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- WHAT'S RATTLIN'?
-
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:: The Weekly (or so)
Digest for Canterbury Music Addicts ::
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Issue #
169
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Friday, November 17th,
2000
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JOHN GREAVES : BACK AT LAST !
Many of our favourite artists on the Canterbury scene take
a lot longer inbetween albums than we would wish, and John Greaves
is no exception. His latest solo album, the magnificent "Songs",
came out in 1995, and his last album of entirely new material to
date was "La Petite Bouteille De Linge" nine years ago. Of course,
John has been far from inactive since then - numerous concerts and
recordings with the likes of Peter Blegvad and Michael Mantler
among others, not to mention quite a few that are still in the
pipeline. But his upcoming new release, "The Caretaker", can only
be seen as a major event. And not simply because John Greaves
album are so rare - based on hearing it once, and seeing John
perform some of them live, I can safely say that this, to my ears,
is his best album so far. Of course I have a soft spot for
"Songs", but "The Caretaker" focusses on John's talents as a
vocalist and bass player much more extensively and very
successfully indeed.
Although the album features many guest appearances, it is
consistent in the use of the guitar/bass/drums trio as the
foundation of the sound (in the same way "Songs" was based on
acoustic guitar, piano and double bass). John makes a welcome
return to bass guitar, and is joined by Francois Ovide on guitar
and newcomer Manuel Denizet on drums. As Ovide, an in-demand
session and live player, wasn't available for live work, John has
been joined by another well-known figure of the Canterbury scene,
French guitar virtuoso Patrice Meyer, best known for his work with
Hugh Hopper's band. The new trio (christened "New Band") began
rehearsing earlier this year and has already played a handful of
gigs, including two nights at Jacky Barbier's well-known club in
deepest Burgundy.
I had the privilege to attend both these gigs late last
month, and can only wish there will be many more to come. I had
reservations at first regarding the sparse instrumentation, but
this is certainly one of the best "power trios" I have seen - John
and Manu make up a very tight and inventive rhythm section, and
Patrice admirably fills up the space with a variety of sounds and
styles that never lets you wish for a larger line-up. And the
repertoire, which includes the obligatory "classics" - "Silence",
"How Beautiful You Are", "Green Fuse", "Almost Perfect Lovers" and
an unbelievably rocky "Bee Dream", to quote a few - has been
totally re-approached to suit this format.
The details of when and on which label "The Caretaker"
will come out have yet to be finalised, but to whet your appetite
here are excerpts from a conversation I had with John about the
album:
Q: Compared to the acoustic flavour of "Songs", this new
album is almost the opposite - very electric. Was that already
apparent at the writing stage? Did you adapt the songs to suit
this general direction, or would you say they are intrinsically
electric and rockier?
A: Well, I guess they are. Although in my experience of
songs and songwriting, not my own but lots of other people whose
work I adore, I think if a song is good you can do it just any way
you like, really. These songs were conceived for this band, which
actually I suppose is the answer to your question. I haven't
really done that since "Parrot Fashions", where there were several
songs which were definitely conceived with... well, the same
guitar player, of course: Francois. I knew I had the great
opportunity of having this group, we had done a few rehearsals
before we decided to do this record, although we didn’t ever get
on the road with Francois and Manu. But I thought if we couldn’t
do that, then we’d better get in the studio and do some stuff
specifically written for that. And I think I’m right in saying
that just about all the songs were written with that in mind.
Apart from "The Wrong Song", which I wrote later, and there are no
drums on it, so it’s different...
Q: In terms of the group approach, one gets the feeling
that a lot of the arrangements were really put together from
jamming together in the rehearsal room...
A: Absolutely, in rehearsal. There’s a lot of fuss about
arranger credits and producer credits and everything else... I
mean, I always think that, unless you’re going to the studio and
you use a rhythm box, or you tell a drummer to play on the third
or fourth quaver every bar or whatever you do, I think all
musicians contribute to the arrangement, and to the construction,
and the production of the songs. Particularly in this case,
because... I’ve never actually gone with a bunch of musicians,
saying ‘you play this’ and ‘you play that’ - maybe I’m just not
capable of doing that. Maybe for technical reasons, or... I rather
prefer to think... not ethical reasons, musical reasons really.
