoughts are collated at the back of the book as well as various artefacts such as gig tickets which arrived presumably at the same time.

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Photo: Claude Gassian

There are introductions to the book, an eloquent summary by John Payne, a succinct and loving note from Robert Wyatt, and some personal thoughts from Galen, although her personal mark is in fact all over the project in its lovely presentation, alongside some touching photographs of her and Kevin together in her childhood. I suspect if Ollie Halsall had still been alive, he would also have contributed – pictures of his collaborations with Kevin are conspicuous and the Deia connection is captured pictorially on many occasions.

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with Galen Ayers

And if I’ve not commented on the lyrics themselves, then I’ll leave them to you in their entirety to peruse and dissect: often their languid nature mirroring the laid-back nature of the songs; the lapse into silly ditties Syd Barrett style (although Kevin’s were always more knowing); the occasional wry philosophy; the stories of the bon vivant and the lover in his many guises; the cod-tropicana; and the blues-tinged self-references. The one time I did meet Kevin at close quarters, for his live session with the Wizards at BBC Radio 5 with Mark Radcliffe, in one of the most memorable musical evenings of my life, he was effortlessly charming, witty and somewhat baffled by the hectic nature of the furore he had created around him. He craved privacy but attracted adulation. I hope he would be proud of the body of work preserved so lovingly for him here.

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Order signed copies of ‘Shooting At The Moon’ at

http://www.galenayers.com – where you can also buy Galen’s album ‘Monument’

Alternatively order direct from the publisher at

http://fabermusicstore.com/Shooting-at-the-Moon-0571541291.aspx

or

https://www.amazon.co.uk/dp/0571541291/

 

 

 

Steve Hillage Band and Gong, Liverpool O2 Academy Saturday 23 November

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Steve Hillage

After a 3 gig taster in the summer, the Steve Hillage Band set out on a much larger tour in early November, this time with a twist – not only would the current Gong band be the musicians backing Steve and Miquette Giraudy for their extended 2 hour sets each evening, but Gong themselves would be the support act each night. Interestingly enough, this reverses the scenario from exactly a decade ago when Steve, who was then Gong’s guitarist, promoting the ‘2032’ album, did the support act to Daevid Allen’s Gong with a Steve Hillage Band consisting of himself, Miquette, Mike Howlett and then Gong drummer Chris Taylor.

I’m not sure I’ve ever seen a bad gig in Liverpool – I suppose part of that experience is that whilst I’ve  dropped in on many gigs casually in Manchester over the years, every trek down the M62 has been for a special event of some sort.  Plus audiences here seem determined to have something of a party. There’s certainly little standoffishness. The O2 Academy is somewhat more welcoming than its sister venue than the Ritz in Manchester– queues are more manageable, security almost human and the venue, upstairs on a sticky dance floor, somewhat less congested, to the extent that it was possible to navigate around to different spots in front of the stage without seriously cheesing off your fellow gig-goers.

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Kavus Torabi

Gong sensed it too – relatively early in the set Kavus Torabi, already beaming from ear to ear, was encouraging the audience to levitate the dance hall and ‘lose their shit’. The band played for an hour but it felt like longer – it was certainly intense enough for one to have quite legitimately wandered away at the end of their set being satisfied with the evening’s events on Gong’s performance alone. The band played 5 tracks, the new opus ‘Forever Reoccuring’, imbued with transcendental atmospherics and a lovely new twist where vocals (whose lyrics I could not fully decipher) embellish the rising mid-piece section; a rather splendid version of ‘Rejoice!’ where Kavus pulled out an extraordinary guitar solo; ‘You Can’t Kill Me’ with an unexpected highlight when Dave Sturt’s bass sound packed in, memorable because of his bisonesque re-joining of the fold once order was restored (“I WAS quite angry”, he later told us); ‘Sawtooth Wake’, a polyrhythmic assault on the ears interspersed with some sweet multi-harmonised vocals; and finally ‘Insert Yr Own Prophecy’ which appears to have become the set-ender of choice, particularly with ‘Master Builder’ off the menu, for reasons which will become obvious. Personally I’d have selected ‘The Elemental’ as my closer and worked backwards – its guitar crashing and discordant vocal harmonies are completely the calling cards of this particular band.

