- WHAT'S RATTLIN' ?
:: The Weekly
Digest for Canterbury Music
Wednesday, March 10th,
From: "Jakub Jasinski" <firstname.lastname@example.org>
Date: Tue, 23 Feb 1999 21:32:59 +0100
Hi I am Kuba from Poland
Some time ago I lost contact with Jim & Marcia
Now I try to find them, if you know their e-mail please
send it to me.
I am trying to find they on web sites about Canterbury
Music becouse Jim is
one of big fans of it.
Thank You, Kuba.
From: "David Humphries" <email@example.com>
Subject: Canterbury Live
Date: Wed, 24 Feb 1999 10:24:37 UT
Dear fellow rattlers,
It strikes me that very few of you saw our favourite bands
on stage in their heyday. Well, at least that's the impression I
get. I saw Caravan at their peak (to me) - 1974, I think, that was
in Guildford. The band was in fine form and played a thundering
set of their best material, including great renditions of "Love In
Your Eye" and "For Richard".
I saw Caravan, Hatfield, National Health etc. loads of
times then, and I'd love it if others could share their memories
of past gigs with us. I'm not good at telling stories myself.
Keep up the good work - WR has been fantastic, I'm a
subscriber since #11!
From: "FRANCISCO E. JIMENEZ B." <firstname.lastname@example.org>
Subject: "The night of the thuosand soft toys"
Date: Fri, 26 Feb 1999 04:35:47 -0800 (PST)
Cantebury musicians server suggeted to me to ask you.
I am looking for an album of R. Wyatt (I belive) that
includes a song
called "The nigth of the thuosand soft toys" or somethin
Have you heard it ?, I will apreciate if you know it
please tell me
the rigth name of the artist and the albuim if possible
From: Thomas CHAUSSADE <ensp0124@VMESA12.U-3MRS.FR>
Date: Tue, 02 Mar 1999 12:02:23 +0100
I'm a French fan of prog and Canterbury scene in
I'm looking for info on the festival of 7 moons organised
by Daevid Allen.
Do you have detailed info, in particular on the sites in
France but also Ireland... Actually on some sites they mention
Scottland... August anyway.
Thanks in advance.
Subject: Egg/Henry Cow
Date: Fri, 05 Mar 1999 20:52:33 +0400
I'm a frequent visitor of the Mark Hewins excellent MUSART
Canterbury site and I've read on his noticeboard about the new
line-up of GONG for the tour in May.
- Pierre Moerlen and Mike Howlett : the best GONG rhythm
section I think.
- Daevid Allen and Gilli Smyth : GONG can't be GONG
- Mark Hewins and Theo Travis : I'm glad that some new
names join the GONG family. I've heard only a little of Mark's
music and none of Theo's but I'm looking forward to discovering
I hope to see one of the concerts in Germany. Can't wait!
From: "msebek" <email@example.com>
Subject: Spirogyra / Keith Tippett
Date: Fri, 5 Mar 1999 15:01:10 +0100
Hi Ronald and all Rattlers,
Something about Spirogyra. This excellent british folk
rock band released three albums in 1972-73: ST. RADIGUNS, OLD BOOT
WINE and BELLS, BOOTS AND SHAMBLES. All were on
B&C label, CDs are released on German label Repertoire in
1990-92 (they had web site: www.repertoire-records.com, but I'm
not sure with adress). One of Spirogyra singers was fantastic
Barbara Gaskin, known for their late collaboration with Hatfields
and Dave Stewart. All albums are IMO great, but 3rd with slightly
symfonic elements and most of Barbara's singing is best. On second
LP is guested Rick Biddulph (Caravan of Dreams etc.) on mandoline
and dormobile, Dave Mattacks (of Fairport fame) played drums on
all albums. Very good, fresh sounding music.