You should, if musicians have got something to say, then you
should let them play what they want to play... It’s still
exploitative though - I mean, I still want to get the very best
out of anybody I work with!
Q: And that also goes back to what you were saying about
the songs being adaptable.
A: Yes. I suppose so. It takes a degree of confidence in
the writing. But it’s a great privilege, they’re very supportive,
and I don’t have any doubts about whether whether they're going to
like it or not? I don’t even ask the question, I mean I suppose
they’d tell me if they didn’t! And obviously there were a few
pointers here and there, some harmonic structures - actually
they’re quite precise, the harmonic structures, but within that,
Francois contributed enormously to the way the thing sounds. And
Manu as well, again, I wanted to work with him cause I liked the
way he plays - I mean, I like the way he is, he’s very free, but
other times he’s there and sounds like a good old rock’n’roll
drummer to me. And it’s a very fine line, that, a very fine
balance, very hard to... Well, I can’t say it’s hard to achieve,
because I think, immodestly, we achieved it!!
Q: Unlike "Songs", you sing all lead vocals on this album.
Is this the sign of a newfound confidence in your ability as a
singer?
A: I think it might be.... That is either because I have
the confidence, or that, as I prefer to think, that... again, as
time goes by, you develop a certain objectivity, perhaps, about
your own voice that you think might actually be of interest to the
listener. Or because it might be the complete delusions of some
egomaniacal nut... You take your pick, really! I prefer the middle
one, I think. It's impossible, I don’t know how anybody can listen
to their own voice and think, "wow, that’s great!". Unless, of
course, if you were... unless you’re Elizabeth Schwarzkopf, then
you can understand - you know what I mean... It’s very hard. But
between the enjoying the process of singing and the listening
back, I’ve got over the shock that I had when I used to... I’ve
always enjoyed singing, since I was fourteen, but I did suffer
from the delusions... I always thought that I must sound like
Frank Sinatra. So when I heard myself back on the tape, it was a
terrible shock to me to find out that I didn’t. Didn’t sound like
Frank Sinatra at all!! So that hasn’t changed much, I mean, I sing
slightly less out-of-tune, but I don’t sound any more like Frank
Sinatra!! (laughs)
-------------------------------------------------------------------------
Today I received information on a newly published book,
"MW3", which is the common work of artist Jean-Michel Marchietti
and Robert Wyatt. Some of you may be familiar with the first two
volumes of this series, which consist of original English versions
and French translations of some of Robert's lyrics, accompanied
with drawings by Marchietti. Sadly, both volumes are now out of
print in their "regular" version, and only some of the more
expensive limited editions are still available. But the good news
is that "MW3" has just been published.
It includes the following lyrics:
"Pataphysical Introduction", "Muddy Mouth", "Born Again
Cretin", "Vandalusia", "Mass Medium", "Pigs", "Amber And The
Amberines", "Another Great Victory", "The Duchess", "The End",
"War Without Blood" and "Alliance"
plus three previously unpublished texts:
"For Thomas Bernhard", "Benchmarks" and "Toledo/Texas"
The second volume, "M2W", came with a CD of Robert reading
two of his lyrics. This time, the book comes with a bonus CD which
is a tribute to Robert's music by various artists covering his
songs, including Pascal Comelade, Jo Bogaert, Chris Cutler,
Jean-Francois Pauvrois, Look de Bouk, Toupidek Limonade
(ex-Hellebore), Jaggernaut, L'Ensemble Raye... and Robert himself.
The "regular" edition (271 copies printed) of the book and
CD is available for 200 francs. A limited edition, signed by the
artists and including an original painting, costs 700 francs.