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Ian East

 

There are interesting parallels here from a gig I saw in Liverpool in the Nineties where the Wizards of Twiddly played a solo set and then backed Kevin Ayers for the main event. There was a clear contrast then between the Wizards’ madcap lunacy and Kevin’s languid tunes, and whilst there is less distance between Gong and Steve Hillage Band in terms of genre, Gong were also clearly not out to make up the numbers: their performance was a total barrage on the senses: cacophonous, embracing and utterly uplifting – if Kavus had indeed helped to levitate the building it would also have taken a small army to scrape the audience back off the ceiling.

Not that there was much respite. Assembled in pretty much the same order on stage, the core Gong band were augmented in the centre by Steve Hillage and Miquette Giraudy (on keyboards) for the main event. Set against a mesmerising backdrop of visuals and some fairly intense strobes, the Steve Hillage Band continued an all encompassing sound built around Steve’s effortlessly fluid and often blistering guitar work. If I can’t recall note for note the entire setlist, there was familiarity everywhere: entire swathes of ‘Fish Rising’; big chunks of ‘Green’, some of the celebrated ‘covers’ such as ‘It’s All Too Much’ and ‘Hurdy Gurdy Man’ and more novel outings such as ‘Om Nava Shiva’, ‘The Fire Inside’, the jaunty ‘Motivation’ and a rousing ‘Light In the Sky’ (with Miquette exuberantly conducting the crowd for the chorus).

 

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Steve Hillage, Kavus Torabi, Dave Sturt

It was great to see Ian East’s array of instrumentation and the sound of flute and tenor sax breaking through the melee – there was one memorable moment where I was thinking ‘that sounds like a bassoon’, before realising that, of course they were probably Lindsay Cooper’s lines from ‘Fish Rising’,  perfectly captured; other lines dextrously mimicked Dave Stewart’s keyboard work on the original. Elsewhere Kavus’ intricate dual guitar lines with Steve Hillage proved just how tight this band is. And every time you looked stage right there was Fabio Golfetti, implacably conjuring up the atmosphere on glissando guitar. We were musing later on in the pub (with some of the band) on the phenomenon of the glissando sound: I regard it as a gift from Daevid Allen to an entire genre of music – this otherworldly, evocative sound underpins so much music I listen to that it’s almost become a soundtrack in its own right (or as Billie Bottle recently put it, in relation to Brian Abbott, ‘a heavenly chorus (of teapots)’) The assembled number agreed that Fabio’s work in this regard is only rivalled by Daevid’s own. It’s funny what personal recollections you come away from gigs with, but another memento was when most of the band seemed to congregate around the drum kit which, due to the visual projections at the time, placed  Cheb Nettles at the base of a pyramid – intentionally or otherwise this seemed symbolic  in terms of his phenomenal contributions to the band’s base.

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Miquette Giraudy

In terms of tracks: well, the ‘Dervish Riff’ weaved away as bewitchingly as ever, ‘Hurdy Gurdy Man’ truly wigged out in its instrumental extension, but for me the highlight of the set was ‘Ether Ships’, in its remarkable simplicity and intensity – Steve, with his head slightly cocked to the side, subtly building up the anticipation rave style – it was as if time was suspended for a brief moment whilst we were working out which way things would break. If ‘Master Builder’ was the expected encore, it did not disappoint, less grandiose in its airing than the current Gong’s version, but memorable as all members of the band (bar the drummer) out front, singing the IAO chant well into the main riff. And, as this audience clearly weren’t willing to let the band go even at this late stage, they finished off with ‘Never Glid Before’, an instrumental version of almost deranged tempo, gradually upping the ante to its glorious conclusion.

Back down in the foyer, punters were gathered in front of the GAS stall, reinforced with extra personnel and artefacts, Kavus and Dave Sturt mingling amongst them and spreading the bonhomie of an extraordinarily upbeat night. Later in the nearby pub Ma Egerton’s, just a hint that the band were starting to wind down a little towards the end of what must be a gruelling night after night schedule, nice chats with Dave and Kavus (who was fighting off adulation from all-comers), a brief word with Ian East in amongst a small collection of Gongheads including several Kozfest veterans and Tom Ashurst who has recently shared bills with both Gong (at HRH Prog) and Here and Now. Finally, a long conversation with Fabio Golfetti, with whom I have been corresponding for 30 years (with the promise of more to come). And I might even have spotted Cheb Nettles briefly, but one can never quite be sure….

