::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::
::
::
- WHAT'S RATTLIN'?
-
::
:: The Weekly (or so)
Digest for Canterbury Music Addicts ::
::
Issue #
163
::
::
Sunday, September 10th,
2000
::
::
::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
-------------------------------------------------------------------------
"What's Rattlin' in Canterbury?"
Last week I had the pleasure of spending a couple of days
in Canterbury and meet some of my favourite musicians. Hugh Hopper
played me the superb cover of Soft Machine's "As Long As He Lies
Perfectly Still" he recorded last March with Dave Stewart, Jakko
and Clive Brooks (Stewart's keyboard work is amazing, his playing
and sounds totally 'classic'); and an upcoming compilation of his
song material, "Parabolic Versions", to be released on Voiceprint
soon. This includes three unreleased songs with Lisa S. Kloessner
(a totally new album, not included these, is also coming out
soon), as well as yet another version of "Was A Friend", which
features Robert Wyatt singing on top of the original instrumental
version of the piece, recorded in 1983 during the recording of
Hugh and Richard Sinclair's duo project. This may well be my
favourite version.
I also had lengthy chats with Pye Hastings and Jan
Schelhaas (lots of transcription work ahead!). Pye revealed
exciting news of a new studio album by Caravan to be recorded
soon. This will be a more democratic effort, with Dave Sinclair
offering four new pieces alongside Pye's contributions. I voiced
some fans' desire for some more "progressive" material as well,
which he seemed to take into account, although he appears unsure
as to whether that's the right thing to do. As for Jan Schelhaas,
he is thinking of new musical projects for the first time in a
while, so let's keep our fingers crossed.
An unexpected pleasure was meeting Richard Sinclair. There
was no prior arrangement made for a meeting, but Richard and
Heather turned out to be in town, so I was able to see them for
the first time in years. Richard hasn't really been involved in
creating his own music in recent times, but music is still his
life, as he puts his craftmanship to good use seeling
custom-modified guitars and basses to various musicians in his
Friesland (Netherlands) base. But he also has a huge pile of
MiniDiscs containing lots of musical ideas which he wants to sort
out soon in order to put together new album material. I'm sorry to
report that this is how far Richard is into doing a new album, so
although there is hope, we'll probably have to wait a little while
still. As for possible gigs, no real plans for now, although
Richard still plays the occasional private party as he did in the
USA early in the summer (in Washington State).
During my subsequent stay in London, I attended the
remastering work on the upcoming Caravan reissues. The reissue
programme's supervisor, Mark Powell (organiser of the recent
Canterbury Festival with his partner Glenn Povey), and engineer
Paschal Byrne, were busy transferring the master tapes to digital
format in order to ensure the best possible sound quality. First
in line were the second, third and fourth album - "If I Could...",
"In The Land Of Grey And Pink" and "Waterloo Lily", due for
release in late October. At the same time, Pye Hastings' son
Julian was busy (in another studio) mixing the wealth of bonus
material unearthed for these new versions. This includes an
alternate take of "And I Wish I Were Stoned" and "A Day In The
Life Of Maurice Haylett" for "If I Could...", an alternate mix of
the last few minutes of "Nine Feet" (with different solos and Dave
Sinclair singing lead vocals himself) for "Grey And Pink", and a
totally unreleased 8-minute song complete with brass arrangement,
for "Waterloo Lily". But this is far from the final word on the
subject - more unreleased songs and alternate takes will ensure
that the the eventual CDs be "full right to the brim"... Oh, by
the way, I'm also told that an alternate version of "Golf Girl",
with different lyrics, is also being worked on.
Anyway, Mark and Paschal (a former Decca engineer, now
operating the Audio Archiving Co Ltd, in Decca's former Kilburn
studios) are truly committed to their task, as evidenced on the
recent "Where But For Caravan Would I?" anthology, so superb
packages (with archive photos etc.) are to be expected. After this
first batch of three will come a second delivery, with "For
Girls...", "New Symphonia" (the complete concert) and "Cunning
Stunts". Universal Records are also in the process of licensing
the very first album (the reissue of which would include the great
mono versions of every song), and there is hope to also acquire
the rights to the Kingdom releases ("Best Of Caravan Live", "The
Album" and "Back To Front"), so that the complete Caravan
catalogue would benefit from this enhancement. I'm not sure about
"Better By Far" - maybe Mark would care to comment on the
situation with that album?
Finally, I spent a couple of hours at Mark Hewins' Musart
headquarters, sitting in a sofa occupied just 24 hours before by
Lou Reed (!). Mark played me some of his current music, a lot of
which is available for free download on the Musart website. Mark
says he's still not sure of the future of Musart so grab those
while they're still online! Unfortunately my own connection is
very slow so I was hearing those for the first time. There's a
wide variety of stuff there, with some excellent guest
contributions by Theo Travis, Pip Pyle, Bob Loveday etc. Mark also
played me some of the stuff he's been working on with Carol Grimes
(former Delivery singer), and that too is very interesting. Not to
mention the soon-to-be-released-on-CD duo performance by Mark and
Elton at the Jazz Cafe (London) a few years back, featuring some
of Elton's most lyrical playing ever.