This superb collector's item can be ordered from:
Association AEncrages & Co
5, place du Vieux Gerardmer
88400 Gerardmer (France)
(Cheques and IMOs made payable to "Association AEncrages
& Co")
More information:
http://perso.wanadoo.fr/aencrages.roland.chopard
E-mail: mailto:aencrages.roland.chopard@wanadoo.fr
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PS: I hope to meet some of you at the Caravan concert in
Paris or at the Dreamtime gig in London on November 29th! - AL
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From: Jim Powers <j.and.m.powers@juno.com>
Subject: Gong in Lawrence KS
Date: Fri, 10 Nov 2000 10:11:24 -0500 (EST)
Dear Aymeric,
I finally saw Gong, in Lawrence KS. What a great show! The
club, The Bottleneck, seemed huge with them playing in it. My
wife, who has a working familiarity with Gong from hearing my CDs
appreciated the fact that Daevid was having such a good time
entertaining us, and made a much greater effort to put on a show
than many other recent bands do these days. Daevid also, at the
beginning, noted that Lawrence, Kansas was the birthplace of
William S. Burroughs, and that Gong hadn't played there in 21
years, so he really knows his geography and cares where his fans
are and what their homelands are all about. As a jazz fan, he
might want to visit Kansas City, Missouri (where we live) to see
the 18th and Vine Jazz District and Museum (under expansion right
now). Sun Ra's Arkestra (under the direction of Marshall Allen)
make it a point to play here once a year, (usually Halloween). But
I digress.
Catch you on the flip side,
Jim Powers
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From: PT <normalsf@grin.net>
Subject: Mushroom vs. Faust vs. Bundy K Brown
Date: Wed, 01 Nov 2000 09:41:22 -0800
This might interest some of you:
The San Francisco band Mushroom,
who also doubles as the band University Of Errors with
Daevid Allen.
and who also has backed up Kevin Ayers on occasion,
has recently combined efforts with Krautrockers FAUST
and Tortoise founder Bundy K Brown for a 12 inch vinyl of
remixes.
titled: Compared To What/Mushroom vs. Faust vs. Bundy K
Brown
This is a 180 gram, green vinyl of all new Mushroom
recordings getting the remix treatment from Bundy and Faust.
For those unfamilar with Mushrom, the sounds range from
space rock to progressive jazz... with Faust and Bundy providing
their own special flavors. Trumpet player Jon Birdsong, known for
his work with Beck and Beth Orton, is heavily featured. So fans of
70s Miles Davis and Ian Carr, would be wise to check it out as
well.
For more info and ordering, check out:
http://www.weedrecords.com
thanks.
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From: Rick Chafen
Subject: Curly's Airships
Date: Sun, 12 Nov 2000 09:15:01 -0800 (PST)
Hello, Rattlers all,
After some years of silence, but avid reading, I have
chosen a momentous occasion for my premier missive.
Imagine a brand-new piece of English rock music that spans
nearly 2 hours, with no choruses, few melodies and only the
briefest of recurring themes! Sounds like it should be right down
a Canterburian's alley, doesn't it?
May I direct everyone to http://www.curlysairships.com for
the complete scoop about this extraordinary new project, six years
in the making. Curly's Airships tells a true story along the
way - a gripping tale of
the last two giant airships built by Great Britain in the
1920s.
The project was created and manifest by Van der Graaf
Generator founder, Judge Smith. Several other better-known members
of VdGG are present - organist Hugh Banton is featured throughout
- on a variety of historically-relevant organs - and there are
significant and memorable flute, whistle, and saxophone
contributions from David Jackson, and a terrific cameo vocal role
for Peter Hammill as the villain of the story. John 'Fury'
Ellis, a member of Hammill's K Group, is the guitarist on all
tracks and it's a delight to hear his intricate work.
Paul Roberts and Arthur Brown complete the cast, while the
sound itself is augmented by such things as seances, sitars,
shanties, a wonderful Tenor and a mystery marching band. Still, no
Canterbury connection? Well, I'll try for two more: 1)
Arthur Brown did appear at this summer's Canterbury Festival, and
2) Curly's last airship, the R101, probably flew right over
Canterbury on its ill-fated flight, during the section entitled
Bedford to Hastings.
Judge Smith describes this not as an opera, nor a
rock-opera, and not even a concept album. It is, he insists,
related through a new medium called Songstory.
Most Hammill fans I know are also Rattling away, so for
all of you who rattle without Hammill and his henchmen, here's an
ideal chance to broaden horizons. This music must be heard beyond
obscurity. It cannot be contained in any category, except
"exhilarating to experience"!
Cheers to all. Happy listening.