I have one wish. I'm preparing radio relation about KEITH
TIPPETT and I'm not yet heard these albums: Blueprint (RCA 1972)
and Warm Spirits-Cool Spirits (Vinyl 1976). I would be grateful,
when someone can write me whatever about these records: personel,
type of music etc. Of course, most wanted is recording on casette
or in other format. BTW, Tippett and also Nick Evans , Jim
Dvorak and Roberto Bellatalla are included on new CD 'Zenfish' by
the britjazz band DREAMTIME on SLAM label (see European Free
Thanks in advance, best regards
Milos Latislav (firstname.lastname@example.org)
Subject: March 17th gig with Daevid Allen (Gong) and
Malcom Mooney (Can)
Date: Sat, 6 Mar 1999 13:09:13 EST
ECSP support's the following local gig.
Jeff Melton, ECSP
Daevid Allen's University of Errors and Malcolm Mooney and
Planet will be performing at Bottom Of The Hill in San
Wednesday March 17-St.Patrick's Day.
Showtime is 9:30, tickets a mere $7.00
available in advance via http://www.ticketweb.com
University of Errors are also playing in Los Angeles at
Subject: Egg/Henry Cow
Date: Fri, 05 Mar 1999 20:52:33 +0400
Browsing through Calyx and past WR issues made me realise
something I hadn't thought of previously.
The legendary Ottawa Music Company have sadly remained
undocumented. Yet this ensemble seems to have been vastly
important in the history of the Canterbury/RIO movement.
It brought together members of Egg and Henry Cow, which
probably explains for Geoff Leigh guesting on the first Hatfield
album, and Hodgkinson/Cooper doing the same on "Rotters Club".
It's also amazing to think that John Greaves and Dave
Stewart had played together as early as 1971, a full seven years
before Greaves joined National Health.
Which suggests more musical considerations. Is there
really a missing link there, between Canterbury and RIO ?
For instance, I find the music in Egg's albums
(particularly "Civil Surface") and Mont Campbell's compositions
for the early National Health surprisingly similar in spirit (use
of advanced musical vocabulary may sum it up) to those of Henry
Cow and related bands.
I'd really like to know how much Egg and Henry Cow
influenced each other as a result of playing together under the
collective banner of OMC. I don't want to exaggerate a myth, but I
think this is an important point.
From: jan van driel <driel@fsw.LeidenUniv.nl>
Subject: Wyatt on Lorca CD
Date: Tue, 09 Mar 1999 15:49:06 +0100
I enjoyed the Robert Wyatt interview in the latest issue
of Mojo very much.
A very nice and informative interview, plus some beautiful
pictures. In the
interview, a Spanish CD is mentioned to which Robert has
contributed a song. The CD is called 'De Granada a la
Luna' and was released
on the occasion of the Federico Garcia Lorca centenary. I
have been looking
on the Internet for this CD, but I only found out that
Neneh Cherry also
contributed a song. Does anybody know more about this CD,
i.e., label, how &
where to order it?
Jan van Driel
AN INTERVIEW WITH BRIAN HOPPER
ABOUT "CANTERBURIED SOUNDS"
* * * *
Q - Before "Canterburied Sounds" you have been involved in
projects released by Voiceprint - the Wilde Flowers and
Beggars Farm CDs.
What provided the impetus for these projects ? Why didn't
sooner ? Has there been, as far as you can say, a
significant resurgence of
interest in the Canterbury scene with the new decade ?
What part did the
Voiceprint label and magazines such as Facelift play ?
When did you first
become aware of them ?
A - Such projects were always in the back of my mind to do
at some stage, although in the past, the timing was never
quite right for one reason or another. I had thought as
early as the late seventies of trying to put together a recording
of an up-dated version of the Wilde Flowers using people such as
Pye Hastings and some of the other guys, but it never
materialised. I would say that the reason for these various
releases happening now is a generation effect: those who were
around in the sixties are now at that 'certain age' where
nostalgia begins to creep into their lives and they like to be
reminded of the stimulating times they had way back then and music
is one of the most effective means to stir the memories and
The Wilde Flowers compilation was an obvious one to work
on as so much mythology had grown up around the band. Canterburied
Sounds was initiated after Rob Ayling at Voiceprint, knowing I had
a lot more archive material, asked me to try and do something with
it. I first met Rob about five or six years ago when he visited my
brother's house in Canterbury and told me how much he wanted to
bring-out the Wilde Flowers material (this was after at least two
other specialist labels had approached me). Rob seemed to be the
most enthusiastic, so it went the way of Voiceprint!