Well, I guess that's about it as far as news are
concerned!
Aymeric
-------------------------------------------------------------------------
From: Richard Wynne <richardwynne@sprintmail.com>
Subject: Dave Stewart
Date: Mon, 28 Aug 2000 22:09:44 -0400
Howdy from the States--
Just acquired a promotional CD from Korg keyboards, called
the "Best of the 01/W". Lo and behold, our Natty Health buddy Dave
Stewart appears playing a quite lovely version of the "Lethargy
Shuffle". Also includes a nice bit by Eddie Jobson, plus pieces by
Keith Emerson, Geoff Downes, Rick Wakeman, Edgar Froese, and Joe
Zawinul among others. Didn't know if you'd seen this item or not.
All the best,
Richard Wynne
Visit the Official Curved Air Website
http://www.curvedair.com
-------------------------------------------------------------------------
From: Eric Rutten <Eric.Rutten@inrialpes.fr>
Subject: Robert Wyatt with Pascal Comelade
Date: Mon, 28 Aug 2000 08:07:18 +0000
Hello all,
Robert Wyatt is singing Weill & Brecht's "September
Song" (which has also been covered by Lou Reed in the past,
amongst others) on the new CD from Pascal Comelade, on "Les
Disques du Soleil et de l'Acier" in France. Roughly, his music
is based on toy-instruments, features many tangos, and also
quite a lot of covers played in a melancolic way. He has already
covered a few Wyatt tunes in the past; on this CD he covers Signed
Curtain.
Cheers,
Eric
-------------------------------------------------------------------------
From: Roger Farbey <R.Farbey@bda-dentistry.org.uk>
Subject: Metropolis
Date: Tue, 29 Aug 2000 09:30:56 +0100
Aymeric
David Kipling asked whether Mike Westbrook's 'Metropolis'
had been
re-released on CD and the answer is yes, on the British
BGO label, a year or so ago. Just to be pedantic I should point
out that Metropolis was by Westbrook's (very good) concert band
and not his 'Marching Band' which came several years later. For
anyone who hasn't heard Metropolis, I do recommend it and WR'ers
can then count the number of Canterbury linked-personnel who play
on the album. By the way, on the subject of British jazz re-issues
from this period, I heard a rumour that all the Nucleus albums are
being re-released later this year in the UK. But frankly I will
believe it when I see it.
p.s. There's a nice feature on Julie Driscoll / Tippetts
in this month's
(September) Mojo magazine which mentions both Keith
Tippett and Robert Wyatt who is quoted as saying of Julie's
'Sunset Glow' album: "If I had a hermaphrodite alter ego, Sunset
Glow would be how I'd like to be".
Cheers
Roger Farbey
-------------------------------------------------------------------------
From: Andrea&Fred <heyokah@telus.net>
Subject: Soft Machine 68
Date: Fri, 01 Sep 2000 11:48:56 -0700
I would like to contribute the following little piece on
Soft Machine
Soft Machine: Just how much of a completist are you?
On the recent Jimi Hendrix release (Live at Clark
University DBRD-12033) available through the official Hendrix
label, Dagger Records, the first track is a Pre-Concert interview
and at about seven minutes into it, we hear a racket in the
background and the racket turns out to be the opening act Soft
Machine. And if you listen really hard you can make out
recognizable tunes and sounds , especially Ratledge and Wyatt.
There you go! Do you need it? Well that's up to you. I thought it
was amusing to hear but I bought it for Hendrix. I would not have
bought it for the Soft Machine thing. And I am a huge Soft Machine
fan. 'nuff said.
Also, check out the new Pascal Comelade CD "September
Song" which has
Wyatt singing the title track. It's beautiful !!
OK thank you for everything
Fred Janosy
-------------------------------------------------------------------------
From: "Peter Giffes" <pgiffes@paradyne.com>
Subject: Caravan video
Date: Mon, 28 Aug 2000 11:46:57 -0400
Peter Carlton....
with regard to the Caravan videos, please let us in the
States know when these become available...As a longtime Caravan
fan, I would like to purchase them asap...
thanks...
Peter Giffes (Pgiffes@yahoo.com)
-------------------------------------------------------------------------
From: Gary Davis <artshop@artist-shop.com>
Subject: Gilgamesh and more
Date: Sun, 27 Aug 2000 16:48:31 -0400
Hi, folks:
The latest Artist Shop newsletter is out and you'll find
it in it's entirety at
<http://www.artist-shop.com/news.htm>. Here are a few
excerpts of interest to Canterbury fans.
