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- WHAT'S RATTLIN' ?
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:: The Weekly
Digest for Canterbury Music
Addicts ::
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Issue #
90
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Monday, April 20th,
1998
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From: Stephen Yarwood <syjy@compuserve.com>
Subject: Simon Ainley Interview
Date: Sat, 11 Apr 1998 06:12:14 -0400
Those of you acquainted with the solo career of former
Roxy Music guitarist Phil Manzanera, may have spotted a couple of
postings on "What's Rattlin?"‚ from Simon Ainley publicising
the release of Live at Manchester University 02/11/77 by
Manzanera's 801. Ainley was vocalist on this recording and also an
earlier Manzanera studio release entitled Listen Now. I met up
with him at his Midlands home to look back at his time with 801
and later involvement with Random Hold, better known on these
pages for featuring ex-Matching Mole bass man Bill MacCormick.
So how did the involvement with Phil Manzanera come about?
"I'd first come across Phil in the late 60s/early 70s at
school [Dulwich College, south London], he was a couple of years
ahead of me and already something of a hero, so we were all really
pleased when Roxy took off. He was guitarist with a band called
Pooh and the Ostrich Feathers, Charlie Hayward was their drummer
and they later evolved into Quiet Sun. By 1976 I had started
writing and playing myself so I sent Phil a tape of my songs. He
soon got back to me saying he hated the songs but liked the voice
and would I come and sing on his album. Naturally I jumped at the
chance, an extraordinary piece of luck. Anyway Phil's friend and
bass player Bill MacCormick was detailed to check me out, I was
invited round to his house and we just jammed all afternoon, it
was all very free flowing and worked well. I was in, I was
convinced I was going to be a rock star."
The studio album "Listen Now" came out of a lot of half
finished bits and pieces that Phil Manzanera had lying around, to
which Ian and Bill MacCormick added lyrics and melody lines and
generally knocked into shape. It took a long time to put together,
the first tentative recording commenced around December 75 and
lasted through to July 77, along the way featuring a cast of
thousands including Simon Phillips, Dave Mattacks, Mel Collins,
Eno, Francis Monkman, Eddie Jobson, Kevin Godley and Lol Creme.
The song lyrics reflected the composers‚ disillusion with the
political and social climate of Britain at that time. Simon Ainley
was lead vocalist throughout.
""Listen Now" was a great album, it had a mood to it,
rather dispassionate and cold with a hard edge, it was finely
crafted with lots of overdubs and fine tuning. I did loads of
takes for the vocals, it all had to be note perfect."
A tour of college venues was subsequently organised in
late 1977 to promote it, and the Manchester University gig
recorded on 24 track for posterity. Quite why they waited 20 tears
before releasing it is a mystery to me.
"We began to rehearse for the tour, I got a temporary job
as a van driver in London during which I endlessly played tapes of
the songs to get them into my head. The Manchester gig was towards
the end of the tour [produces scrapbook of cuttings kept by
brother] and what really made it special for me was the fact that
I'd been studying architecture at Manchester University only a
year before. On such a course you do three years in college then a
year out for work experience, so all my contemporaries went out
for their work experience and I said I was off to become a rock
star, about which they were naturally very sceptical. They came
back after a year and there I was onstage with a bunch of famous
musicians, so you can see why it was such a special gig for me."
There were special guests as well.
"Roxy's Andy MacKay turned up with his horn and played on
three numbers, "Listen Now", "Out of the Blue" and "Remote
Control", all of which are on the live album. Kevin Godley and Lol
Creme provided highly enthusiastic backing vocals and
miscellaneous percussion. There were lots of other tracks that
could have been included, "That Falling Feeling", a slower number,
was particularly effective. I remember Glasgow was a good night,
John Martyn was backstage knocking back copious quantities of
scotch and indulging in a mutual admiration session with Phil. The
album was fun, the tour was fun but it soon became obvious that
really it was all about making money, or not as in this case.