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with Fabio Golfetti

Invisible Opera Company of Tibet: Jewel in the Lotus 25th Anniversary issue – interview with Brian Abbott

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When the Gong Appreciation Society branched out in the early Nineties to provide an excellent record label covering Gong and related acts, one of the first releases to appear was a short CD of studio pieces credited to the Invisible Opera Company of Tibet entitled ‘Jewel in the Lotus’, alongside a lengthy live track featuring Daevid Allen as a ‘guest’. The band also took their place at Gong 25 in London during 1994 in that 2 day celebration of Gong and its wider family. 25 years on and the album has been re-mastered and re-released with several key differences – in fact almost half of the material here is new. Its curator and ever present band member, Brian Abbott is justifiably proud of a release which brings together the entire original recording session. He kindly agreed to answer a few questions relating to this release and the band in general.

As we mentioned  in our review of their live CD ‘Surfing The Wave of the Mystery’ earlier this year, the term Invisible Opera Company of Tibet has special significance for Gong fans: references to it occur as far back as the early Seventies. I asked Brian as to his understanding of the term. “I believe it’s always been a part of Daevid’s mythology and the whole Gong story. According to Daevid’s  ‘Gong Dreaming 2’  book The Invisible Opera Company of Tibet are a group of ethereal lamas through which the Octave Doctors broadcast their music. They are said to reside in a cave high in the Himalayas.  They are a conduit through which the Gong vibrations issue forth.”

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Invisibles flyer of unknown vintage from the Facelift archives

The first time I came across the term in a gigging context (or something approximating it) was also the first time I saw Daevid Allen perform – live in April 1988, soon after his return from a long exile in Australia. In an extraordinarily transformative gig, set somewhat anachronistically against the backdrop of the Afro-Caribbean ‘Hummingbird’ club in central Birmingham, with hefty bouncers everywhere and the constant clank of beer glasses, this was far removed from not just any preconceptions one might have had that Daevid might be about to launch a new Gong, but also from practically anything we’d heard from the Daevid Allen repertoire, although it gave some indication of what he might have been up to during his ‘exile’. I can remember the gig vividly over 30 years on, with Elliett Mackrell (later of Kangaroo Moon) on violin and Wandana Bruce on harmonium and voice whilst Daevid predominantly sang simple ballads and devotional chants, interspersed with the odd rather more humorous sample-based material. I can still remember the audience, many sitting cross-legged, listening to this very gentle music, whilst incense chugged out from stage. There was a fourth member too sat in the gloom to the right of stage: I vaguely remember him being introduced as Brian Abbott, a name which did mean something to me at the time (for reasons which will become clear), but as he was playing tablas, (and as we all know Brian is a guitarist), it was only a recent email exchange which confirmed that it was indeed Mr Abbott on percussion.

A series of gigs in 1988 and a number which followed were billed as the Invisible Co-opera. Brian’s name was already familiar to me as the custodian of GAS from what I had also mis-remembered as Ottery St Mary in the West Country (something I’ve just realised I’ve convoluted that from the fact that Harry Williamson recorded a musical interpretation of his father Henry’s ‘Tarka the Otter’ book in Devon). Brian takes up the story: “I started running GAS in 1981.  Everything then was with Gilli and Harry in North Devon.  Initially I just made contact on a friendly basis, (and) went up to stay a few times.  They were putting together Robot Woman 1 (LINK) at the time.  They had a few cassettes that they did via mail order.  Ark Redman was doing that from Ox’s Cross where they all lived.  So in 1982 they were leaving for Oz and the cassette side of things would stop.  I said I would carry it on and we then between us came up with a whole load more GAS tapes for the catalogue.  I ran it as a mail order business from 1981-1988.  I didn’t make any personal money from it but just ploughed back what little money there was into it to keep it going.  In 1988 I just felt I had done my time with it and it was time to pass it on.  I was not sure who was going to be my successor but I had a lot of communications with Rob Ayling and he seemed very keen to do it, the rest is history.” In fact my own first contact with GAS would have indeed been with Brian as, somewhat wowed by Didier Malherbe’s ‘Bloom’, I began a lifelong quest to get his entire discography, starting with the GAS cassette release ‘Melodic Destiny’. But back to 1988…

