- WHAT'S RATTLIN'?
:: The Weekly (or so)
Digest for Canterbury Music Addicts ::
Sunday, September 17th,
AN INTERVIEW WITH KEVIN AYERS
Earlier this year, Market Square Records released "Turn
The Lights Down", a live album recorded in 1995 during the UK tour
Kevin Ayers did with The Wizards Of Twiddly - these concerts were
hailed by many of Kevin's fans as some of the best in this career.
Early last June, I drove to Kevin's home in the South of
France to talk about the album and the current state of his
career. As you will see, Kevin is quite pessimistic about his
future in music these days, however this doesn't mean he's
depressed or cynical about it. At the end of our conversation he
even asked me to pass on a message to any group of musicians
willing to collaborate with him on a serious and professional
artistic project that he welcomes any offers!
* * * * *
Q: Let's talk about your new live album, "Turn The Lights
Down!". How did you come to work with the Wizards Of Twiddly ?
A: Well it all started at a gig in London where we were
both playing. I guess I sort of invited them on to play something,
and they, strangely, knew some of my songs, though I'd never met
them before. They obviously liked some of my stuff, and they had
some knowledge of the music, so they came and played, and it
sounded really nice - especially the brass section. And so we got
together and we did a little tour, did a few gigs, one of which
was the live album. I'm not entirely happy with the sound of it -
I think the voice is way too loud, but it seems they couldn't
change it afterwards.
Q: It's taken from the mixing desk, I understand, so there
was no possibility to remix it?
A: Right. I wasn't happy with the balance... and also, you
can't hear the audience at all. Really, all you can hear is... it
sounds like two people in the toilet!
Q: So it took a lot of convincing to let you release this?
A: It did, yeah, they went through hell with my track! I
made them change it, trying to get the sounds back, take the voice
down, and stuff like that. They did some work on it, but there's
not much you can change... Things were there as they were, and
that was it, you know. I mean, they used some good engineers, and
tried to get it together again. But for me, it still isn't right.
I mean, it's a nice occasion, but for me it really misses the
audience, cause the audience was really loud, you know, and I
appreciate it. And for a live album you need that - and you can't
hear that at all.
Q: I remember at the time there was talk of more
collaboration, a new album and stuff. So why did it fall apart so
A: It falls apart because no-one is there to organise it.
And we're just musicians, you know, we're not businessmen, not
organisers. If somebody wants to do it, they can do it, but it
takes organisation, so you need some money. You need to rehearse,
you need to have a place, that kind of stuff. All the logistics of
getting a band on the road or getting it into a concert hall -
somebody else has to do that. The musicians can't do that
themselves. It's well enough just learning the songs and knowing
how to play them well...
Q: But there was, in your opinion, a potential for
A: Yeah, there was... We could have... I have a lot of
songs that we didn't do, and could have done... In fact that's my
regret, of anything that's been done recently, is that it's all
pretty much the same programme, simply because we never have
Q: It's not that you don't have new songs...
A: No, it's that all we can do is rehearse the ones we
know, one or two days before the concert, and that's it. To get a
new programme together, it takes at least a month.
Q: Are you very demanding in terms of the songs being
played as you want them to?
A: I'm demanding... in terms of how they should sound, I
guess. I'm quite open to suggestions about arrangements, and
solos, and this kind of stuff. I'm demanding in that I just want
them to sound good! The rhythm has to be right, the tempo...
Otherwise, as a boss I'm quite open to suggestions from other
people. If they have a better idea than mine, I recognise it, and
don't stick to mine because I think it's just mine.
Q: You were talking about the brass section in the band.
Do you like to have large line-ups generally? Because you've
mostly done solo or duo gigs recently...
A: What I really miss is someone to sing with, one or two
other people to do harmonies. Cause so many of my songs have
harmonies. And with the last band I had, nobody sang. It's the
Belgian band, and no-one was really sort of competent to sing...
And that's the thing I miss most. Brass sections I like very much,
they always make it more exciting. I mean, basically, any
instruments added are good, but they're also more expensive, and
you have to pay everybody.
