- WHAT'S RATTLIN' ?
:: The Weekly
Digest for Canterbury Music
Thursday, May 13th,
AN INTERVIEW WITH PIP PYLE
on the occasion of the reissue of
DELIVERY "FOOLS MEETING"
on Cuneiform Records
One of the last major albums from the Canterbury scene,
and one that actually predates the involvement of former Delivery
members in the scene, "Fools Meeting" is finally coming out on CD,
thanks to the US label Cuneiform. The original album, with has
benefitted from dramatic sonic enhancement, has been enriched with
loads of bonus material - both sides from the ultra-rare "Harry
Lucky" single, a couple of live performances, and the track "One
For You" which is the first-ever recording by the pre-Hatfield
line-up of Phil Miller, Steve Miller, Richard Sinclair and Pip
The album itself not only features Pyle and the Miller
brothers - they are joined by none other than Roy Babbington,
future Soft Machine bassist, and saxophone player Lol Coxhill,
later a member of Kevin Ayers' Whole World. Yet the star of the
show is none of them - it's singer Carol Grimes, an excellent
blues/jazz vocalist. The compositions are written mostly by Phil
Miller (both music and lyrics!), with the addition of a Keith
While certainly different from the later efforts by
Hatfield and the North and the like, this album already had a
distinctive edge. The music can be described as progressive
blues-rock, and although most songs have vocals, there is a high
level of instrumental interplay. In any case, this is undoubtedly
a must-buy for all fans of these players.
I will conclude by praising the late Steve Miller's piano
playing on the album. His highly individual style was featured
prominently on the Caravan album "Waterloo Lily" and is very
recognisable here as well. This reissue is a tribute to Steve, who
left us last December, and while reissues of his other work (most
notably the two duo LPs he made with Lol Coxhill) would be
welcome, "Fools Meeting" is a fine testament to this great
A few weeks ago I met up with Pip Pyle in his Paris home
for an interview about his days with Delivery. Here is the
transcription of our conversation.
* * * * * *
Q: Have you heard the Delivery album recently ?
A: I haven't, no. I heard it about ten years ago. What I
remember of it is in fact more what Phil says about it, that it's
a good record of Steve's playing. It's the last blues record that
Steve ever made. That was already beginning to fall apart, it had
been a quite straight rhythm'n'blues, if not fairly purist blues
band, for quite a while, and Steve was a very accomplished
boogie-woogie piano player. When the group was based around him,
nothing was ever recorded. I think he plays really good on that.
Also Lol, as far as I remember, he does some nice stuff on that,
Lol Coxhill. And Roy Babbington... But I'd actually had an
accident, I'd got a bit of metal in my tendon and all that, so I'd
had to learn how to hold the stick this way rather than that
way... So I wasn't very comfortable drummingwise. And Phil, he
sort of cringes with embarrassment about his playing on it. But
hey, we were really young... I'd be quite interested in hearing it
Q: Was it in any way the starting point of what you did
later on ?
A: I suppose there was some kind of inklings... It gives
some idea of what we'd do. But I really don't think Phil was
really serious about composing. He was more serious about learning
to play guitar at the time. So he came up with a few things more
based on riffs and modal things, rather than the kind of stuff he
does now. I don't think Phil really got his kind of composing
chops, really, until the end of National Health in a way, and the
beginning of In Cahoots, then he really started getting into it.
Although of course he wrote some good stuff before that, "Nan
True's Hole" for instance was a really good riff, but I don't
think he really got seriously into this mad harmony stuff that he
does now, that sort of effort - or rather lack of effort, cause it
comes pouring out of him! But I think that's what his work's been
like more in the last twenty years, should we say.
Q: Would you say Delivery had an original style or was it
just another blues band in the British blues-boom of the Sixties ?
A: Oh, completely, yeah. I think we wanted to be a group
just like all the rest of the blues-boom, that's what came first.
And then when we started taking lots of drugs, and listening more
to Coltrane and jazz things... And we began to wonder, why were
we, white middle-class musicians, trying to do that anyway ? But
we actually did a lot of interesting tours with American blues
artists, and when I think about it, it's fantastic. We worked a
lot for a while, backing people like Lowell Fulson, BB King, Eddie
Boyd, Jack Dupree and all that, great musicians. Cause we were
kind of cheap backing group, and I had a van. I remember Otis
Spann, who was Muddy Waters' piano player, we did a tour with him,
and I can still remember the look of shock on his face when I
rolled up to pick him up at his hotel in my green Weaver van...