Coming late September from Cuneiform
<http://www.artist-shop.com/cuniform>
Gilgamesh/Arriving Twice
Gilgamesh was founded by keyboardist/composer Alan Gowen
in 1973. Alan Gowen later went on to co-found National Health with
members of Gilgamesh and Hatfield and the North in 1975. He left
National Health in 1977, and then rejoined in time for a long
series of gigs, including the band's US tour of 1979. After
National Health broke up for good in 1980, he recorded a few
sessions. Shortly after, Alan Gowen was diagnosed with leukemia
and he died in 1981. This is almost one hour of all previously
unreleased recordings by this legendary "Canterbury" band. The
musicians here later went on to play with notables such as Soft
Machine, National Health, Black Sabbath, Mike Oldfield &
others. This CD features a 16 page booklet jammed with rare photos
and interviews, telling the story of leader Alan Gowen's career,
from his birth until the demise of Gilgamesh. Interest in our
archival Canterbury projects is very high, as witnessed by the
great sales of our releases by Soft Machine, Delivery, etc. This
is the latest in the series.
soundbite
<http://www.artist-shop.com/cuniform/twice.ram>
Thinking Plague/Early Plague Years
Thinking Plague were founded in Denver, CO. by guitarist
Mike Johnson and bassist/drummer Bob Drake in the early 1980's.
They released their first LP, ..a thinking plague, in 1984 on
their own label. Each album cover was hand painted by Bob. Johnson
and Drake then disbanded the group & began working with new
musicians. In 1987 their second album, Moonsongs, was released.
Early Plague Years is a repackaging of the band's first two
albums. These records have been out of print and highly sought
after by collectors for well over a decade and have never before
been released on CD. They have been remixed and remastered, and
the sound is far beyond the meager sonics of the original vinyl
pressings.
soundbite
<http://www.artist-shop.com/cuniform/plague.ram>
The Danubians/The Danubians
East meets West, as acclaimed Seattle, Washington
vocalist/multi-instrumentalist Amy Denio joins with Czech drummer
Pavel Fajt, guitarist Csaba Hajnocy, and violinist/vocalist Gabi
Kenderesi. Nine charming songs that chart the territory where
Eastern European folk influences meet with rock, improvisation,
soaring vocals and accordions! Amy Denio has a number of albums
available under her own name. She has also worked with, or been a
member of: The Science Group, The Nudes, Curlew, George Cartwright
and The Billy Tipton Memorial Sax Quartet. Pavel is best known in
North America for his work with the Czech violinist/vocalist Iva
Bittova. Csaba [pronounced "Chaba"] & Gabi are the creative
force behind Hungary's long-running band Kampec Dolores, who have
released four albums in Hungary. This was recorded live in Italy
& Hungary in 1999.
soundbite
<http://www.artist-shop.com/cuniform/danub.ram>
Djam Karet/Reflections from the Firepool
soundbite
<http://www.artist-shop.com/cuniform/firepool.ram>
Birdsongs of the Mesozoic/Petrophonics
soundbite
<http://www.artist-shop.com/cuniform/petro.ram>
Piero Milesi/Within Himself
soundbite
<http://www.artist-shop.com/cuniform/within.ram>
Coming Soon from Clearlight Music
<http://www.artist-shop.com/clearlight>
Clearlight Symphony/Forever Blowing Bubbles
This album followed the heady success of Symphony by
charting into new territory. Forever Blowing Bubbles is also based
on keyboardist Cyrille Verdeaux's piano and synthesizers but
incorporates a more cohesive group sound featuring
bassist/vocalist Joel Duregenot (ex-Zao), violinist David Cross
(King Crimson) & guitarist/flutist Jean Claude d'Agostini
(Magic Circus). Shorter songs with more variety are featured with
pronounced synthesizer textures and a strong symphonic/psychedelic
ambiance. Long a favorite of certain Clearlight fans, Bubbles was
remastered to provide the best sound quality possible.
Cyrille Verdeaux/Journey to Tantraland
The second chakra (Svadishthana) exists at the sacral
plexus and promotes generation, creativity and expression. Journey
to Tantraland is composed to harmonize the energies and thoughts
of sexual nature. This music is composed to be used for massage
therapy as well as love making. The momentum and modulations of
Cyrille Verdeaux's music work with Tai Chi, meditation and tantra
yoga (tantrism being the yoga of mastery of sexual energy).
Individuals trapped at this level of consciousness tend to view
people and life only through sexuality and selfish pleasure,
creating a debased view of life. Sexual energy expressed through
the free and open movement of Kundalini through the second chakra
has the capacity to purify into love and selflessness,
alchemically transforming the aspirant.
Cyrille Verdeaux/Clearlight Visions
Previously available only as an import, but now reissued
by Clearlight Music, this album stands as true fusion music,
straddling between progressive-rock, classical, modal jazz and
Northern Indian raga styles. This album is a gathering between
fifteen musicians, French, American and Indian forming a
brotherhood and tribe. This album represents the first Clearlight
album produced independently. Freed from the conditions being made
by the mercantile record companies, Cyrille invited all his
musician friends to celebrate this freedom. Particularly
noteworthy is the involvement of jazz violinist Didier Lockwood
who, demonstrates once again, his genius for improvisation. Gong
saxophonist "Bloomdido" Didier Malherbe and Steve Hillage
guitarist Christian Boule contribute their unique musical voices.