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Letter from Rob Ayling (GAS) re: Daevid Allen's workshops, 1988 or 89

“When Daevid first arrived in the UK in 1988 he stayed with us in a large communal farmhouse we were all living in (in) Devon.  There was then the first self initiation workshop at Monkton Wylde Cour in Dorset.  Also the first gig at Exeter Arts centre which I organised.  It was billed then as Daevid Allen and friends and it was mostly acoustic.  I played tablas and acoustic guitar.  (We played) songs that morphed into Gongmaison, old Gong songs and sacred chants.  It was sold out. Then Didier came on board when they were in the South of France.  I could no longer continue as I had work commitments at that time.  So very quickly The Invisibles became Gongmaison.” I can remember the bafflement I felt when the original workshop fliers were posted out to GAS followers, both in terms of the content and the prices, but also the excitement as the project progressed to an intensely claustrophobic but exhilarating gig in an upstairs room at the Swinging Sporran in Manchester in 1989 involving Daevid, Graham Clark and Didier Malherbe, and then on to Gong Maison in Manchester and London and onwards – by the time they played at the Going Going/Gong Maison gig Sonic Relief in October 1990 (where I interviewed Hugh Hopper) I’d seen the band a numerous times.

In 1992 Brian resurrected the Invisible Opera Company of Tibet band, but even prior to this there had been other developments involving the project name in other parts of the world. An album simply entitled ‘Invisible Opera Company of Tibet’, and actually dating back to 1987 had appeared from Australia as one of the first releases on Voiceprint Records (the label formed by aforementioned GAS successor to Brian, Rob Ayling) in a collaboration involving predominantly Daevid and Russell Hibbs, but also Gilli Smyth and Harry Williamson. Meanwhile, from Brazil, Brian had been in contact with Fabio Golfetti, these days, of course, Gong’s guitarist. “During the time I was running GAS Fabio was in communication a lot and he sent me cassettes and flexis and albums and this was by The Invisible Opera company of Tibet (Tropical version).  I remember thinking then this really has the Gong vibe, I was very impressed.  When the Australian version released their album I was also made aware of an American version.  I know they did one cassette album. It was 1992 when I had the calling to create a UK version of the Invisibles. Daevid loved it and gave it his blessing.  He loved the idea of all these different bands existing all over the world working under the same banner. It’s an interesting concept.”

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Tim Hawthorn at Kozfest, 2018

On ‘Jewel in the Lotus’, Brian is joined by Jim Peters (keyboards, flute and vocals), Steve Hickeson (drums)  and Tim Hall (bass/vocals), and this is the band I would have seen at Gong 25 alongside other notable performers. “For the most part it was the ‘Jewel’ line up.  Ali Young used to be the dancer with the band but went on to pastures new.  At that gig it was Jackie Juno who debuted with us as dancer, then became (our)  backing singer.  She became the main singer in 2008 when we relaunched the band”. Whilst I would obviously have seen Tim Hall alongside the others at Gong 25, it has taken me a while to piece together his pedigree: at the first Kozfest I went to in 2016, I was aware of a rather wizardly figure appearing on stage as guest vocalist for a band called Shom (he rather stole the show), then as a solo artist Tim Hawthorn at a later festival for a performance I missed. Things only fell into place for me when he sprang on to stage with the Invisibles in 2018 for a manic rendition of ‘Bad Self’, which of course he wrote and sang on ‘Jewel’. I could be forgiven for the confusion given the fact that he goes under several names and even more styles – another early GAS CD release is the beautiful acapella ensemble ‘Silver On The Tree’ alongside other Glastonbury luminaries; he also performs with The Archetypes and has some lovely samples, most notably a cover of Robert Wyatt’s ‘Sea Song’ plus a number of traditional tunes including ‘The Snow It Melts The Soonest , which counts amongst the most beautifully sung music I have ever heard.