This was what he was going to be driving in for the next three
weeks ! (laughs) We were paid about five quid a day for the gigs,
including the van.
Q: Was there a musical environment in the late 60s that
encouraged you to look for a more original approach ?
A: Mostly, it was getting very stoned and listening to
music, and nothing else, for about a year, so apart from getting
really smashed and listening to music all the time... We'd always
done that a lot, but I suppose... meeting people like Roy
Babbington, Robert Wyatt, Lol Coxhill, automatically forced us
into different things. Even Lol played in soul bands like The Gass
and things like that, but I mean... Don't forget that in the late
60s there was a huge improvised jazz scene in England. It was
almost more forceful than it was in America, and certainly more so
than over here [France]. If you listen to some of those records
now like... I was in New York last year, I found that record
called "Things We Like" by Jack Bruce, and there's like, Dick
Heckstall-Smith, McLaughlin and Jon Hiseman on that record. And I
mean, I don't even think of Jon Hiseman as a drummer now, but he
plays fucking great on it. I'll tell you - it sounds quite like
what Robert was playing with Soft Machine. It's very busy, really
tense, exciting drumming. It's pretty free, I mean, you couldn't
put out records like that anymore, people don't. But that school
kind of still exists, but it's completely shunned. Anyway, we were
running into some of that, as well.
Q: Did you listen to the early jazz-rock stuff, like "In A
Silent Way"... ?
A: That was a bit later. I thought the first Mahavishnu
record was great too. "In A Silent Way", certainly, yeah. But at
that point we were already doing something more like jazz-rock,
even way before that, or round about that time, I suppose, yeah.
After the second Mahavishnu record I thought it started to get
very dull, though, and similarly, so did Chick Corea, and so did
Soft Machine, and so did Lifetime. So did all those bands that
looked like, you know, it can only get bigger and bigger... And it
didn't, unfortunately not, no. And I wonder whether Hendrix would
have just carried on getting more and more extroardinary...
Probably. So I don't know, it's just a sort of completely natural
thing. I suppose when we eventually got Hatfield together in the
end, Dave Stewart put more the brakes on the kind of improvised
sort of thing, and pulled it more into structured things; and
Richard was much more into a song sort of thing. Otherwise I think
Phil and I would have got much more extreme, much more of a
marginal thing than it was.
From: Mark Hewins <gong-tourbus>
Date: Wed, 5 May 1999 12:29:22 +0000
Hi A and the Rattlers
Here's the first part of Daevid's tour journal for the
European leg of the tour. The rest will be available on MUSART's
GONG page <http://www.musart.co.uk/gong1.htm>
So people can keep up with what's happening as we tootle
round Europe. This is a 'real time' journal actually from In the
bus and waving hello as I speak to you on e-m are....
Daevid Allen, Gilli Smyth, Mike Howlett, Theo Travis,
Jonny Green, David Id (sound). Keith Missile and Robert the
Pierre is in his car, but I'm sure he's waving too......
Man of the match in Verviers-Theo Travis
Man of the match in Hamburg-Pierre Moerlen
'DAEVID'S NEAR DAILY TOUR DIARY - EUROPEAN
first two gigs yo ho ho
i am writing this from the band bus en route for berlin.
First gig in belgiyum was a rocket shape. Last nite was a gig in
the belly of an industrial brain factory supervised by the mothers
grimm who gave precise orders in galloping voices of cracked
wheat. Singing in this psychic windtunnel was like aiming an
accurate note into a harmonic shredder & then attemting to
walk on melting ice. Well yoo know..the boys done good...nightmare
conditions..survived the adulation by contemplating the undressing
room walls whereupon was writ: Q: wot is the difference between a
musician and a large pizza? A:......a large pizza can feed a
family of four!
Apart from stumbling all over my own nervous
wreckage at the end i waltzed briefly with the white widow
& subsequently piloted the surrealist seascapes of social
signatures with aplomberie.