Q: As a player yourself, do you enjoy playing, or do you
see yourself as a singer most of all?
A: Well, I'm not really a good enough musician to... I
mean, I'm essentially a rhythm guitarist who writes songs. I'm
quite good at rhythm guitar, but that's it. I can play bass, and I
can arrange things, but... I'm not a musician, basically, I'm a
songwriter, singer-songwriter, or whatever you call 'em these
Q: You're not interested in the challenge of collective
playing - pushing the music to new heights, that sort of thing?
A: Well, I am... I mean, if I did anything ever again -
which I doubt I'm gonna do - I would like to have a totally
different approach. I'm getting pretty tired of
verse-verse-chorus, verse-verse-chorus, you know, that kind of
format of songs. And yet I don't like a lot of freeform... I mean,
we've done all that, we've been through that with jazz in the
early days of the sixties, we did freeform stuff, and frankly,
it's pretty boring. It's mainly for the musicians, just to play
with themselves, not very interesting for the audience. But
certainly I would be into different sounds, you know, a different
approach to sound, using technology, but not... I'm not
particularly mad about 'techno' sounds. They just sound so
mechanical and so arithmetic, you know... They sound like they're
played by machines - they're too perfect, the rhythm in
particular. There's nothing 'sensual' about it at all...
Q: You've done very little touring lately.
A: Well, I do go to Belgium a lot, also Holland or Germany
sometimes, but never more than three or four, maybe six gigs
maximum. And it's not really good, you know, you have to work for
about a month to make any money in this business. At my level,
anyway. I mean, unless you have a hit record and you're getting
thousands of pounds a night, then it's OK, but at my level you
have to work really hard, work about four or five nights a week
for a month, then you make a bit of money. Otherwise you don't.
Q: You haven't released a new album for eight years,
that's also a factor...
A: I'm just not interested in doing it. No-one's made me a
decent offer. I mean, if someone came up to me and said, 'here's
10,000 pounds, go into a studio and come out with an album'... I
would do it. Whatever it takes, you know, to... It's at least a
month's work. I mean, you have to be there, and live there...
Q: So it's not a question of being tired with music ?
A: Well, it is as well, because I used to make them for
nothing before, basically, just because I was excited about making
music and stuff. But you know, it's been thirty years now, and
it's not that exciting anymore. I mean, it *can* be, you get in a
studio and you create stuff and it's good, that's still exciting,
but just turning up for the odd concert here or there, or just
going into a studio to make one track, of some old song, it's not
very interesting. I mean, I dearly would like to work with some
people who are more up-to-date than I am, because basically my
stuff sounds pretty old. And that's another thing too, I mean
there's not really much market for it at the moment...
Q: You've always had the reputation of not doing your
absolute best to "market" yourself...
A: Well, this is not true at all. I have to say this! This
is what my management said about me. But the reason I went was
because there was no work. It was as simple as that. They didn't
say, 'Look, there's a tour to do now', they just said 'Well,
there's nothing happening'. So I said, 'OK, I'm going away'.
That's the truth of the matter. If they'd said, 'Look, there is a
tour coming up', or something to do, I would have done it. That
was just their excuse for not being very efficient!
Q: So you did have a strong commitment to the music,
A: I certainly did in the early years. I would have done
anything I was told to do. It's just that I wasn't told to do
enough... It's as simple as that. That's the truth.
Q: What about this song you did on your last album, "Am I
Really Marcel"? In the lyrics you seem to acknowledge a tendecy
A: Well, I am inherently lazy, I mean, compared to people
who get up at five in the morning and work through till midnight,
or something like that, yes, I'm lazy. And if I can avoid a job I
will avoid it (laughs). Basically I'm a pleasure-seeker, I'm much
more interested in having fun than not having fun. And I think
anybody who isn't is a fool, basically... But I don't mean that,
a) at the expense of other people, or b) I don't mean not doing
anything - I don't mean not being useful or contributing to life
in general... I have done a lot of work, I've put out a lot of
albums, written a lot of songs, and that is not the mark of a lazy
Q: What about new songs? Have you written any?