I think it was Hugh who first showed me 'Facelift' - it
was an early edition featuring Soft Machine.
Q - Did this project involve a lot of research on your
part, or were most of the tapes handy and ready for transfer ? Was
any sonic enhancement performed ?
A - The tapes/acetates/cassettes were relatively handy as
they had gone around with me during different house moves
although as they were not well documented, I had to spend many
hours listening to them again (many after a lapse of nearly thirty
years!) to figure-out what was of potential interest and how to
arrange the varied material. As mentioned in my sleeve notes
for Canterburied Sounds Volume 1, the music had been recorded in
an ad hoc fashion using very basic equipment (usually one
microphone and a tape recorder and therefore mono) and without
optimising room positions etc. Mostly, the tapes were impromptu
recordings of spontaneous performances or rehearsals and were made
mostly for the moment so that we could hear what our musical ideas
and improvisations sounded like (in contrast, most of The Wilde
Flowers sessions were demo tapes for promotional purposes and were
therefore made in various recording studios - albeit fairly basic
Consequently, after making the choice of material for the
CDs, much work was necessary to reduce background noise and
enhance the signals as far as possible whilst retaining the
original feel of the performances. I carried-out this
processing together with sound engineer, Chris Thorpe of
Serendipity Studios, who not only has some very impressive
computer software for audio editing, but as a musician himself,
was able to lend a 'sympathetic ear' to what I was trying to
achieve. Given all these factors, it is hardly surprising
that the quality of most of the material is somewhat 'lo-fi', but
I thought that because of the historical importance and unique
nature of the material, listeners would accept the low audio
quality and concentrate on the musical ideas and performances
being presented. After all, this is the only comprehensive
archive to indicate the development of the key 'Canterbury'
musicians and their early struggles to express their varied and
often revolutionary concepts.
Q - There is a wealth of material spread over the four
CDs. Was a significant
part of the available music left out, however, because it
was of lesser interest ? Was the number of CDs (4) fixed from the
A - The number of CDs for the Canterburied Sounds project
was not fixed at four
- in fact I had originally thought there would only be two
three - but as there was so much material available and I wanted
as many examples of the various combinations of musicians to be
heard, it ended up as four. There was of course, much more still
unused: some of it was fairly repetitive of stuff already
included; other material was either not so interesting musically
or, of such poor quality as to make it difficult to use.
However, there is still some interesting remaining
material which is possibly worth releasing e.g. a couple of early
UK Soft Machine concerts which Hugh had remembered were
particularly good performances on the night and which I had
recorded at the time. I have just finishing processing
these. Watch this space, as they say!
Q - How did the other musicians featured on the recordings
Wyatt, Mike Ratledge and your brother Hugh) react to this
project ? Did
they have any reservations about seeing their earliest
work released ? Do
you know if they have heard, and enjoyed, the finished
A - There was not too much reaction either way to my
releasing this old material. Possibly Robert might have had
reservations, as he is not always keen to look back on that
period. However, we have always had and maintained a good
understanding over many years and I like to think that he trusted
my judgement in treating this material with honesty and releasing
it (and writing about it) for what it really meant to us at the
There is no reason for any of us to betray our collective,
relative innocence of that time. Mike has little time for
looking back on any of these events, but was mildly surprised that
there were some interesting ideas being pursued at that early
stage. However, I might be completely wrong about their
various reactions! It would be best for you to ask them
Q - The musicians in Caravan were slightly younger (2-3
years) to most of the
ones in Soft Machine. Without going as far as suggesting
there was a"generation gap", would you agree that the influences
of both bands differed significantly, i.e. primarily modern jazz
for Soft Machine, pop for Caravan ? Is this difference to do
purely with the age of those concerned, or also with the
personality of the individual musicians (Pye Hastings etc.) ?