Pehaps i was alive but today. after a night of difficult
dreams in a hospital for wounded chords i am all of bushy tail
wombat & ready for fun with lily marleine tonite.
meanwholes we eat kilometers below the mustachio
thinking not waving
yoiks and a blarney
From: "Jury Alexander Jania" <email@example.com>
Date: Thu, 29 Apr 1999 16:22:42 CEST
Thank you very much for your wonderful site and
e-mail-list devoted to Canterbury music. Because of them I learned
about the Gong-concert in Wuppertal, Germany, at the 5th of May -
a band that I got to know some 15 years ago as 15 year-old. I
never believed that I would ever see them on stage!
From: Gary Davis <firstname.lastname@example.org>
Subject: Impending Cuneiform releases
Date: Sat, 08 May 1999 23:37:10 -0400
The latest Artist Shop newsletter is out and you'll find
it in its entirety
Here's some snippets that might
be of interest to Canterbury fans.
At the end of May we're expecting five new releases from
Delivery/Fools Meeting - Delivery was founded in late
1966. By the time Fools Meeting was released in 1970, the
band consisted of Steve Miller (piano), Phil Miller (guitar), Roy
Babbington (bass), Pip Pyle (drums), Carol Grimes (vocals) and
guest Lol Coxhill (saxes). Stylistically, their music was an
unusual blend of bluesrock and psychedelia, with underlying traces
of future Canterbury-style. This CD is the first reissue of
Fools Meeting, out of print for close to 30 years. It also
boasts greatly improved sound, never before heard bonus tracks
(including one with Richard Sinclair that was a precursor to
Hatfield and the North!), rare photographs from Steve Miller's
personal archives, and liner notes by historian Mike King!
Hughscore/Delta Flora - Hugh Hopper (Soft Machine, Wilde
Flowers, and many other Canterbury conglomerations) co-founded
Hughscore in 1995 with Seattle musicians Fred Chalenor and Elaine
diFalco. Delta Flora is Hughscore's 3rd release (the first for
Cuneiform) and features, besides Hopper, Chalenor and diFalco, new
Hughscore member Tucker Martine, a Seattle-based drummer. Delta
Flora is an appealing mix of beautifully sung songs and the more
experimental structures that Hopper is ususally associated
with. It marks Hopper's return to collaborating with
singer/songwriters in the tradition of his early work with Robert
Wyatt on Soft Machine Vol. Two.
Djam Karet/Live at Orion - In 1998 Djam Karet were invited
by Baltimore's Orion Sound Studios to perform for two consecutive
nights at the Progressive Rock Showcase Series. The concerts
in Baltimore on September 25th and 26th, 1998, were the band's
first ever East Coast shows. Live at Orion presents the best
of the band's performances from those nights. Recorded live
without overdubs on Orion's 24 track equipment, the CD features
Djam Karet performing reworked material from four of their
previous albums as well as long improvisations. Released on
the band's 15th anniversary, Live at Orion is a celebratory
overview of Djam Karet's music past and present. This is
Djam Karet's second album for Cuneiform and 10th release overall.
Philharmonie/The Last Word - Shortly after Rage's release,
the band went through personnel changes. It evolved into a
trio composed of foundimg members Frederic L'Epee (guitar) and
Bernard Ros (Warr guitar) and a new member, Volodia Brice (drums),
which wrote and rehearsed all material on The Last Word. In
October 1997, after 10 years of work, Philharmonie disbanded. The
band and Cuneiform are pleased to release The Last Word as the
fifth and final CD by this widely loved guitar ensemble.
Fred Frith and Henry Kaiser/Friends & Enemies -
Avant-guitarists Fred Frith and Henry Kaiser have collaborated
over the years on three albums - With Friends Like These, Who
Needs Enemies (both originally released on vinyl by Metalanguage),
and an unreleased live album. This 2-CD Cuneiform release,
Friends and Enemies, collects two decades of their collaborative
work and includes all three of those albums in their entirety as
well as 30 mintues of new material recorded in 1999. Friends
& Enemies is an essential document for those interested in the
work of either Frith or Kaiser, two highly respected and
stylistically distinct contemporary guitarists reknowned for
pushing the boundaries of their chosen instrument.