A: Well, I do have songs, but I just don't feel convinced
about them. I don't feel that certain about them. When I first
started writing songs, nobody could tell me my songs were bad - I
would just say 'Fuck you!', 'You don't know what you're talking
about'... and we'd do it. Now, if someone doesn't say it's
absolutely marvelous to start with, then I just lose interest in
it. I guess that's what happens as you get older. Because now I
can see so many sides to an argument that I can never argue one
convincingly. If someone brings up a point, I say, 'Well, of
course, that's right as well'... Whereas when you're young, you
have a kind of conviction of youth, and you just believe you're
right, you have an ideology and there's a kind of strength in
that. A strength through ignorance, if you like. Cause you just
don't know about all the other possibilities. But, in a way,
that's when you are creative, because the minute you start
questioning yourself, you find yourself stuck - on a sentence, or
something. 'Are these the right words, am I saying the right
thing?'... And then, after a few hours, you've written nothing.
Simply because your mind is just questioning whether it's the
right thing to say, or whether it's the best way you could say
it... As opposed to just writing freely, and letting it go, and
accepting criticism or praise, or whatever you get. Because once
you start censoring yourself, you're cutting yourself off, every
time you get to saying 'This isn't good enough', or 'Somebody will
think this is bad'... You're in trouble, basically. Cause you just
stop yourself from being creative.
Q: So none of these new songs have been performed live?
A: Well, mostly they aren't finished. I just don't feel
that inclined to finish them. Because I don't feel there's any
audience for it, so there's no reason to write a song... I guess I
come up with ideas simply because I've been a songwriter for so
long, I can sit down and write a song now. But I won't necessarily
like it, or be interested in it, you know what I mean? It's just
sort of, you develop a skill for doing something, like a sport, or
something, and you can always do it, you can go and play with a
ball, but you don't get excited by it anymore... That's what it
From: "Teatse Vogelaar" <firstname.lastname@example.org>
Subject: Richard Sinclair
Date: Sun, 10 Sep 2000 14:23:12 +0200
(I'm the guy who organized the Harlingen Canterbury
Music Festival" some years ago).
In your latest "What's Rattlin'?", you mentioned Richard
Sinclair making fine bass guitars for musicians in Friesland, the
Netherlands. I'm one of the proud owners of a fabulous frettless
bassguitar. Richard bought me a nice fretted (carefully selected)
bass in England. He then took it apart completely an unfretted it,
still leaving the positions visible. He did a lot of work
making the bass "sing". Mine is a precision neck with Jazzbass
pick-ups and body and once I started playing this bass in NEVER
touched my original Fender jazz bass again. I now have a bass
which sometimes sounds like his. But I know I will never play like
If bassplayers are intrested they can contact
Richard by mailing me (email@example.com). I will give the message
Subject: Caravan Remasters - Back To Front?
Date: Sun, 10 Sep 2000 14:45:21 -0400
I am eagerly awaiting the release of the remastered
Caravan cds. I dearly hope that this means that they will
eventually get around to releasing a remastered "Back To Front". I
LOVE this album but I can't buy a CD of it anywhere, not even on
E-Bay. I thought I heard it was going to be re-released by HTD but
that does not seem to have happened. I don't think "Best Of Live"
has ever been released on cd, am I correct? Let's hope Kingdom
records are OK about releasing this material.
Also, what is Pye's concerns for including some
"progressive" material? I would have thought it was mostly
"progressive" fans that still buy Caravan cds (new and old) and
are the ones that turn up for gigs hoping to get their full "9
feet" so to speak!! In other words "progressive" material is what
the market wants. I can't believe that he's still looking for that
break through commercial hit single, so what's the problem. Surely
trying to be "commericial" and not "progressive" is what did the
band in the last time (After the worse by far "Better By Far").
"The Battle of Hastings" was great and I'd certainly buy another
cd of that quality, BUT a few 10 minute songs (of the "Proper Job"
form) would certainly have made it a classic Caravan album.