The interplay between the musicians here borders on telepathic,
sparks of light flying. Conceptually, Clearlight Visions
represents a reimagining of the possibilities of music and life.
The cover featuring a tantric goddess hovering above the crystal
city is an advanced view of humanity's possibilities to recreate
its existence. This occurs only through the fusion of the races so
that all the threads of mankind combine to create a new human race
of spiritually advanced beings. This exciting journey is
illustrated through the music. Clearlight Visions corresponds to
the color blue, the auric color for universal love, the color of
the spirit. Attributes of blue include communication, creative
expression, peace, truth, loyalty, honesty, reliability,
gentleness, commitment, and endurance.
soundbite
<http://www.artist-shop.com/clearlight/visions.ram>
I'd also like to make mention of Artist Shop Radio
<http://www.artist-shop.com/radio>. If you
haven't been by for a visit yet, I'd highly recommend it. We've
added a few more participants since it was opened about a month
ago including Phil Manzanera and Phil Miller. I think you'll
really like it! Also Cuneiform Records has updated all their songs
on the playlist to their forthcoming releases. So if you want to
hear a track from the new Gilgamesh, check out Artist Shop Radio!
Gary
**************************************************************
Gary Davis
The Artist
Shop
The Other Road
http://www.artist-shop.com
artshop@artist-shop.com
phone: 877-856-1158, 330-929-2056
fax:330-945-4923
INDEPENDENT PROGRESSIVE MUSIC!!!
**************************************************************
Artist Shop Radio
<http://www.artist-shop.com/radio>
Check out the latest
Artist Shop newsletter at
http://www.artist-shop.com/news.htm
-------------------------------------------------------------------------
From: policy.office@mihra.org (Roger Bunn)
Subject: ROGER BUNN AND THE BLUE NOTES
Date: Sat, 26 Aug 2000 10:31:01 +0100
Geoff Castle pianist says:
"While on tour with Nucleus in France in 1975 we called in
to visit Chris at his water mill farm in the South of France near
Toulouse. Roadie Alf Dodd, who may well be on the net, was a great
friend of Chris' and we made a small detour to visit him. I
remember he was a bit upset when we arrived because his goats had
eaten his marijuana plants. On this occasion their goatee beards
were quite in keeping with their general demeanour!"
ROGER BUNN AND THE BLUE NOTES.
I have to apologise at this point for not being able to
tell exactly how long this essential period of my life took to
live. I was taking all sorts of naughties and was my usual self.
That is, he said proudly, "emotionally unstable" ;-) and life had,
same as now, its distractions. However, we are trying to put dates
to these "glory days"?...
* * * * *
Let me try and describe what it was like in the just about
to become "swinging" London of the sixties while gigging with the
band that came out of the Blue Notes once Johnny and Louis had
disappeared to the US and S America with Steve Lacy. The soprano
saxophonist who later abandoned them to their unfunded fate.
Chris or drummer Laurie Allan would call me to tell me
that there was a gig somewhere in the West End, probably the
Little Theatre Club. And I would get the double bass in its case
and head for Ravenscourt Park tube station. Where I would catch a
train, with bass in case and glaringly aware that my "profile" was
hanging on my arm.
At Tottenham Court station I would carry it the few
hundred yards to the stairs of the club and probably arrive well
before the rest had turned up. Ronnie Beer (tenorist) and Dudu
would appear and sort out their reeds, and usually just at the
first stroke of the hour, the large form of Chris would enter.
As Mongezi was never around much Harry Beckett would
occasionally appear for a set. And Laurie's girlfriend Alfie (?)
for whom the two of us, along with Chris Goody and George Khan,
later recorded the sound track of her Dunbar School of Film
Technology movie "Myself is another" would be hanging around and
maybe a few jazz intellectuals rather than SA expats would make up
the rest of the audience.
Exactly on time, "Hello everybody." Chris would say, as he
walked in the door. The small place seemed dwarfed by the man. And
without too many smiles of encouragement to his forces, and
assuming his leadership, (Maybe this wasn't the Blue Notes, a
"co-operative unit" after all?) climb onto the little stage and
sit at the piano stool.
Sometimes he would suggest a tune to Dudu and Ronnie. And
Laurie and I would then "attempt to discover" the realms of
township jazz. But often not. We would play around with a few SA
feels, but from time to time we would take those themes and bring
them into areas where both Laurie and I had "been" before.
But as a gig commenced. He could also sit at the keyboard
for a few moments, as we all looked at each other and waited, and
then take his obvious pianistic talent into clusters of notes, or
a driven and given theme that would encompass rhythmic influences
both from "over the water" and those sonorities which were then
heading our way from New York.
I thought this to be an ideal, but somewhat sweat driven
of a musical progression. And as i had by no to fear such chaos
and probable confusion of fusions, I took breaks. Let them play
alone, drums and piano? Piano and alto? Bowed bass and piano? The
combinations were stimulating but shall we say, seriously
underfunded and totally unrehearsed?