We have some new releases from Thirsty Ear
<http://www.artist-shop.com/thirsty>. Among them is
Matthew Ship Duo/DNA - After appearing on 32 albums since 1992
(and again in a duo setting with double bassist William Parker),
pianist Matthew Shipp, who won Jazziz 1998 Reader's Poll's "Best
Acoustic Pianist" ahead of Keith Jarrett, has recorded what he has
called the cornerstone of his pyramid of work. DNA is his
sixteenth album as a leader, and as such, he has completed what he
feels is the primary body of his vision. Shipp is operating
at the peak of his powers as a composer on this album, unveiling
with new clarity his unique approach of submerging texture into
Now strictly speaking, there is nothing Canterbury about
Matthew Shipp. The reason I decided to mention him is that
in the IRC Chat we recently had with Robert Wyatt he was asked who
he might be listening to lately that intrigued him. Among
those he listed, he gave very high praise to Matthew Shipp.
So I thought some of you might find that worth checking out.
The Other Road
SUPPORT THE INDEPENDENT ARTIST!!!
Check out the latest
Artist Shop newsletter at
Date: Mon, 3 May 1999 19:11:24 +0100 (BST)
From: Brett Laniosh <email@example.com>
Subject: Quiet Sun
> I'm looking for QUIET SUN album MAINSTREAM. I
can't find it anywhere.
> have anyone heard where I could find it on CD
Good luck in your search. One of my favourite records of
all time. I have the vinyl version. There are a few versions of
the Mainstream songs scattered about. eg Eno sang a version of
Rongwrong on the 1st June 1974
I note that Charles Heyward spent a lot of time with "This
Heat". A band I know nothing about. Any one tell me what their
stuff is like?
[The Quiet Sun album was reissued in Japan a few years
ago, but that reissue is now deleted. Last year, Voiceprint
reissued it, but for some reason it was withdrawn apart from a few
promo copies. I understand a new reissue is intended as part of
the Phil Manzanera reissue programme - AL]
From: philT <firstname.lastname@example.org>
Subject: Wyatt's EPs
Date: Thu, 06 May 1999 17:22:16 +1000
I posted a message very like this to rec.music.progressive
a week or so ago but have had little response and so I thought I'd
ask the same question in this forum :
Is anyone else dissapointed in the Wyatt EPs box?
Although it contains some fantastic material ("I'm a
Believer", "Yesterday Man", "Shipbuilding", "Yolanda", etc) here's
what I have problems with :
1) There's 5 CDs when 2 would have easily contained all of
the material : This has inflated the price of the set above what
I'd normally pay for something like this (in Australia it's
another 50% more expensive than a new 2CD release). But, ofcourse,
I HAD to have the damned thing when I saw it in the shop. Now, I
know the supposed reasoning behind the EP idea (small discreet
batches of Wyatt) but I believe that's just marketing more than
2) Inferior packaging : NO real liner notes for what are
reasonably rare items - unforgivable. Tight as a button cds in
their holders - how may times can you leave fingermarks on cds
before there is some effect?
3) All of the singles (+ Yolanda, etc) could quite readily
be fitted onto "Nothing Can Stop Us". I realise that the cd
re-issue of NCSU is replicating the vinyl but I personally believe
it'd be better to have all of these together on one cd -
especially "Shipbuilding" which should be on there anyway.
4) The Animals soundtrack is probably the worst piece of
music that he's ever written. It works quite well when you
actually see the film but the 'weird' synth sounds he uses are
very basic and don't bear more than one listen.
5) The re-mixes are useless. I've heard many re-mixes of
other artists and, whilst these aren't the worst (probably some of
those found on Can's "Sacriledge" would fit this bill), they still
don't add anything to the original "Shleep" tracks except, in most
cases, that ubiquitous 'trip-hop' sampled drum sound.
All I can say is that, unlike in the past, I hope Robert
Wyatt gets some of the money.