Rick
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From: "Miguel Terol" <mterol@gva.es>
Subject: Greenslade gigs in November
Date: Fri, 10 Nov 2000 11:48:35 +0100
Hi, Aymeric and everybody!
I've received the info about forthcoming gigs by
Greenslade. The progressive band is back again, they've just
released a new album and they're going to play some gigs in
England this same month.
This is the lineup for live concerts:
Dave Greenslade (keyboards)
Tony Reeves (bass)
John Young (keyboards, vocals) (from John Wetton's Band)
John Trotter (drums) (from Manfred Mann Earth Band)
Gigs are:
November
22 - Wavendon, The Stables
23 - Wolverhampton - Robin Hood 2
24 - London - Astoria, Charing Cross Rd
25 - Southampton, Brook
26 - Tavistock - The Warf
More gigs to come in February 2001.
Best regards,
Miguel Terol
(mterol@myrealbox.com)
The Musicians' Olympus:
http://www.geocities.com/SunsetStrip/Palladium/9932
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From: Clay Gaunce <thetrip@pop.uky.edu>
Subject: "Hopper Tunity Box"
Date: Thu, 02 Nov 2000 18:51:25 -0500
I'd like to purchse a copy of "Hopper Tunity Box" but am
having difficulty finding it. Out of print? Any fellow 'Rattler's
out there know where or from whom I might purchase a copy?
Thanks!...
Always a pleasure, Aymeric.
Clay Gaunce
-------------------------------------------------------------------------
From: "Anthony Shaw" <tonyshaw@clinet.fi>
Subject: Live to Infinitea
Date: Sat, 11 Nov 2000 17:48:11 +0200
Here's a copy of a review appearing at
http://www.allaboutjazz.com for what it's worth!
For old PHP's there's also an article I wrote on Daevid
Allen there, and lots of other more refined reading on American
jazz-related musak.
GONG - LIVE 2 INFINITEA/LIVE IN LONDON
In the age of digital precision, it's a reassurance to
know that the spontaneity of live recording is not extinct.
And when the band in question has a sum total of over 100 years of
professional experience it's a tonic to hear the power of the
record. The disc provides ample evidence that Gong both
should and shouldn't be included under the jazz rubric! The
selection of 14 tracks includes 10 pieces from February's
funk-jazz inspired ZERO 2 INFINITY(SNA 824), featuring all 7
musicians on that CD in league with the same man behind the mixing
console since 1973, Switch Doctor David Id. The band's style still
veers like that of its co-founder Daevid Allen between sheer
outer-spacedness of his multiple echoed glissando guitar
(Infinitea and Invisible Temple), to an earthy freeform interplay
with the 2 reed layers, veteran Gongist Didier Malherbe on
flute, soprano and alto saxes, and doudouk, and newcomer Theo
Travis on saxes and flute (on Foolefare and Magdalene).
As an introduction to the music of Gong this album
represents the same potpouri of styles that has been typical
of their production for over 30 years. However the main focus, as
the title suggests, is singularly the music of this
millenium's tour lineup. The 10 new pieces are the combined works
of all band members from north african Dervish wind work by
Malherbe, to the disco-funk of drummer Chris Taylor and more
standard freeform saxophony of Travis. Blended in are 3 standards
from Gong's classic LPs of the early 70s, Zero the Hero and the
Witch's Spell, Inner Temple and the wistful, poetic Selene, first
penned in 1969 by Allen with co-founder Gilly Smyth. She adds her
characteristic vocal witchery (originally described as space
whisper) here and elsewhere, while bassist Mike Howlett slips in
odd allusions to other of the band's golden oldies from those
halcyon years.
Instead of swaying new listeners to the far-fling Gong
diaspora (the band currently being on a 3 continent tour),
this album shows their abiding strength is in live performance.
They demonstrate energy far beyond that appropriate for a band
with an average age well into the 50s, skills honed during those
intermittent decades on the road, and proof that audience contact
was the spice that was missing from their last 2 studio CDs. I can
vouch that seeing is believing (a 2 hour plus non-stop performance
witnessed during the summer), but in lieu the of direct experience
LIVE GONG will resound around your cranium to your continuing
delight.
PS Apologies to Gwyo Zepix for omitting reference to his
invaluable cynthetic contributions on the disc.