A - I guess it was more to do with the early influences of
the various groups of individuals. Mike Ratledge and myself
had grown-up together through primary and secondary school and
were influenced mostly by 'modern-classical' composers (Debussy,
Bartok, Hindemith, Stockhausen, Varese, Messiaen, Berio, Boulez,
etc. etc.) as well as modern poetry and literature. In addition, I
had particular sympathies with some of the twentieth century
English 'romantic' composers such as Boughton, Parry and
especially Gerald Finzi as well as an early fascination with
ethnic musical forms from other parts of the world - in
particular, the eastern forms; plus of course R&B and R&R!
Hugh and Robert were contemporaries at school and listened
to a lot of modern jazz, especially at Wellington House and
particularly during the stays of Daevid Allen and George
Neidorf. I guess the synthesis and melding of all this came
about to some extent via my visits to Wellington House and
elsewhere by bringing to Robert the R&B and R&R interests
and he playing me jazz (although there were also other
contemporaries of mine at school who were into Mingus, Miles Davis
etc and therefore I had exposure from several directions). At this
time Mike was not really part of this scene - he and I were still
exploring our own improvisations based on the musical forms
mentioned above. I guess you could say that these influences
didn't find expression until Mike started to write extensively for
Soft Machine! Also, he was not interested at all in R&B,
R&R or any pop music. Mike has always ploughed his own furrow!
As to the Caravan musicians, their exposure to modern jazz
was minimal (apart from Pye Hastings), and was more firmly based
in the pop and rock fields. Indeed, one reason for inviting
Richard Sinclair to play with the Wilde Flowers was because he
knew many of the early pop songs including the Beatles! This
was when we were trying to become a more commercially acceptable
Q - The early recordings in the series, made between
1962-64, involve mainly young musicians around 17-20. You were all
big fans of modern and free jazz, rather than rock'n'roll or early
beat music. Ornette and Coltrane rather than Elvis or the Shadows.
Were you at odds with most of the people your age at the time, in
terms of musical interests ?
A - To some extent I've answered this in the previous
responses, but you could say that although initially there was
friction between the various musical influences amongst us, these
were gradually resolved as we altered our horizons and
ambitions. However, you are right in saying that we were at
odds with most other people of our age, but then we had already
started to move into a niche social area! Incidentally, I
always was a fan of the Shadows as well as much of the early
British beat scene (as also was Hugh) - The Shadows were an
extremely important influence on many musicians, even if it is not
cool to admit to it!
Q - A musician not featured on this series, but a very
influential figure of the early Canterbury scene shortly before
the timeframe of these recordings, is Daevid Allen. He was, I
understand, crucial in introducing all of you to jazz, and art in
general. How much does the music on "Canterburied Sounds" owe to
his influence ?
A - Daevid was a large influence, particularly on Robert
and to some extent Hugh through the Wellington House connection in
introducing a lot of previously unheard modern jazz as well as his
overall attitudes and lifestyle. There was less direct
influence on Mike and myself as we were pursuing our own goals and
already had our own influences as previously mentioned, but in the
overall scheme of things Daevid's influence was far reaching.
Q - A surprising thing about the early recordings is the
total absence of
Robert Wyatt's singing. This seems to imply that he only
in singing when he was forced to after Kevin Ayers and
Graham Flight left
the Wilde Flowers. Is this true ? One can only dream what
the music would
have sounded like with the addition of Robert's later
A - I think Robert was always interested in his own voice
and its use in the music, but that his drumming skills and
our need for a strong rhythmic base for the Wilde Flowers limited
his scope for singing during the earlier stages. It was
partly Robert's desire to be more of a 'front man' and to give the
band a more 'sexy' focal point up front that Richard Coughlan was
brought in, releasing Robert from the drum stool.
Q - Around the time of "Volume Two" in 1969, you were
almost a fulltime member of Soft Machine, and one may wonder why
you didn't join. Were there a lack of musical affinity ? Or were
you simply not "available" for full membership, for reasons other
than musical ?