Of course it was also during these breaks that the feels
changed and everyone left playing, apart from Laurie on drums,
would be seeking some new territory to explore and "challenge" and
for the other members of the "McGregor cast" to re-enter and do
their damnedest to be a "contender for the title". And yes, it was
that competative.
But I had another reason for being there. I had an aunt
who lived in Bulawayo, another in Alabama, and it may have been
that I knew already of a man called Steve Biko. Moreover, I cut my
anti-racist teeth on Daddy Charles Mingus' "Fables of Faubus. And
so the relationship between Chris and Dudu, was of special and of
some "competative" interest to me.
These were also nights when the piano would cluster and
around an hour and a quarter later, Chris would bring the first
and only tune to a close. No one dared to end a tune, apart from
Chris. And he wasn't going to do it until he had exhausted
not just himself abut everyone around him. In my opinion, that
would have been sure cool if he had bothered to call a couple of
rehearsals from time to time, but he didn't and so the avant styke
improvisation and township chaos went from the depths of
embarrassment to the heights of "Thank goodness.""
And to be honest, when one is playing at high intensity
all the time and without warning you're on your own, with an
indeterminately long bass solo of which you don't need because
your physical strength has run out. Playing any sort of jazz can
cease to be fun.
But it was fun and we all came back for more. And there
were some really good gigs in amongst all the anarchy. And we
would take 30 minutes or so to recover. Or I would attend the
bathroom wherein i could apply a tourniquet to my golden arm.
Sliding back to front of house just in time to get a drink and a
chat with the guys. But they must have enjoyed my contribution to
these evenings for the band sounded as if it was ready to take on
a different world from that it had left behind. And no one was
complaining. Indeed, those were brave and interesting times.
Such as John Surman would drop in and Harry Miller would
sometimes take over from me for a while. But it wasn't until much
later that i was to meet the bassist who I thought to be perfect
for Chris and the rest of this influencial music, Ernest Mothle. I
would "get back" at Harry and John by turning up to a Mike
Westbrook gig or two, with my double bass in tow, and ready to
make a double double bass thing happen. And it was a great thing
to play with Mike Osborne both then and up until the time he
passed on.
But working with two basses i was looking for something
that compared to a lesser scalecular production. Such as a
Coltrane "Africa Brass" or an "Ole"?
The late Jon Stevens, to whom "time never existed" and
leader of the Spontanious Music Ensemble also got the same
"treatment"..The mood would start to roar from behind and without
bothering to look i would know that during the last quiet period,
Laurie had moved aside and Jon would be in the drum chair, playing
hard, and "Blue Note" and straight through the UK McGregor period.
And I would then return to the Little Theatre Club, usually at
Jons request, to play with his own band of spontanious worthies.
The unrehearsed SME stuff sometimes freaked me. Whereas I
could read a chart, a Basie chart, or any other straight ahead
chart. Jon was putting a scrap of paper in front of my eyes, and
asking me to "tell the time". "Beats me." I thought. meaning, how
can one make a single bar last five long minutes without a repeat?
That's a bass chart?! Shock horror...
Many years later and about a year before he died, Jon
worked with the Musicians Emergency Committee Blues Unit. We all
did a concert at Richmond Rugby Ground, the place where the Stones
were discovered and just down the road from where I now live in
Chiswick, west London. The funniest thing happened. i had asked JS
to fill in because the usual drummer was already working
elsewhere. Half way through some particularly poiniant (sp) blues,
Jon goes apeshit. A serously free form drum solo lasting for 15
minutes. Brought the house down but the blues guys had strangely
shaken looks upon their faces..I got the blame for that huh? I
didn't care a damn. For it was an tres excellent moment from the
past brought for a few precious memories, back to life.
My relationship with Rosanne had ended and I had left the
flatwe shared far behind. However, living put of a suitcase in
someone elses place is not all fun. So I went to live with Chris,
Maxine and Ronnie Beer in Cunningham Gardens.
I was grateful for the time that allowed me to chill out
and for a place that i could stay until I found both a better paid
gig and a new place to live .. Life there was ok. There was a big
kitchen and couple of large bedrooms. And the area has some charm.
And i remember long summer nights walking through the deserted
streets of London with this tall man who seemed to love walking
amost as much as the piano. Aprez gig and walking through the
night with Chris. Both of us high on something or other. And one
guesses that it was the finest Sandoz, the real thing, acid.
And although I remember Chris from both angles and
sometimes as being too damn forceful to make good friends. I got
so mad with him one night when, on acid, he seemed to be goading
me beyond my patience I grabbed the b'stard by the balls. And he
was, shall we say, most suprised?
But on another night as he drove us through south London
in his car and thought that I was going to meet a lady. He told me
to enjoy "playing with my toes"?
"Huh?" I thought. Is this some South African expression
for good luck? And as he wished me well I hated to disillusion
him. Chris had a sort of A plus B has got to equal C. But
sometimes it doesn't.