"Gone into hiding, can't abide the latest tidings from the
It's reported hopes are thwarted, nothing of the wonderful
It's resurrection is the purpose of our lives. But who can
How thick the lids lie on my eyes." ['Strayed'
: Slapp Happy]
From: "Terry Collins" <email@example.com>
Subject: Robert Wyatt tracks
Date: Mon, 10 May 1999 12:23:12 +0700
I've just bought Robert Wyatt's EPs ~ thru' Gema Records,
who deserve a plug for their fine service to ex-pats who, like me,
are far from a decent retailer. They're at
I last saw my vinyl collection 12 years ago. Luckily, my
transportable cassettes had lots of Canterbury sounds. So I was
looking forward to re-hearing Robert's interpretations of 'Strange
Fruit', Chic's 'At Last I Am Free' and sundry others. 'Round
Midnight' is included on the EPs. So which CD must I
purchase to 'complete' my collection?
And while on the subject of compulsive completism - has
anyone complied a discography of Robert as contributor ?
eg. Nick Mason's Fictitious Sports
Various ECM albums by Carla Bley and
Hatfield and The North
Eno's 'Taking Tiger Mountain (by
Finally, is there anyone who can recall Eno and Kevin
Ayers dropping into the Capital Radio studio late one night
c.73/74 and giving it loads of alcoholic acousticness?
Any chance they made some releasable noises?
PS. I'm still looking for other folks here in Indonesia
for mutual musings.
And fellow Charlton supporters.
[The ultimate source for information on Robert Wyatt's
various collaborations is certainly Mike King's bio/chronology
"Wrong Movements". It's generally available from good music shops,
I would guess - AL]
From: "Charlotte & Ulrik Stenberg & Fackmann"
Subject: Gong in Hamburg
Date: Sat, 8 May 1999 10:59:17 +0200
I would like to thank you for your on line concert
information, which made me have one of the great
concert-experiences of my life.
Ever since I figurede out that Gong was going to play in
Europe I started planning how to attend one of their performances.
It succeded last monday when I took the train to Hamburg.
It was a fantastic (nothing less) concert and the Fabrik
was a good place. And there were lots of people too.
The one and a half hour long set was based on the
Camenbert and Flying teapot, Angels Egg & You albums -
especialy Camenbert & You. When Allen walked to the stage he
looked like some kinda wizzard - he & Gilli changed costumes
several times through the concert.
It's hard to emphasize one musician alone Morleen is a
world class drummer - probably the best I ever seen. He &
Howlett somehow could make up the band all by themselves. They
were extremely good. The young saxplayer Travis were also very
prolific and played a major musical role.
Thats all for now. The internet is a good thing, sometimes
it provides information & sometimes the information is usefull
From: "Gary & Vicki" <firstname.lastname@example.org>
Subject: GONG/ PORCUPINE TREE REMINDER & NEW DRUMMER
Date: Tue, 11 May 1999 20:36:30 -0400
GONG and PORCUPINE TREE perform at Phantasmagoria in
WEDNESDAY MAY 26,1999
PANGEA MUSIC PRESENTS A DOUBLE BILL OF:
Featuring the CLASSIC 70's GONG LINE-UP:
DAEVID ALLEN * GILLI SMYTH * DIDIER MALHERBE * MIKE
with new members on drums and guitar CHRIS TAYLOR * MARK
STEVE WILSON * CHRIS MAITLAND * RICHARD BARBIERI * COLIN
Nightclub and Record Store
11319 Elkin Street, Wheaton, Md. 20902; 1-301-949-8886
PERFORMANCE BEGINS 8:00 P.M.
ADMISSION $18.00 AT THE DOOR, GENERAL ADMISSION
STRING OF THE SHOE INFORMATION: 1-410-521-4520
Chris Taylor replaces Pierre Moerlin on drums, who
departed during the European tour due to fatigue.
PLEASE FORWARD THIS MESSAGE TO OTHER PEOPLE YOU
THINK MIGHT BE INTERESTED!!
From: email@example.com (R D)
Subject: Gong in Los Angeles 6/2/99
Date: Mon, 10 May 1999 02:08:34 -0700 (PDT)
FYI - Gong is scheduled to play the House Of Blues in West
June 2, 1999. Brand X is support act. No date
is listed for June 1.
From: firstname.lastname@example.org (Roger Bunn)
Subject: What's rattling
Date: Thu, 06 May 1999 23:58:52 +0100
This is a triple header for publication in What's
Rattling, Along With details of this months Mihra London
demonstration, and a great piece on UK Arts and double standards
on human rights
Enjoy. And thank you.
* * * * *
The whole story : Laurie Allan.