After we finished the tour I was unsure if we had a future. We'd
never written anything, were we a real band or were we just a
bunch of session musicians brought along to do the tour? We tried
out a few things which I still have on tape somewhere. I
contributed a couple of songs and added a middle eight to another
that became "Slow Motion TV" on the follow up album "K Scope", but
things took an unfortunate turn when the sessions began. Naturally
I was expecting to do the vocals but on the first day of recording
at Chris Squire's studio I had a dreadful cold. I couldn't hit the
notes and it sounded awful. Tim Finn [later to find fame and
fortune with Crowded House] was there, a different voice which
they liked and to my dismay he got the job. In the end my only
contribution was rhythm guitar on a couple of tracks."
Shortly after the sessions for "K Scope" were completed
Roxy Music reformed and Phil Manzanera‚s solo projects went on
hold. Financially it made sense, but Roxy were never a potent
musical force again. Despite these disappointments Simon Ainley's
luck still held. Those of you who like me chanced upon a rather
obscure English band in the late 70s / early 80s called Random
Hold, read on.
"My profile was still pretty high after 801 and I was
approached by David Ferguson (keyboards) and David Rhodes (guitar)
who had both been at the same school as me, but a couple of years
behind. They were writing some pretty extraordinary stuff, just
the two of them with a tape recorder. My playing has always had
something of a blues feel, so at first they struggled to integrate
me into their very much non blues sound. The music and rhythms had
a very European feel, very Kraftwerk influenced. My Eric Clapton /
BB King licks were clearly inappropriate, and Ferguson and Rhodes
were suitably brutal with their comments. I had to do a bit of
thinking for the first time in my musical life to somehow reach a
compromise and make it work. I curbed my natural inclinations and
began to play more economically, making every note count, to
complement the Rhodes style. Things improved significantly and new
material evolved. Bowie's "Heroes" was a significant reference
point, we would use the Bowie/Eno cut up technique for lyric
writing, and the guitar work of Carlos Alomar was a major
influence. It was now three of us and a machine, but to give us
more options, particularly with the live set we felt we needed a
real rhythm section. The first drummer we had was technically
sound, but was a bit older than us and never really fitted in, but
it showed how a real drummer could enhance the sound. In those
days (78/79) rhythm machine technology was rather primitive, there
wasn't much scope beyond bossa nova, tango and basic 4/4 rock.
Bill MacCormick came along to see us and we played really well,
huge dark slabs of rhythm and melody, layer building upon layer.
He was very excited, he wanted to be part of it and was invited to
join soon after, so now we could get rid of the backing tapes.
Bill was a great bass player, his style was so inventive, he added
other dimensions to the music, counter melodies and other bits and
pieces. He definitely benefited from not having learnt to play
through the usual routes. By this time the original drummer had
been replaced by David Leach who we had discovered playing in some
college band, an outstanding drummer, very loud with a few nice
touches. [This was the line up I saw at Oxford Polytechnic in Feb
79] The whole sound began to open out and become more accessible,
although not to everybody, we did get bottled off stage whilst
playing support to Adam and the Ants at the Rock Garden in London.
We were getting better and people were beginning to take notice
and before long we found ourselves with a recording contract.
Peter Gabriel liked us, he came to see us quite a lot."
After Random Hold David Rhodes made a successful career
with Peter Gabriel and he was still a major player in Gabriel's
band on the last tour in 93/94.
"Rhodes was always a brilliant guitarist, I remember him
from school, in those days even he played the blues but that soon
disappeared. His playing became very uptight and introverted with
Random Hold but then opened out again as he made his career with
Gabriel."
The Gabriel connection resulted in Peter Hammill, who was
part of the same management company, being asked to produce the
first the first Random Hold album.
"About a fortnight before we were due to go into the
studio we were signed up by Gabriel‚s management company. Gabriel
had hit a musical block and we were all scheduled to go down to
his place in the west country to help him get something together.
Everything was going well, we were lining our first single and we
had lots of strong material. My own playing was important to
the overall sound, I had lost the obvious blues influences, the
interplay between Rhodes and myself was working well."