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Brian Abbott

Whilst I enjoyed ‘Jewel In The Lotus’ in its original format, the remastered and elongated version for me, (shorn of the bonus live version of ‘We Circle Around’ featuring Daevid Allen which didn’t entirely sit comfortably with the separate studio material), turns it into a significant coherent project in its own right. The strength of the opener ‘Om Mani Padme Hum’, is such that it took me several listens to get beyond it – it is a Buddhist chant which I’d seen Daevid (and Brian) perform in 1988, here turned into a blisteringly rocky number, inspirationally seguing into a version of ‘Master Builder’ which is amongst the very best versions of this track heard performed. This is quite brilliant. ‘All Coming True’, with vocals by Peters, and Tim Hall’s ‘Mysteries’, new for this edition but familiar from somewhere are good rousing knockabout stuff perhaps in the vein of some of Keith Bailey’s stuff with Here and Now (the sleevenotes make a reference to Britpop, which probably does it a disservice). ‘Bad Self’ is a vehicle for Hall’s latent punk sensibilities – a daft OTT performance which is wonderful fun.

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Invisibles in full flow, mid Nineties

The other track from the original ‘Jewel’ is the reggae piece ‘The Size of Minus One’, which is really where I started to sit up, for it is the first of three really excellent dub pieces, which get progressively better. ‘Minus One’ is a turbo -charged number, well paced  with crashing cymbals, echoey top end drumming and a slightly otherworldly soundscape powered by the unmistakeable sound of the glissando guitar, a lesser spotted beast in the world of reggae, but as Steffe Sharpstrings has proven with Here and Now and his various dub projects, a perfect accompaniment. Even more crystal clear are the two vocal dub tracks, both featuring sweet and beautifully harmonised vocals. Both are adapted in somewhat unlikely fashion from traditional tunes – the first a pagan chant entitled ‘Goddess Dub’, the second, the achingly delivered ‘Om Tara’ presumably from Buddhist origins. Both feature guitar chops and tasty licks, roaming bass and nice keyboard touches and effects. Beautifully manicured, these tracks are as slick and refined as one could hope. Perhaps it is because these tracks haven’t been heard before, but after ‘Om Mani Padme Hum’, these are the two I’m continually returning to.

Of the revamp of ‘Jewel’, it felt to Brian like unfinished business – the original recordings had been laid down in only 2 days with many elements done in a single take on a very limited budget. “It had been in the pipeline for a very long time.  Dave Kendall the engineer was never happy with the mixes due to the constraints of time and money.  So it was something that both Dave and myself have kept simmering away, doing bits and pieces here and there.  Eventually realising this was the 25th year we decided to bring it out with all the tracks from the session.  I am very proud of it now as its been lovingly restored and polished !”

The CD comes with equally lovingly curated artwork, a trifold with photos and extensive written memories from three of the musicians plus the producer – a fitting
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Invisible Opera Company of Tibet 2019

At this point it seemed relevant to ask about the current state of IOCOT – 25 years on, how has the band evolved. Recent additions have been drummer Matt Jackson and also Viv Goodwin-Darke joining from Devonian neighbours Magic Bus, joining Brian, Jackie, bass player Phil Whitehouse and keyboard player Julian Veasy. “At this point it is fair to say – find me a band that hasn’t had its ups and downs.  There have been a lot of musicians over the years that have been within this collective, too many to list here. From its interception in 1992 to the present day we have been gigging and producing music.  There have been fallow periods and difficult times but there has always been a presence. At present there is whole load of new material being written by all members of the band (with) lots of different styles emerging, it’s very exciting.  (We are) just about to start editing the new studio album called ‘the Bardo of Becoming’ based on the Tibetan book of the dead and our journey from death to rebirth.  It will be something very different, exciting and challenging.  Hopefully lots of gigs.  We’ll also be doing the Bardo live. “

All of which could include future appearances at local festival Kozfest where Brian has had a presence one way or another in each of the first 10 years’ events. “Kozfest is a wonderful gathering of likeminded souls.  Initially there was this poster circulating on Facebook with Ken asleep in a chair at a festival dreaming of all these bands that were listed around him.  Lots of people commented saying the bands they would like to see.  This soon became a reality, Kozmik Kens Psychedelic dream festival.  I said we would love to play that.  Us and a whole roll call of bands.  Because I play guitar with another band (Global) we have alternated every year since and have played them all.  Feels like home!”