A - The Big Question! Yes, I was heavily involved in
that phase of Soft Machine (and really enjoyed it - especially the
recording sessions) as well as running my own band - Zobe - plus
gigging with several other local jazz musicians. Robert
asked me to join Soft Machine on a full time basis and I must say
I was very tempted. However, I had been working as a
biologist for several years (another parallel universe!) and I was
also studying Ecology and Behaviour for a university degree on a
part time basis in London - something I was keen to
continue. Also, I doubted my ability to contribute on an
increasingly technical level musically (although Soft Machine
would have provided a good vehicle for my own compositions) and
also doubted my capacity to live the ephemeral life style
necessitated by the existence of most bands. I guess it was
partly a lack of self-confidence and also a clash of too many
diverse interests. I was already moving in different directions.
Q - After disappearing from the "mainstream" Canterbury
scene in the early 70s, did you sustain interest in what your
ex-colleagues were doing ? Did this extend to spinoff, or second
generation, bands like Gong, Hatfield and the North, National
Health, Henry Cow, etc. ? How do you analyze the way the scene
evolved in the 70s ? For better or worse ? Any albums you think
are particularly memorable ?
A - Because of the reasons and ambitions I talked about
earlier, my direct involvement in music reduced from the early
seventies onwards. This was also brought into stark focus in
1971 by the suicide of Ron Huie - our final drummer in Zobe.
Although my enthusiasm for the music had been waning, this was the
final act which pushed me further in the directions I had been
pursuing for a number of years. However, I continued to
listen to a wide range of music including the further developments
of particular favourites: Frank Zappa, Jeff Beck and others,
although apart from Soft Machine, Caravan and Hatfield and the
North, my exposure to other generic 'Canterbury' bands was limited
- Egg and Steve Hillage being exceptions.
As for the development of the music scene in general, I
was also disappointed in the way that things were going - I
shouldn't say they were progressing at that stage. This was
especially so with the entire punk thing. I mean, after all
the hard work that many musicians had put-in during the sixties to
raise the whole musical experience to previously unimagined
levels, there was this complete antithesis with crude, simple and
destructive music swamping everything.
Q - In the liner notes, you mention not being involved in
music at all between the early 70s and late 80s, and then slowly
resuming your musical activities, first playing keyboards, then
sax. Do you have any projects ? Were all these archive projects an
inspiration for them ? What can we expect ?
A - One of the main inspirations for resuming more direct
involvement in music
in the late eighties was the availability and development
of exciting electronic instruments - especially synthesisers and
more recently computer sequencing etc. At last I had the
possibility of realising some of the more exotic sounds I had in
my head in the early sixties but without the means to play and
express them at that time. This stemmed from my early
interest in electronic music (Stockhausen etc.) and also from the
use of natural sounds. But being 'out' of direct involvement
in music for so long, it took a long while to regain
familiarity. Also, as a result of my 'parallel universe'
activities as a biologist I spent most of the seventies and
eighties living and working in many different countries, including
a two-year spell in China. This life style made it virtually
impossible to play with other musicians or develop musical ideas
on a practical level.
The various archive projects have been quite incidental
during the last few years to my other musical activities, although
I suppose overall interaction tends to reinforce all the
activities. So what else have I been doing? Over the
last two years or so I have been working with Robert Fenner - a
musician who has had some success in the realms of ambient music,
both under his own name and as a member of 'Runestones'. We
have both been writing for some new projects we are currently
recording, which has enabled me to explore both the exotic
synthesised sounds as well as the natural, ethnic ones I referred
to earlier and to incorporate some other elements such as
saxophones used in both a jazz context and as another instrument.
I am also writing and recording some stuff of my own, some
of which is jazz based, other which is more 'symphonic' (in its
basic, non-classical music definition). I am hoping Hugh
will be adding some bass parts on the more jazz-oriented
stuff. I also have some other ideas relating to up-dated
versions of some of the material from the sixties including some
previously unrecorded songs. I would like to involve several
of the musicians from the early bands in such a project, but this
will require a great deal of organisation and willingness to
co-operate! Who knows, my somewhat unique position in this
whole milieu might just provide the catalyst that is
necessary? In the meantime, watch this space!