John McLaughlin's (now famous) album EXTRAPOLATION.
True. Lol got a call in Jan 69. But the recording
session? It really "didn't happen". The bass drum pedal
broke, which didn't help very much. "After all, Ginger Baker was
the first choice, but he didn't show up at the studio. As this was
both a problem for all concerned and a very unprofessional piece
professionalism I was called at 1 o/c in the afternoon. I
had to hurredly sling my drums into a taxi and get to the studios
where I had to make a valiant attempt at playing these very
complicated tunes from scratch. (With no rehearsal). But for some
reasons they decided to re-record things later again. I wonder
whether this is really true. And if so I wonder why they decided
to do that and what happened with the original recordings?
Alan Skidmore was the tenor player, and Giorgio Gomelsky
(Yardbirds manager and involved with Gong at one time) was the
producer and was also there. Then GG went to NY. Daevid A could
tell about that. It was not a demo situation and they had booked a
studio to do a full version of an album. I think Brian Odgers was
on bass but it could have been Rick Laird. But i can't really
remember. But as the session were not to the standard necessary,
the album was rerecorded. The tapes? "I imagine that they got
scrapped", says Lol Allen.
"So the original drummer didn't show. I go down there at
the last minute. I can't even remember how long I was there. But
let's face it. It was a very difficult project under such
circumstances. When the record came out John Surman was on
the final tracks". "I must add that no one but Roger and Trevor
Watts, has ever asked me about this period of my career".
>(besides Laurie) you also played in Gunter Hampel's
group TIME IS NOW
(Roger's note: There was one gig at the Little Theatre
Club the three of us. Lol, Gunther and I that I remember.
But maybe there was another that we did at the ICA . Lol then
spent a year with Gunther. No albums. Again Giorgio had
moved to Paris and as Lol suggests, "made a lot of promises but
nothing came through".
>Is that true? Also, do you know how Laurie got
involved with Gunter?
Through Jon Stevens.
>I assume that Laurie was the one who brought John
>into this band later on.
"This is true", says Lol. "I gave him a call and asked
John if he wanted to go to Antwerp. I have a piece from the NME
where he talks about that. So John said "yes". (Roger note. If I
remember correctly Gunther offered this gig to me on bass, but as
I had some personal problems at the time, I turned it down). Lol
may even have suggested using Dave Holland to Gunther... Who went
to NY in the 70s. "He came out and played in that band for most of
1968 and then we both came back together at Christmas and in Jan
the following year. Then I had the phone call about Ginger not
Both had played before together in Pete Brown's First Real
Poetry Band. "Yes", says Lol. "I think that's where I met John.
For John was never (not like Roger Bunn and I and such as the
Spontanious Music Ensemble, Chris McGregor, John Surman, Trevor
Watts, etc etc) part of the Free Jazz thing in London, the Little
Theatre Club. We used to do the Middle Earth club with the Poetry
* * * * *
The "liberationist ambitions" of Arts in the UK
Further Degrading the UK arts :
>> The Big Story <<
Smith in China
No, it's not the new opera (a followup to "Nixon in
China") but the latest jaunt by Culture Secretary Chris Smith, who
led a delegation of British media executives on a trip to China
The agenda was packed - BBC WorldWide Chief Executive
Rupert Gavin wanted to sell the Chinese broadcasters
'Teletubbies', David Elstein of Channel 5 was no doubt looking for
cheap material to fill his schedule, and Smith and his civil
servants wanted to persuade the Chinese authorities to impose
heavy penalties on copyright pirates. The widespread copying of
Western CDs, videos and tapes is a major concern for the 'cultural
industries' - or at least the global corporations who own most of
our artistic copyright and want to make money out of the Chinese
<Jeez, great for the cartel, but nothing for the
independents at all.)
However Smith apparently had neither the time nor the
inclination to discuss - or object to - the fact that Chinese
authorities routinely block broadcasts of the BBC World Service,
harrass journalists and jail people who pass lists of email
addresses to US-based human rights organisations. Evidently the
repression of free speech and the censorship of TV, cinema and the
Internet have nothing to do with the arts or culture in the minds
of our media elite. After all, Rupert Murdoch's Star TV was only
to happy to throw BBC World off its Asian satellite in order to
pacify the Chinese government.