Thanks to Brian for answering my questions. Lots of information about Brian and the Invisibles and a link to purchase to purchase ‘Jewel in the Lotus’ can be found at www.brianabbott.info but the CD will also be available at www.planetgong.co.uk and  www.burningshed.com

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The Invisibles play a Winter Solstice gig on 21st December 2019 in Glastonbury.

Invisible Opera Company of Tibet Discography

1993 Live /studio cassette (“just found a box of new/old stock!)

1994 The Jewel in the Lotus CD (Gas records)

1994/5 Totally Bananas live cassette

2000 Open for Issness (Un released album)

2006 Totally Bananas CD

2011 Live at Sonic Rock CD

2013 Tried So Hard 7” single

2014 Songs from the Temple of Now CD

2019 Surfing The Wave of the Mystery – Live at Kozfest 2018 CD

2019 The Jewel in the Lotus (25th anniversary edition) CD

 

Love from the Planet Gong – the Virgin Years 1973-75 – 13 disc box set (Universal)

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I’ve resisted the lure of the box set for years.  But it’s fair to say that as a regular peruser of the various social media platforms covering Canterbury scene music I’ve rarely seen a level of excitement to parallel the arrival of ‘Love from the Planet Gong’. This 13 disc box set is the baby of Jonny Greene, custodian for practically as long as I can remember of the Gong Appreciation Society and responsible at www.planetgong.co.uk for the hub which perpetuates the wider Gong global family story even beyond Daevid Allen and Gilli Smyth’s physically departure from the Planet. This box set concentrates on a particular slice of Gong history, namely the classic Trilogy era, as well as ‘Shamal’, the album which immediately followed Daevid Allen’s departure.

I’d possibly not realised that this 4 album cycle, which most regard as containing the highpoints of Gong’s career (although that does a disservice to the wonderful ‘Camembert Electrique’) was completed in less than 3 years. It is published courtesy of Universal, or more accurately Virgin, whose confusing tussle for Gong recording rights with Byg/Charly has baffled Gong fans for generations. It’s a massive undertaking, to the extent that this box set is so stuffed with extras that even the ‘core’ albums are padded out with bonuses to reach their digital limits enabling the extra albums to be purely devoted to live performances.

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As my own copy arrived rather late in the day, at the tail end of a gargantuan effort at GAS HQ to mail out individual copies of what appears to be a rather popular release, I was already hearing whispers as to what the highlights might be. Chronologically first, but at the same time hard to top, is the remastered version of ‘Flying Teapot’. It’s not putting too much of a gloss on this to say that on first play I was literally hearing elements I’d not been aware of before. Hand drums, female backing vocals, piano are previously unheralded elements of the trilogy album which often receives the least play: if ‘You’ has always been the pinnacle of the Trilogy era to me, and ‘Angel’s Egg’ its swirling predecessor, then ‘Teapot’ often gets overlooked. Where ‘Camembert Electrique’ was punky, and ‘You’ psychedelic, then ‘Teapot’ is very much the jazzy one: Didier Malherbe’s fluent saxophone work is extraordinary, Daevid Allen’s vocals roll along sleazily but at the same time Tim Blake’s ‘Octave Doctors’ reveals itself in a new sonic glory – with genuinely innovative sounds, let’s not also forget that this predates ‘Flute Salad’ as the first solo piece from an individual band member.

Whilst ‘Angel’s Egg’ and ‘You’ also are remastered, there is less of a marked distance from the originals, and so the magic bullets are elsewhere – on ‘You’ it’s an extraordinary demo of ‘A PHP’s advice’ which stopped me in my tracks – this intricate trio version of guitar, bass and vocals is a sonically cut down version of relative complexity which without doubt tops the original which I’ve always regarded as somewhat throwaway. Similarly ‘Where Have All the Flowers Gone’, possibly superior to its later New York Gong incarnation ‘Hours gone’, is a rousing piece dominated by Tim Blake’s unexpected and cacophonous harmonica.

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On ‘Angel’s Egg’ it is ‘Ooby Scooby Doomsday’, previously buried for me on a taped version of the ‘Live Etc’ album, but actually a quite remarkable track in its own right, lyrically closer to Magick Brother/Mystic Sister -style anti-system posturing, and musically to ‘Camembert’, but benefitting from the Trilogy line-up for its full-blown instrumentation. It’s a lost Gong classic which is at the same time catchy, sophisticated and rather silly. Another highlight is a bonus on ‘Flying Teapot’, the ‘Radio Gnome Premix – Story Narration’ – a self-explanatory spoken word introduction to the gnomic cosmology which previously appeared on the ‘Mystery and History’ double CD of oddities, complete with a brief snippet of verse which I’d previously failed to identify as being from the voice of the much beloved oddball Lady June.