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info : check out the 'Concerts' page of CALYX -
see URL below]
A European tour is being arranged at the moment.
May 02 - Verviers (Belgium), Spirit of '66
May 03 - Hamburg (Germany)
May 04 - Berlin (Germany)
May 05 - Wuppertal (Germany)
May 06 - Karlsruhe (Germany)
May 07 - Ebensee (Germany)
May 08 - Munich (Germany)
May 11-13 - Austria (2/3 gigs)
May 14-16 - Italy (2/3 gigs in the North)
May 16-20 - France (2/3 dates in the South-East, possibly
DAEVID ALLEN - FESTIVAL OF SEVEN MOONS '99
Mar 25-31 : California
Apr 24-30 : Cornwall
May 24-30 : France
Jun 22-28 : Ireland
Jul 22-28 : USA
Aug 20-26 : Scotland
Sep 19-25 : near London
DAEVID ALLEN - SOLO DATES
Mar 17 - San Francisco, Bottom Of The Hill [University Of
Mar 18 - Los Angeles, Planet Spaceland [University Of
Apr 18 - Leeds, Duchess of York
Apr 21 - Stoke-on-Trent, Riddles Music Bar
Apr 22 - Cheltenham, Axion Centre
Apr 25 - Exeter, Cavern
Apr 29/30 - Israel [with Graham Clark]
and more t.b.a.
Mar 21 - Paris, Maison de la Radio [with Pierre Bensusan]
May 09 - Bethune (France), Retrospective Concert 79-99
Apr 06 - Hulzen, Centauri Electronic Music Festival [info:
HUGH HOPPER BAND
[H.Hopper-P.Meyer-F.van der Kooij + a drummer]
Tour of Holland in March (tbc)
BILL BRUFORD'S EARTHWORKS / UK TOUR
May 20 - Poole (Dorset), Arts Centre
May 21 - Carlyon Bay (Cornwall), Waterfront
May 23 - Barnet (Herts.), Bull Theatre
May 25 - Newbury (Berks.), Corn Exchange
May 26 - Aldershot (Hants.), West End Centre
May 27 - Banbury (Oxon), Mill Arts Centre
May 28 - Brentford, Watermans Arts Centre
May 29 - London, Blackheath Concert Halls
May 30 - Heath (W.Sussex), Clair Hall Haywards
Jun 02 - Swindon, Arts Centre
Jun 03 - Southampton, Gantry Arts Centre
Jun 04 - Staffs, Lichfield Arts Centre
Jun 05 - Trowbridge (Wilts), Arc Theatre
Jun 06 - Wavendon (Bucks), The Stables
A couple of French gigs in late May.
PIP PYLE'S EQUIP'OUT
There are plans for gigs in the coming weeks by Pip's
reactivated jazz line-up (first gigs since 1995!)
UK and European dates currently being arranged for June.
INVISIBLE OPERA COMPANY OF TIBET
UK tour in March/April (details tbc)
BARBARA THOMPSON'S PARAPHERNALIA
[Barbara Thompson/Billy Thompson/Peter Lemer/Dave Ball/Jon
Mar 09 - Regensburg (Germany), Jazzclub
Mar 10 - Hockenheim (Germany), Pumpwerk
Mar 11 - Nürnberg (Germany), Hirsch
Mar 12 - Kufstein (Austria), Kulturfabrik
Mar 13 - Salzburg (Austria), Rockhouse
Mar 14 - Graz (Austria), Orpheum
Mar 15 - Wien (Austria), Metropol od. Szene
Mar 17 - Budapest (Hungary), t.b.a.
Mar 18 - St. Pölten (Austria), Bühne im Hof
Mar 19 - Oslip (Austria), Cselley Mühle
Mar 20 - Spielberg (Austria), Kulturzentrum
Mar 21 - Linz (Austria), Posthof
Apr 08 - Vlotho (Germany), t.b.a.