Thanks Aymeric and keep up the outstanding and vital work
(or is it play?)
From: jan herwitz <firstname.lastname@example.org>
Subject: How I got Gonged
Date: Mon, September 11, 2000 2:57 AM
It's Sunday, and I still hear some ringing from last
night. The club was called The Great American Music Hall in
downtown San Francisco. Reminded
me a bit of the old Tavastia Club, maybe a bit
fancier. Only seating
available on the side. I ask myself, we don't have to
dance to this all night, do we?
We end up sitting upstairs on the side looking right over
the stage! Couldn't have been better. It starts at 9, rather late
for concerts around here. The first band was a local SF band,
eight-piece, two-bass playing experimental octet. We tried our
best to appreciate the originality. An hour later came Kevin
Ayers, old and tired looking. I don't think he opened his eyes
during the entire 40-minute set. I liked the music, though. If you
ever get a chance, look for "July 1, 1974", a live LP with Ayers,
Nico, Eno, and John Cale. Really good. He played a couple of songs
from that one.
Suddenly, he's off stage, and the guy in the audience with
teapot t-shirt rushes the front of the stage. Why? Again,
we can see everything perfect from our perched eagle's lair. The
roadies are busily hooking up wires, and one of the "roadies" with
a sharp nose and long gray silver hair is none other than Daevid
Allen plugging in all his guitar effect boxes. For the record, as
a roadie, he was wearing an Elvis Presley t-shirt. Soon after,
Riitta is wondering if it's ever going to start, and finally at
11:20, it does.
The last time I'd seen Gong was Pierre Moerlen's Gong,
back in the late 70's I think, and once I saw Steve Hillage
perform solo as the opening act for Kansas and Electric Light
Orchestra. Anyway, there mustn't have been more than 200 people
there, but so be it. Probably half of the crowd seemed to know all
the lyrics from the Planet Gong stuff for sure. The newer
stuff, I'm not quite sure. This Daevid Allen is certainly a
character, though he looks a bit spooky with his shiny sequined
jumpsuit, and long silvery hair bailing out across is
not-so-young-looking-anymore visage. The music was really tight.
Howlett plays really good bass, and the other three musicians were
equally as good.
It was super loud, and Gilli Smyth was oohing and aahing
in different costumes every fifteen minutes, but watching all this
I couldn't help but appreciate the fact that, though I'm nowhere
near a big fan, I did get a connection from the event. We were
literally 3 meters away from Daevid the whole time (looking down
the balcony) and it was great to see the energy and originality
and honesty (?) and the talent, and creativity, and even the spell
he seemed to cast over the small San Francisco crowd. It
finished at about 1:15am, and Riitta, I, Daevid and the rest were
It was at times spectacular to see this performer for the
first time. With the changing of all the costumes, it reminded me
a lot of early Genesis when Peter Gabriel used to do the same
thing in the late 60's/early 70's. Am I intrigued to get their
latest CD? Probably not. Would I see them again if they came to
San Francisco? Absolutely.
Take care, Jan
From: alick leslie <email@example.com>
Subject: Caravan reissues
Date: Thu, 14 Sep 2000 17:35:18 +0100 (BST)
Best news I've heard for ages is the Caravan reissues but
I've got a (sad) question for someone in the know.
I still play all the vinyl albums, but bought the
Canterbury Tales 2 CD set, so I'm not too keen on duplicating with
the Where But For.. 2 CD set. Question is: are the unreleased
tracks on Where But For... going to be on the reissued individual
albums? If not, I'll probably get the compilation.
And is anyone going to Caravan on the Renfrew Fery in
Glasgow? It's a great venue to see a band (especially one I've
been waiting since the 70's to get to see).
[It is my understanding that "A Day In The Life Of Maurice
Haylett" will appear again on the reissue of the "If I Could..."
album. But the 'extended' versions of "Golf Girl" and "Love To
Love You" will not be on the "Land of Grey & Pink" since there
is enough alternate material (including an alternate version of
the former, and the end sequence of "9 Feet" with Dave Sinclair
singing lead, plus more - AL]
From: firstname.lastname@example.org (Roger Bunn)
Subject: LEWD READ
Date: Sun, 10 Sep 2000 11:55:45 +0100
We would like you to publish this. One reason is because
in the last WR you seemed to be hero worshipping Lou Reed... A
dumb move if one may so say.