In fact Chris was dropping me off at the flat of one of
the editors of the International Times. By that time I had found
myself a better paid gig. I was working for pop star Marianne
Faithful and I was earning enough to move out of Cunningham
Gardens and back to the independence of Sheppards Bush in west
London.
During these splendid times of my early twenties, there
are no existant memories of which to listen. We used to head for
the Africa Centre to get stoned and play drums all night. Just to
wait for dawn and walk what by that time seemed the long miles
back to North London. And I did some recording on double bass at
the Africa Centre one summers night. Chris and I on acid too. And
it seemed a little strange that these recordings were more like
the old Blue Note material than anything we were playing live. But
of these? I have never seen nor heard of them since.
Taken from Roger Bunn's soon to be published book,
"The Right Side of The Tracks"
Jazz Against Apartheid was designed to bring a high
standard of entertainment to universities and their like and to
make that final push before President Botha started a civil war
with his policies and entrenchment of minority rule before all
else. These meetings generally concluded after I had answered
"difficult questions" of why they were in existance, and soon I
would leave JAA, never to return.
Alan Brooks had "ordered" me off the board anyway, he was
still somewhat peeved that I had pinched the AAM Golf Campaign
from under its nose and quoted the articles of the movement which
said that no two sub-groups could be run by the same person.
And although I was founder of both, I had to chose between the
two. Of course Alan was using logic and wanted me to stick with
the AAM Golf Campaign, Donald Woods, and Golf Against Apartheid
because I knew more about what was going on around the UK and
Europe than most, certainly more than anyone else in the AAM
including the very valueable and over worked union secondee Karen
Talbot.
OK, Bye bye jazz administration folks, can't say it's been
a pleasure in totale but the almost wonderful concert in Bristol
with Keith Tippett and other doyons of the jazz establishment was
the best of African and British jazz on one stage in the country
and more, a celebration of Golf Aganst Apartheid's Dubai coup. And
with all this happening at the same time, I'm still receovering.
And for that, we are all truly grateful.
----------------------------------------------------------
" There is no such thing as copyright anymore Mr Bunn".
US Admin / CIA. 1994
----------------------------------------------------------
Supporting a Genuine war upon drugs and human rights
abuse.
Sydney 2000 : Burma Out!
http://www.mihra.org/2k/burma.htm
[Thanks for sharing these memories with us, Roger. They
will surely have been of great interest to followers of the "South
African"/jazz end of the Canterbury spectrum - AL]
-------------------------------------------------------------------------
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
*
FORTHCOMING CANTERBURY-RELATED
CONCERTS
*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info
: check out the 'Concerts' page of CALYX]
http://perso.club-internet.fr/calyx/index/concerts.html
==> CARAVAN
<===========================================================
Oct 11 - LONDON, Shepherd's Bush Empire / Oct 12 -
WOLVERHAMPTON, Wulfrun Hall / Oct 13 - MANCHESTER, University (The
Main Debating Hall) / Oct 14 - GLASGOW, Renfrew Ferry / Oct 15 -
CAMBRIDGE, Junction / Nov 17 - Chiddingfold Club / Nov 25 - PARIS
(France), Le Bataclan
Line-up: Pye Hastings, Geoff Richardson, David Sinclair,
Richard
Coughlan, Doug Boyle, Jim Leverton, Simon Bentall
==> GONG
<==============================================================
AMERICA:
Sep 11 - EUGENE (OR), Wow Hall / Sep 12 - PORTLAND (OR),
Satyricon / Sep 15 - DENVER (CO), Soiled Dove / Sep 16 - LAWRENCE
(KS), Bottleneck / Sep 18 - CHICAGO (IL), House of Blues / Sep 19
- MILWAUKEE (WI), Shank Hall / Sep 20 - MINNEAPOLIS (MN), First
Avenue / Sep 23 - HUNTINGTON (WV), Buffalo Gap Community Camp /
Sep 24 - COLUMBUS (OH), Thirsty Ear / Sep 26 - CLEVELAND (OH),
Odeon / Sep 30 - NEW YORK (NY), Knitting Factory / Oct 01 -