‘Shamal’ has always been the odd one out in terms of Gong albums for me. Whilst ‘Gazeuse!’ And ‘Expresso II’ are not everyone’s cup of tea (although I love them both) they are at least homogenous percussion-dominated jazz-rock of the highest order. ‘Shamal’ on the other hand sits somewhere between this and the ‘Trilogy’ material, complete its own whimsical (but not entirely successful) lyrics. It was really nice to hear this again but testament to the fact that it doesn’t quite match other Gong albums in that it had been so long since the previous time. Highlights are the funk bass of Mike Howlett on ‘Cat in Clark’s Shoes’ and the title track; some very Gallic jazz-rock which gives a hint of where ‘Bloom’ himself might be heading on ‘Chandra’; whilst ‘Mandrake’ serves as a taste of what was to come with later Pierre Moerlen-led projects.

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We’re then into confusing territory for Disc 5 onwards in that parts to me were instantly familiar but I couldn’t always put my fingers on from quite where. The previously mentioned ‘Flowers’ and ‘Ooby Scooby’ were, for the unitiated, ‘lost’ studio tracks which had previously appeared on Virgin’s double ‘Gong Live Etc’ compilation, alongside various snippets of live gigs from, amongst others, the Bataclan, Roanne, Edinburgh, the Marquee and a BBC radio session. What discs 5-12 largely do is source the original concerts for each of these and reproduce them in their entirety, with added tweaking and compiling. Disc 5 is predominantly BBC Radio sessions, the first of which appeared on the ‘Pre Modernist Wireless Radio’ release from 1997, although the better half of that particular CD (with Kevin Ayers as guest) predates the Virgin years and so is not present here. In fact the highlights on this disc are the early January 74 session, with excellent clarity and fine performances, particularly on the jazzy ‘6/8 Tune’.

‘Live au Bataclan’ of course appeared in the first wave of CD releases on Mantra in the Nineties, but even that was truncated – this version is much expanded across a couple of disks. There are high points here, but as they are generally trumped by the next concert document I’ll neatly skip to ‘Roanne’. At this point you might, like me,  have been starting to get a touch of Gong-fatigue. But I have to say that the ‘Roanne’ gig is something else. Although sampled briefly on ‘Live Etc’, this did not include the ‘Other Side/Dynamite’ medley which represents amongst the most extraordinary 20 minutes I have heard Gong perform. Apparently captured at a small intimate venue on the Manor Mobile’s first outing, this feels almost like a ‘live in the studio’ project, announced exultantly with a ‘Hare Ganja’ shout by Daevid Allen before morphing into a quasi-religious incantation which is quite remarkable. All the other classic elements are here: swirling keyboards, ethereal space whisper, soaring saxophone, acute guitar interjections, all-encompassing drumming and warm, shifting bass. It all feels somewhat otherworldly as the piece morphs into ‘Dynamite’, with Didier Malherbe’s repetitive sax response to the main chant taking us almost back to the Soft Machine’s ‘We Did It Again’ mantra. More familiar ground elsewhere after this initial peak, but mention for the ‘Ooby Scooby’/’Est-ce que je Suis?’ segment, which stands up well against a particularly approximate version on ‘Bataclan’ which was rather spoiled by Daevid Allen’s jarring French accent. Interesting that the latter track was resurrected wholeheartedly for this live band having been initially aired in the very early 70s (and captured several times on the ‘Eclectique’ album), another punky dispensation.

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The Hyde Park live CD is rather nifty as it features the band in full promotional glory – a precious document of the full ‘You’ band playing ‘You’ material. Particularly excellent here is ‘A Sprinkling of Clouds’ – largely absent from the band’s set list when I eventually got to see them in the Nineties (unlike practically any other Trilogy track), presumably because Tim Blake’s involvement was essential for any authentic performance. This airing is a masterpiece.