Presumably Rupert Gavin (who now runs BBC World) and David
Elstein (who was working for BskyB at the time) had an extended
opportunity to discuss whether selling sanitised and safe TV
programmes to a government which attempts to control everything
its citizens see and hear is more or less morally repugnant than
colluding in the censorship by limiting the news provided to the
country from outside.
This visit also demonstrates yet again that for the Blair
Government arts and culture are primarily an industry, one which
can improve our balance of payments and perhaps increase our
international standing. Freedom of expression and the importance
of the arts to the quality of life for everyone obviously don't
figure in their calculations.
Calculate your own contribution to the national economy.
* * * * *
The Olympics 2000 = BURMA OUT
The Music Industry Human Rights Association has been
highly critical of the states "war on drugs" in the past. It sees
no reason, apart from a cessation of state ineptitude / treason on
the subject, not so to continue.
Australia must not invite Burma. But get "its own house in
order" in regard to a treaty and the many problems of its
disenfranchised native population.
The first demo times : 4.00 til 7pm.
MAY 14th and May 27th :
The 9th anniversary of the "lost" election.
Australian High Commission, Australia House, The Strand
(on the corner of Fleet St, near the Law Courts), LONDON WC2.
Nearest Tube : TEMPLE on the District Line / Nearest Mainlines :
Waterloo and Charing Cross / Buses : 4, 9, 11, 15, 23, 26, 76, 91
The Free Burma Coalition :
Write to your parliamentarians.
Send them all an invitation. To your own national demos.
From: Niko.Paech@t-online.de (Niko Paech)
Subject: Re: WR#126
Date: Wed, 5 May 1999 14:13:22 +0200
This information might be of interest for all rattlers:
*International New Jazz Festival Moers Germany 21.05. -
...some highlights from the program ...
* * *
Fred Frith - Old Friends + New Heroes
(A projekt with many other musicians, among them FRED
FRITH - guitar, TIM
HODGKINSON - reeds, CHRIS CUTLER - drums)
* * *
Lindsay Cooper Song Projekt
(LINDSAY COOPER - comp, PHIL MINTON - vocals, MAGGIE
NICHOLS - vocals, and
(FRED FRITH - guitar, BILL LASWELL - bass, CHARLES HAYWARD
- drums, Oz Fritz -
* * *
Fred Frith + Tens Serenity
(FRED FRITH - guitar, CHRIS CUTLER - drums, and many
Bye, Niko Paech (Oldenburg, Germany)
PS: Yesterday I attended the GONG concert in Hamburg. Wow,
what a fantastic
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info
: check out the 'Concerts' page of CALYX]
Jun 12 - Diss (Norfolk), The Park Hotel
Info: Ron Keenes <mailto:email@example.com>
Phone: (0)137 985 4206
or (0)137 985 4513
* EUROPE [with Theo Travis - sax/fl]
May 13 - Udine (Italy) (tbc), Teatro Pasolini Cervignano
May 14 - Northern Italy (tbc)
May 15 - Cavaillon (between Avignon/Marseille), Le Grenier
a Sons [info: 04-90-06-44-20]
May 16 - La Voulte [near Valence] (France), Salle Des
Fêtes [info: 04-75-52-11-12]
May 17 - Brainans (France), Le Moulin de Brainans [info:
May 18 - Ris-Orangis [near Paris] (France), Le Plan [info:
Aug 06 or 07 - Frieburg (Germany), Festival (tbc)
* U.S.A./MEXICO [with Didier Malherbe - sax/fl]
May 26 - Wheaton (MD), Phantasmagoria [info: 301-949-8826]
May 27 - New York City (NY), Knitting Factory [info:
May 29 - San Francisco (CA), Palace of Fine Arts
[Progfest'99] [info: 831.425.0434]
Jun 01 - L.A. area (tbc)
Jun 02 - West Hollywood (CA), House Of Blues
Jun 03 - San Juan Capistrano (CA), Coach House [info:
Jun 05 - Mexico City, Teatro Bella Epoca [double header
Jun 06 - Mexico City, Teatro Bella Epoca [double header
Jun 08 - Milwaukee (WI), Shank Hall [info: 414-332-3061]
Jun 09 - Chicago (IL), House of Blues [info: 312-923-2029]
Jun 11 - Cleveland (OH), Phantasie Theatre [info:
Jun 12 - Philadelphia (PA), TLA [info: 831-425-0270]
==> GONG GLOBAL FAMILY
GODDESS T [G.Smyth-D.Allen-O.Allen-T.Wandella]
GONG TRIO [ex-Brainville] [D.Allen-H.Hopper-C.Cutler]
Jun 23 - Tokyo, On Air West (tbc)
Jun 24 - Tokyo, On Air West (tbc)
Jun 26 - Kyoto, Taku Taku (tbc)
Jun 27 - Okayama, Pepperland (tbc)
Jun 28 - Osaka, Club Quattro (tbc)
The album "The Children’s Crusade" by Brainville (Daevid
Allen, Mark Kramer, Hugh Hopper and Pip Pyle) will be released by
Knitting Factory Records on May 18th.