PHILADELPHIA (PA), Trocadero Theater / Oct 02 - BOSTON (MA), House
Of Blues / Oct 07 - ANN ARBOR (MI), The Firefly Club
EUROPE:
Oct 17 - VERVIERS (Belgium), Spirit of 66 / Oct 18 -
MODENA (Italy), Vox / Oct 19 - ROME (Italy), Palacisalfa / Oct 20
- TREVISO (Italy), New Age / Oct 21 - RIMINI (Italy), Velvet / Oct
22 - FLORENCE (Italy), Tenax / Oct 24 - VIENNA (Austria), Szene /
Oct 26 - LINZ (Austria), Posthof / Oct 27 - WINTERTHUR
(Switzerland) [nr Zurich], Gaswerk / Oct 28-Nov 03 - FRANCE
(details tba) / Nov 04 - ATHENS (Greece), Radon Club / Nov 05 -
SALONIKA (Greece), Mylos
Nov 20 - LONDON, Hackney Empire / Nov 22 - SHREWSBURY,
Music Hall / Nov 23 - WHITLEY BAY, Dome / Nov 24 - ABERDEEN, Lemon
Tree / Nov 25 - GLASGOW, Renfrew Ferry / Nov 26 - EDINBURGH,
Liquid Rooms / Nov 27 - BIRMINGHAM, The Foundry / Nov 28 -
SHEFFIELD, Boardwalk / Nov 29 - CAMBRIDGE, Junction / Nov 30 -
NORTHAMPTON, Roadmenders / Dec 01 - ALDERSHOT, West End Centre
Line-up: Daevid Allen, Gilli Smyth, Mike Howlett, Theo
Travis,
Gwyo
Zeprix, Chris Taylor + Didier Malherbe [on selected dates]
==> HUGH HOPPER BAND
<===================================================
Sep 19 - ROTTERDAM (Netherlands), Dizzy / Sep 22 - BREDA
(Netherlands), Heijgend Hert / Sep 23 - AMSTERDAM (Netherlands),
Bimhuis
Line-up: Hugh Hopper (bass), Frank v/d Kooij (sax),
Robert
Jarvis (trombone), Oscar Schultze (drums)
==> DIDIER MALHERBE
<====================================================
Oct 05-15 - NANCY (France), Festival Jazz Pulsations
Featuring Didier's new trio with Patrice Meyer &
Philippe Foch
More info: http://www.multimania.com/malherbedidier/
==> PIERRE MOERLEN'S GONG
<==============================================
Oct 19 - ZOETERMEER (Netherlands), De Boerderij / Nov 03 -
VERVIERS (Belgium), Spirit Of 66
=========================================================================
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
*
AND OTHER GOOD
GIGS...
*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
==> BIRDSONGS OF THE MESOZOIC
<==========================================
Sep 30 - PROVINCETOWN (MA), Art Museum [info:
508.487.1750]
==> BILL BRUFORD'S EARTHWORKS
<==========================================
Oct 05 - POOLE, Arts Centre / Oct 10 - BIRMINGHAM,
Midlands Art Centre / Oct 15 - STIRLING, Cowan Theatre / Oct 16 -
ABERDEEN, Lemon Tree / Oct 19 - ARNOLD [nr Nottingham], Leisure
Centre/Bonington Theatre / Oct 20 - WAKEFIELD, Sports Club / Dec
09 - St.ALBANS, Red Note
==> CAMEL
<==============================================================
Sep 11 - HAMBURG (Germany), Fabrik / Sep 13 - BYDGOSZCZ
(Poland), Hala Astoria / Sep 14 - WARSAW (Poland), Sala Kongresowa
/ Sep 15 - KRAKOW (Poland), Wista Sport Hall / Sep 16 - ZABRZE
(Poland), Dom Muzyki i Tanca / Sep 18 - TURIN (Italy), Hiroshima /
Sep 19 - CLERMONT-FERRAND (France), Cooperative de Mai / Sep 21 -
MADRID (Spain), La Riviera / Sep 22 - BARCELONA (Spain), The
Bikini / Sep 24 - VERVIERS (Belgium), Spirit of 66 / Sep 25 -
GRONINGEN (Netherlands), Oosterpoort / Sep 26 - AMSTERDAM
(Netherlands), Paradiso / Sep 27 - TILBURG (Netherlands), 013 /
Sep 28 - ROTTERDAM (Netherlands), Nighttown / Sep 29 - UTRECHT
(Netherlands), Tivoli / Sep 30 - PARIS (France), Le Bataclan / Oct
02 - DUDLEY, JB's / Oct 03 - LEICESTER, Charlotte / Oct 04 -
CAMBRIDGE, Junction / Oct 05 - NORWICH, Waterfront / Oct 06 -
LONDON, Astoria / Oct 07 - LIVERPOOL, Lomax / Oct 08 - SHEFFIELD,
Leadmill / Oct 09 - GLASGOW, Garage / Oct 10 - DUBLIN, Whelans /
Oct 13 - SALONIKA (Greece), Mylos Club / Oct 14 - ATHENS (Greece),
Rodon Club
Updates at http://www.camelproductions.com
==> CHRIS CUTLER
<=======================================================
solo:
Oct 06 - BUDAPEST (Hungary), Big Ear Festival
with PA.LINCK.XL:
Oct 19 - AMSTERDAM (Netherlands), Bimhuis / Oct 23 -
EINDHOVEN (Netherlands), Festival
More info: http://www.ccutler.com
==> JOHN ETHERIDGE
<=====================================================
Sep 16 - BERKHAMPSTEAD, Civic Hall (Sweet Chorus) / Sep 17
- LEICESTER, Phoenix Art Centre (Sweet Chorus) / Sep 30 - MILTON
(Hampshire), Forest Art Centre (Sweet Chorus)
More info: http://www.johnetheridge.f9.co.uk