The penultimate discs are the one which catches the band in a brief moment of time between ‘You’ and ‘Shamal’ with Steve Hillage centrestage – this is not only an opportunity for the band to air those ‘Shamal’ tunes, but is almost a double header as the band work their way through a significant part of ‘Fish Rising’. Given that the band is clearly in transition, it is the ‘Fish Rising’ pieces which seem more coherent in a band context, and highlights the fact that perversely there was probably a shorter hop to this Steve Hillage solo album (which of course included many ‘You’ members) to ‘Shamal’. It also feels particularly relevant at present – as I write, the current Gong band are backing Steve in his first major tour as the Steve Hillage Band since the Seventies, themselves playing many tracks from ‘Fish Rising’. Disc 13 is, of course a DVD of Quad mixes of seminal album ‘You’ which will unfortunately require far more sophisticated equipment than I can do it justice with.

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Now: the paraphernalia – the box set comes in, well a box, about 10 inches square, containing 4 separate inserts. Two house the various discs, both in  cardboard trifolds, the first containing discs 1-6 (essentially the four studio albums, the BBC live sessions and the first Bataclan disc), encased in the a reproduction of Daevid’s Flying Teapot Spotters Scroll, the second containing the remaining live CDs, plus the ‘You’ Quad mix DVD in a backpocket, these encased within various artwork including the ‘You’ cover, a Virgin press release circa ‘Angel’s Egg’ and a reproduction of Daevid Allen’s conviction certificate for dope possession in Oxford from September 1974. A further 36-page paper booklet entitled ‘lyric booklets and lyric sheets’ contains not just full lyrics but what I believe are most of the original inserts, including character casts and stories and the pink Pocket Introduction to the Planet Gong A6 booklet which you are encouraged to cut out, fold and staple! You’ll hopefully forgive me if I can’t pinpoint the exact origins of everything within this and the main booklet – everything within here has weaved its way to me at some point in assembling my Gong and Canterbury archive (for which I am indeed grateful) but as I do not have any of the original vinyl LPs I can’t tell what comes from where. No matter, for it is all now generally available to you via the box set.

The main 68 page hardbacked book is the chief exhibit, however. Starting with an extraordinary quote from Daevid Allen which I’ve not seen before essentially pinpointing the start of the Gong vision to him smoking ‘West Indian grass’ in 1961, rather than the oft-mentioned ‘seed vision’ chronicled in his first ‘autobiography’ ‘Gong Dreaming 1’, it continues with considerable commentary from Jonny Greene, much from a personal perspective, both initially as a fan, then from the viewpoint of a life fully invested in the Gong story; some splendid photos I’d not seen before; all of the original album front and back covers in full colour; and particularly valuably, contemporary thoughts from principally Mike Howlett, Tim Blake and Steve Hillage, (and also from the ‘switch doctor’ himself Venux de Luxe). Most startling is the account (from both sides) of the events which led to Tim Blake’s departure from the band which is disarming in its honesty.

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The tracklistings detailed both on the back of the entire box set and within each CD trifold are reprised in much more detail within the hardbacked book, including writing and performing credits and in particular some fabulous commentary from Mike Howlett, who not only reflects on the origins of each recording and gives anecdotal detail about their circumstances, but how he has painstakingly remixed many of the performances to balance out the sound levels, alongside remastering by original producer Simon Heyworth. This is possibly the crowning achievement of the box set, in providing clear sonic improvements to even ears as untutored as my own.

You’ll hopefully forgive the fact that this review not only does not dissect each CD on display in its full minutae – whilst I’ve been listening to all parts of it in varying amounts for a month or so, I know that I will only truly get to know it well over time. It’s an exhaustive and often exhausting chronology, with enough subtle differences as it progresses to start to get a handle on the staged (but in reality relative rapid) transition from Teapot to post-Trilogy eras, with changing personnel, sounds and ultimately styles. Those of you buying it direct from Planet Gong/GAS are rewarded with a few rather nice extras: a full-size teaspotters scroll poster, a reproduction of the ‘You’ mandala in colour, some promotional stuff for both SHB/Gong and Utopia Strong tours, and 3 rather nice stickers for your collection. And the knowledge that in buying directly from the Planet Gong you have in some small way helped to support the surviving musicians from this most extraordinary musical era.

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