[Thanks for this kind appreciation, but I feel I should
point out that there was no artistic judgment implied in my
comment. I don't "worship" anyone, not even my musical 'Gods'! -
This is an answer I gave to a question from US Congress
Member in regard to MP3..
* * * *
The music industry is the 4th largest in the world.
Turning over well over 120 billion dollars a year.
>What do you think of the current Napster and MP3.com
>over here in the States?
(And elsewhere) I am of the opinon, having been told
by US diplos, "There is no such thing as copyright anymore Mr
Bunn" in 94, and having not enough money to employ lawyers to
research UN documentation on copyright to the extent of which I
need. To prove a case against the music industry cartel, that they
have transgressed the Spirit (and law) of UN documentation
on Copyright, and misappropriated billions of dollars
so doing in what is basically a "cottage industry"
controled by corporate administration (as opposed to creative)
I would say that at last the cartel no longer have it all
their own way. That the internet will erode all previous
legislation, eventually. But the cartel and their minions such as
the RAAA? Whom they actually own. Are a strong force, and will
thrash about hurting those who confront them, such as MP3... The
stuff that is being "stolen" is cartel stuff by cartel artists..
And as far as I am concerned, its no way a theft compared with
that purpetrated by the cartel over decades...
Same deal here, in that the cartel and the monopolists of
the Music Publishers Associattion itself, are as angry as hell...
Hooray for the internet.
And soon maybe the USA will stop asking session musicians
to sign "waivers", but to collect their legal rewards... Their
recording royalty monies... I have heard stories of people being
hung out of windows, trying to collect what recording royalties
were due to them from the USA.
Here the Musicians' Union stole all the royalties from the
Great Expansion of the music industry. Between 1946 and 1988, when
Brussels jumped on their criminal butts, the MU stole, not from
the Jaggers or the Eltons (they were protected by managers and
their like), but from illinformed and misinformed session
musicians, such as I.
Now I am being "asked to prove" I was on a record, just to
get back a little of what was stolen. Musicians here have been
trapped by time.. No one bothered to keep records, after all, why
should we? As far as we were "told", (or not) no royalties were
ever due to us?
The recording cartel works in the same way, and they too
are responsible for not telling creative musicians, who were
essential to their profits, that they were, under law, due
Maybe it's time that people remembered that?? And broke
the chains that those who have made profits by the billion from
the poverties of others, mostly creators of the music that "didn't
sell" in a "free market" economy..
The MP3 will assist release creators from cartel market
bondage. And its about time too..!
So when one thinks of such classics as Lewd Read's "Walk
on the wildside" ;-) One has to remember that the bassist that
doubled up on the track, has never been paid more than his
original session fee. Meanwhile Lewd Read wont go to Austria
because of its new "political leadership"..
Gee thanks Lewd. ;-)
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info
: check out the 'Concerts' page of CALYX]
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,
Coughlan, Doug Boyle, Jim Leverton, Simon Bentall
Nov 12 - LOS ANGELES (CA) / Nov 13 - SAN FRANCISCO (CA),
Great American Music Hall
Jan 12 - PARIS (France), Sons d'Hiver [solos evening] /
Jan 13 - PARIS (France), Sons d'Hiver [Traffic Continues w.