==> FAUST
<==============================================================
Oct 25 - LONDON, Royal Festival Hall [020 7960 4242] / Oct
26 - COLCHESTER, Arts Centre [01206 500900] / Oct 28 - MANCHESTER,
University Main Debating Hall [0161-832 1111] / Oct 29 -
NEWCASTLE, Whitley Bay
Dome
[0191-454 4494] / Oct 30 - GLASGOW, Old Fruitmarket [0141-287
5511] / Oct 31 - LEEDS, Irish Centre [0113 245 5570]
==> FOREVER EINSTEIN
<===================================================
Residency at CAFE 9 in HARTFORD (CT), 1st Wednesday of
every other month
==> PROJECT LO
<=========================================================
Oct 04 - WATERBURY (CT), Brass City Records / Oct 05 - NEW
YORK CITY (NY), Knitting Factory [two shows, 8/10pm] / Oct 06 -
PHILADELPHIA (PA), Tin Angel / Oct 08 - WASHINGTON DC, Metro Café
Line-up: Bon Lozaga, Hansford Rowe, Vic Stevens, Happy
Rhodes
==> MAGMA
<==============================================================
Sep 20 - LONDON, Royal Festival Hall / Sep 21 - NEWCASTLE,
Whitley Bay Dome / Sep 22 - GLASGOW, The Old Fruitmarket / Sep 28
- FRANKFURT (Germany) [tbc] / Oct 27 - LA ROCHE s/YON
(France) / Oct 28 - LE MANS (France) / Nov 04 or 05 - AMSTERDAM
(Netherlands) [tbc] / Nov 17 - LYON (France) / Nov 18 - MARSEILLE
(France) / Nov 23 - MULHOUSE (France) / Nov 24 - NANCY (France) /
Nov 25 - VITRY-LE-FRANCOIS (France)
==> PORCUPINE TREE
<=====================================================
Oct 02 - LILLE (France), Aeronef / Oct 04 - COLOMBES
[nr.Paris] (France), Salle de Spectacles de la Ville / Oct 05 -
CLERMONT-FERRAND (France), Cooperative de Mai / Oct 06 - MULHOUSE
(France), Le Phoenix / Oct 07 - STUTTGART, Filderstadt Filharmonie
/ Oct 09 - BYDGOSZCZ (Poland), Astoria Hall / Oct 10 - KRAKOW
(Poland), Wisla Hall / Oct 11 - PRAGUE (Czech Republic), Brumlovka
Sky Club / Oct 13 - TRIER (Germany), Messeparkhalle / Oct 14 - DEN
BOSCH (Netherlands), Maaspoort / Oct 16 - BRISTOL, Colston Hall /
Oct 17 - LEEDS, Town & Country Club / Oct 18 - GLASGOW,
Barrowlands / Oct 19 - MANCHESTER, University/"Hop & Grape" /
Oct 20 - NORWICH, University of East Anglia / Oct 21 - LONDON,
Hammersmith Labatts Apollo
All these dates are in support of Dream Theater except Oct
19
==> PRESENT
<============================================================
Sep 30 - WURZBURG (Germany), AKW / Oct 19 - POITIERS
(France), Confort Moderne / Nov 01 - ANVERS (Belgium), Monty
+ dates to be fixed: KLAGENFURT (Austria), Verein
Innenhofkultur / TRIESTE (Italy), Teatro Miela Reina / SZCZECIN
(Poland), Kana Theater
Line-up: Roger Trigaux, Reginald Trigaux,
Pierre
Chevalier, Keith Macksoud, David Kerman
==> SCHIZOTROPE [R.PINHAS/M.G.DANTEC]
<==================================
Oct 5/6 - PARIS (France)
==> VOLAPUK
<============================================================
Sep 29 - ANNECY (France), Le Brise-Glace / Sep 30 -
GRENOBLE (France), Theatre Le Rio / Oct 11/12 - MONTREUIL [nr
Paris] (France), Les Instants Chavires
=========================================================================
=========================================================================
END OF ISSUE 163
_________________________________________________________________________
WHAT'S RATTLIN'?
- WHAT'S
RATTLIN'? -
WHAT'S RATTLIN'?
_________________________________________________________________________
CALYX - The Canterbury Website
http://perso.club-internet.fr/calyx
THE ULTIMATE ONLINE CANTERBURY DISCOGRAPHY
http://perso.club-internet.fr/calyx/cantdisco
WHAT'S RATTLIN'? BACK ISSUES - ONLINE ARCHIVE
http://musart.co.uk/watrat/watrat.htm
+ search engine : http://musart.co.uk/ssearch.htm
* To subscribe, send me an e-mail with 'WR sub' in the
subject line.
* To send a message for inclusion in the next issue, send
it with 'WR: [subject]' in the subject line.
* If your e-mail address changes, please notify me and
mention both your old and new addresses so I can remove the former
and add the latter.
* If you can no longer receive WR or don't want to
anymore, don't forget to unsubscribe! (i.e. send me a message)
* All contributions are welcome! Please write to:
CALYX@club-internet.fr
_________________________________________________________________________