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* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
*
FORTHCOMING CANTERBURY-RELATED
CONCERTS
*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info
: check out the 'Concerts' page of CALYX]
http://perso.club-internet.fr/calyx/index/concerts.html
==> CARAVAN
<===========================================================
Nov 25 - PARIS (France), Le Bataclan
Line-up: Pye Hastings, Geoff Richardson, David Sinclair,
Richard
Coughlan, Doug Boyle, Jim Leverton, Simon Bentall
==> GONG
<===============================================================
Nov 20 - LONDON, Hackney Empire [also: Invisible Opera Co.
of Tibet & Zorch] / 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 [in London]
==> GONGZILLA
<==========================================================
Dec 12 - PITTSBURGH (PA) / Dec 13 - BUFFALO (NY) / Dec 14
- CLEVELAND (OH) / Dec 15 - CINCINATTI (OH) / Dec 18 - DETROIT
(MI)
Line-up: Bon Lozaga, Hansford Rowe, Benoit Moerlen &
Vic Stevens
==> DIDIER MALHERBE / HADOUK TRIO
<======================================
Nov 28 - EPINAL, Theatre Municipal / Dec 18 - PARIS, New
Morning / Jan 19 - CHOISY-LE-ROI, Theatre Paul Eluard [Festival
Sons d'Hiver] / Mar 23 - VILLEBON-SUR-YVETTE, MJC Bobby Lapointe /
Apr 05 - TRAPPES, Le Grenier A Sel / Apr 24 - QUIMPER, Theatre de
Cornouailles
with Loy Ehrlich (hajaj & synth) & Philippe Foch
[Nov 28] / Steve Shehan [other dates] (percussion)
More info: http://www.malherbedidier.com
=========================================================================
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
*
AND OTHER GOOD
GIGS...
*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
==> DREAMTIME
<==========================================================
Nov 29 - LONDON, Red Rose Club (Finsbury Park) / Dec 13 -
LONDON, Red Rose Club (Finsbury Park)
Line-up: Gary Curson (sax), Jim Dvorak (trumpet),
Nick
Evans (trombone), Keith Tippett (piano),
Roberto
Bellatella (double bass), Jim LeBaigue (drums)
==> JOHN ETHERIDGE
<=====================================================
Nov 18 - LAUNCETON with Sweet Chorus / Nov 23 - POOLE with
Dave Gordon Trio [+ Chris Garrick] / Nov 24 - MAIDSTONE with Dave
Gordon Trio / Nov 19 - TEIGNMOUTH, Festival / Nov 25/26 - LONDON,
Pizza Express Jazz Club / Nov 27 - YEOVIL, Jazz Club (The Ski
Centre) / Nov 30 - OXFORD, The Spin (Wheatsheaf Pub) / Dec 01 -
LONDON, Vortex Jazz Bar, with Chris Garrick & Malcolm Creese /
Dec 02 - LONDON, Vortex Jazz Bar, quintet with Hugh Warren &
Ian Thomas
More info: http://www.johnetheridge.f9.co.uk
==> F.FRITH/I.MORI/Z.PARKINS
<===========================================
Jan 12 - PARIS (France), Sons d'Hiver [solos evening] /
Jan 13 - PARIS (France), Sons d'Hiver [Traffic Continues w.
Ensemble Modern]
==> MAGMA
<==============================================================
Nov 18 - MARSEILLE (France), Espace Julien / Nov 23 -
MULHOUSE (France), Le Noumatrouff / Nov 24 - NANCY (France), Salle
Poirel / Dec 22 - RENNES (France), Salle de la Cite
==> SUPERSISTER
<========================================================
Nov 30 - TILBURG (Netherlands), 013 / Dec 03 - AMSTERDAM
(Netherlands), Paradiso
==> BARBARA THOMPSON'S PARAPHERNALIA
<===================================
Dec 01 - NORTHAMPTON, The Roadmender
Line-up: Barbara Thompson (saxes & flute), Jon Hiseman
(drums),
Peter
Lemer (keyboards), Billy Thompson (violin),
Paul
Westwood (bass)
=========================================================================
=========================================================================
END OF ISSUE 169
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