Apr 09 - Salzgitter (Germany), Kulturscheune
Apr 10 - Kiel (Germany), Räucherei
Apr 11 - Bremen (Germany), t.b.a.
Apr 13 - Kaiserslautern (Germany), Kammgarn
Apr 14 - Kehl (Germany), Stadthalle
Apr 15 - Pfullendorf (Germany), Stadthalle
Apr 16 - Heidenheim (Germany), Berufsakademie Heidenheim
Apr 17 - Singen (Germany), Gems
Apr 18 - Freiburg (Germany), Jazzhaus
Apr 21 - Osnabrück (Germany), Lagerhalle
Apr 22 - Gronau (Germany), Studio in der Brücke
Apr 24 - Tübingen (Germany), Zentrum Zoo
May 26 - Taunton, Brewhouse Arts Centre (Coal Orchard)
May 28 - Norwich, Arts Centre
May 29 - Brentwood, Hermit Club (plus drum workshop)
May 31 - Bridport, Arts Centre
Jun 02 - Hayward's Heath (West Sussex), Clair Hall
(Perrymount Road) [8.00pm]
Jun 03 - Poole (Dorset), Arts Centre (Kingland Road)
Jun 04 - Gravesend (Kent), Woodville Halls Theatre
(Woodville Place) [8.00pm]
Jun 06 - London, Barbican Centre (Foyer concert)
Jun 06 - Bracknell, Wilde Theatre [7.45pm]
Jun 08 - Cardiff?
Jun 09 - Exeter, Arts Centre
Jun 10 - Cardiff?
Jun 11 - Milton Keynes, Wavendon Arts Centre
Jun 12 - Colchester, Arts Centre plus drum workshop?
Jun 13 - Nottingham, Bonington Theatre (Jazz Club)
Jun 15 - Newport, Corn Exchange?
Jun 16 - Camberley (Surrey), Arts Link (Knoll Road)
Jun 18 - Kendal, Brewery Arts Centre
Jun 20 - Manchester, Royal Northern College of Music
Jun 24 - Cambridge, Eley?
Jun 25 - Halstead
Jun 27 - Lichfield Real, Jazz & Blues Festival [6pm]
Mar 15 - Paris, festival Banlieues Bleues
Apr 06 - Paris, festival Banlieues Bleues
FRED FRITH/CHRIS CUTLER - ITALIAN TOUR
Apr 14 - Torino / Apr 15 - Roma / Apr 16 - Verona / Apr 17
- Meldola / Apr 18 - Bolzano / Apr 19 - Milano
* * * * *
AND OTHER GOOD GIGS :
* North-American tour:
Mar 11 - Chicago (IL), Martyrs / Mar 14 - New York City
(NY), Knitting Factory [with N.Didkovsky] / Mar 15 - Cambridge
(MA), Middle East Restaurant [with Birdsongs Of The Mesozoic] /
Mar 20 - Wheaton (MD), Phantasmagoria [with Pelt]
* French tour:
Mar 18 - Monaco, Salle des Variétés (CV Trio) [info:
06.80.86.16.69.] / Mar 19 - Avignon / Mar 20 - Avignon / Mar 24 -
Annecy / Mar 25 - Besançon / Apr 03 - Strasbourg / Apr 07 -
Toulouse / Apr 08 - Montpellier / Apr 09 - Marseille / Apr 21 -
Dijon / May 01 - Hagondange (near Metz)
* North-American tour:
May 23 - Québec City / May 25 - Boston / May 26 -
Baltimore / May 27 - New York City / May 28 - Chicago / May 30 -
San Francisco / May 31 - Los Angeles / Jun 01 - Seattle / Jun 02 -
Vancouver / Jun 05 - Mexico City / Jun 06 - Mexico City
JAC LA GRECA [Holdsworth-style fusion]
2 gigs in Paris:
Apr 28 - Peniche "La Balle Au Bond" / Jun 03 - Peniche "Le
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
END OF ISSUE 120
WHAT'S RATTLIN' ?
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