==> MAGICK BROTHERS (D.ALLEN/G.CLARK/M.ROBSON)
Aug 11 - Cornwall (tbc)
Aug 13 or 14 - Wimbourne, Gaunt's House Gathering
[more dates t.b.a.]
==> ANNIE WHITEHEAD / ROBERT WYATT PROJECT
Oct 10 - Nottingham / Nov 12, 13 or 14 - London, QEH (Jazz
This project will consist of Robert Wyatt compositions
performed by a 10-piece band featuring Julie Tippetts (vocals),
and Ian Maidman (vocals/bass), Didier Malherbe (sax/fl), George
Khan (sax), Harry Beckett (tpt), Jeanette Mason (kb), Liam
Genockey (d) and Gazy Azuks (pc). Please note that Robert Wyatt
*will not* be appearing, although he will be attending various
rehearsals to lend his ideas and direction.
==> BARBARA THOMPSON'S PARAPHERNALIA - UK TOUR
May 26 - Taunton, Brewhouse Arts Centre (Coal Orchard)
[7.45pm] / 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) [8.00pm] / Jun 04 - Gravesend (Kent), Woodville Halls
Theatre (Woodville Place) [8.00pm] / Jun 06 - London, Barbican
Centre (Foyer concert) [12.30-2.30pm] / 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) [8.00pm] / Jun
15 - Newport, Corn Exchange? / Jun 16 - Camberley (Surrey), Arts
Link (Knoll Road) [8.00pm] / Jun 18 - Kendal, Brewery Arts Centre
/ Jun 20 - Manchester, Royal Northern College of Music [afternoon
concert] / Jun 24 - Cambridge, Eley? / Jun 25 - Halstead / Jun 27
- Lichfield Real, Jazz & Blues Festival [6pm] (2 sets)
==> INVISIBLE OPERA COMPANY OF TIBET
May 14 - Glastonbury, Backpackers (Crown Hotel) / May 22 -
Bath, Hat and Feather (Walcot St) / May 27 - Exeter, The Bowling
Green (Blackboy Rd.) / May 29 - Carhampton, Recreation Hall / Jun
- Glastonbury Festival, Wise Crone Stage (Field of Avalon)
Jul 10 - Salisbury, Lama Tree Festival / Aug 14 - Devon,
Arlington Court Festival (near Barnstable) / Sep-Oct - small tour
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
AND OTHER GOOD
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
==> 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
==> OZRIC TENTACLES / US TOUR
May 13 - Boston (MA), The Paradise Rock Club / May
14 - Baltimore (MD), Recher Theater / May 15 - Philadelphia (PA),
Theater of Living Arts / May 21 - Cleveland (OH), Odeon / May 22 -
Detroit (MI), Majestic Theater / May 26 - Boulder (CO), Fox
Theater & Cafe
==> MAGMA / US TOUR
May 28 - Chicago, Martyrs Club / May 30 - San Francisco,
Palace of Fine Arts / Jun 01 - Los Angeles, House of Blues / Jun
04 - Mexico City, Teatro Angela Perarlta / Jun 06 - Mexico City,
Teatro Angela Perarlta / Jun 08 - New York City, JVC/Bell Atlantic
==> JAC LA GRECA [Holdsworth-style fusion]
Jun 03 - Peniche "Le Six-Huit"
END OF ISSUE 127
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