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
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
Zeprix, Chris Taylor + Didier Malherbe [on selected dates]
Dec 12 - PITTSBURGH (PA) / Dec 13 - BUFFALO (NY) / Dec 14
- CLEVELAND (OH) / Dec 15 - CINCINATTI (OH) / Dec 18 - DETROIT
Line-up: Bon Lozaga, Hansford Rowe, Benoit Moerlen &
==> HUGH HOPPER BAND
Sep 19 - ROTTERDAM (Netherlands), Dizzy / Sep 22 - BREDA
(Netherlands), Heijgend Hert / Sep 23 - AMSTERDAM (Netherlands),
Line-up: Hugh Hopper (bass), Frank v/d Kooij (sax),
Jarvis (trombone) & Oscar Schultze (drums)
==> DIDIER MALHERBE TRIO
Sep 30 - LA PESSE (France), Parc Naturel Regional du
Haut-Jura (Azimut Festival) / Oct 05-15 - NANCY (France), Festival
Featuring Didier's new trio with Patrice Meyer (guitar)
& Philippe Foch (percussion)
More info: http://www.multimania.com/malherbedidier/
==> PIERRE MOERLEN'S GONG
The dates initially planned for October/November have been
I have been told by Pierre that he has 11 new compositions
ready, but wasn't pleased with the debut performances of his new
band last June and is now looking for other musicians (with the
possible exception of the bass player), with plans to record an
album before playing live again.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
AND OTHER GOOD
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
==> BILL BRUFORD'S EARTHWORKS
Oct 05 - POOLE, Arts Centre / Oct 08 - HARROW, Arts Centre
/ Oct 10 - BIRMINGHAM, Midlands Art Centre / Oct 11 - NEWCASTLE,
The Dome, Whitley Bay / Oct 12 - SHEFFIELD, Ecclesall
Non-Political Club / Oct 13 - STOCKTON, Arc Theatre / Oct 15 -
STIRLING, Cowan Theatre / Oct 16 - ABERDEEN, Lemon Tree / Oct 17 -
EDINBURGH, Queen Charlotte Rooms / Oct 18 - GLASGOW, Renfrew Ferry
/ Oct 19 - ARNOLD [nr Nottingham], Leisure Centre/Bonington
Theatre / Oct 20 - WAKEFIELD, Sports Club / Oct 21 - COLCHESTER,
Arts Centre / Oct 23 - BRIGHTON University, Gardner Centre / Oct
24 - SOUTHAMPTON University, Turner Sims Auditorium / Oct 25 -
DARTINGTON (Devon), Arts Centre / Oct 29 - MANCHESTER, Royal
Northern College of Music / Dec 09 - St.ALBANS, Maltings Arts
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),
Updates at http://www.camelproductions.com
==> CHRIS CUTLER
Oct 06 - BUDAPEST (Hungary), Big Ear Festival
Oct 19 - AMSTERDAM (Netherlands), Bimhuis / Oct 23 -
EINDHOVEN (Netherlands), Festival
More info: http://www.ccutler.com
==> SOPHIA DOMANCICH
Oct 11 & 12 - PARIS (France), Sunside Jazz Club
[SD Trio, with Michel Zenino (b) & Francois Laizeau
Oct 24 & 25 - PARIS (France), Duc des Lombards
[Eric Barret Quartet, with Jean-Jacques Avenel (b) &
Simon Goubert (d)]
==> JOHN ETHERIDGE
Sep 30 - MILTON (Hampshire), Forest Art Centre (Sweet
More info: http://www.johnetheridge.f9.co.uk
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
[0191-454 4494] / Oct 30 - GLASGOW, Old Fruitmarket [0141-287
5511] / Oct 31 - LEEDS, Irish Centre [0113 245 5570]
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)
==> PROJECT LO
Oct 04 - WATERBURY (CT), Brass City Records / Oct 05 - NEW
YORK CITY (NY), Knitting Factory Knit (Active Soundstage) [2 shows
at 8 & 10pm] / Oct 06 - PHILADELPHIA (PA), Tin Angel / Oct 07
- PEMBERTON (NJ), Live Radio Concert [WBZC 88.5] / Oct 08 -
WASHINGTON DC, Metro Café
Line-up: Bon Lozaga, Hansford Rowe, Vic Stevens, Happy
Sep 29 - ANNECY (France), Le Brise-Glace / Sep 30 -
GRENOBLE (France), Theatre Le Rio / Oct 12 & 13 - MONTREUIL
[nr Paris] (France), Les Instants Chavires
END OF ISSUE 164
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