Unfortunately Simon Ainley's lucky star had burnt out.
"Around this time I'd become romantically involved and was
perhaps a little distracted but I never less than fully
committed to the band. Out of the blue they called me over for a
drink and a chat, so I turned up at the pub and within about five
minutes was being told I was out. They said I wasn't taking it
seriously enough, yet I always gave it everything. I suspect there
may have been a hidden agenda but what it was I can only
speculate. There was no logical reason why they should do this at
such a crucial moment, it was the culmination of everything we‚d
worked for. It was such a shock I just stood there and took it. I
could have argued until I was blue in the face but they'd clearly
made up their minds. I'm not convinced Bill was in favour of my
dismissal, I guess he had to take the stronger side as things were
rolling, the group had reached a critical phase. He didn't do much
of the talking that night, just chipping in occasionally."
Drummer David Leach was jettisoned at the same time,
rather dubious claims about his physical fitness and health being
cited. Ex-Glitterband drummer Peter Phipps was recruited, Simon
Ainley was not replaced. In hindsight these sackings were the
beginning of the end for what was a very promising band that was
starting to make waves. A big feature in Melody Maker had made
them hot property and a number of record companies were chasing
them before they signed up to Polydor. I saw the original five
piece Random Hold at Oxford Polytechnic in Feb 79 and was
completely knocked out by the powerful songs and dramatic sound.
The rock solid growl of Bill MacCormick's bass underpinned the
contrasting guitar styles of Ainley, more blues / pop, and Rhodes,
more dissonant and jagged. The later quartet were still excellent
but a little unbalanced without Ainley, too much shade and not
enough light.
"After the split David Leach and myself got together a
publishing deal, and Polydor were still quite interested. They
gave us some studio time and we got a few things together. One of
the songs was called 5 into 25 which was about the subsequent
legal action taken to recover our share of the Random Hold
advance. The publishing company gave us a year to get something
out but nothing much happened so I gave it all up."
If you imagine Joy Division as number one in some fantasy
gothic new wave rock chart then Random Hold would have a strong
case for being number two. In the overall scheme of things they
deserved some recognition, even if their undoubted potential was
never completely fulfilled as a result of some disastrous internal
politics. Perhaps a compilation CD covering the best of the Peter
Hammill produced sessions, plus selections from the excellent
quality demos, would show that Random Hold were more than just a
footnote in the history of rock'n'roll. If anyone else out there
is interested let me know, if there is enough support I might be
able to lobby Phil Manzanera, he currently has most of the Random
Hold masters and demos in his possession on loan from Bill
MacCormick. Phil's Expression Records was responsible for the
release of the 801 "Live at Manchester" set.
So what of Simon Ainley now, almost 20 years on?
"After quitting the music business I returned to complete
my training as an architect. In this capacity I worked for British
Waterways, later becoming a waterways manager in the Midlands.
Within the last year or so I've revived my musical aspirations
with a local group called Dementia. I have a good writing
partnership write with another band member and we probably
contribute about a third of the current live set. We're hoping to
record some demos in the near future."
I look forward to hearing them. Thanks to Simon for his
time and enthusiasm, and the best of luck with Dementia. Live your
dream on May 16.
Stephen Yarwood
Bedford
England
[Thanks so much, Stephen. This is the kind of contribution
I'm dreaming of receiving more often ! Thanks for taking the time
and effort to do this interview, transcript and edit it, for the
benefit of all WRers ! - AL]
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From: neato@pipeline.com
Subject: The First Allen Album?
Date: Sat, 11 Apr 1998 19:39:49 -0400 (EDT)
[In WR#89, mihra@cerbernet.co.uk (Roger Bunn) wrote:]
>Remember I told you I also worked with Daevid Allen in
Paris? One of the
>reasons was that my ex Diana was / is still a friend
of two American
>people, the beautiful blonde Ziska and flautist Loren
whom were both living
>on the Spanish island of Formentera, (sp)? (Although
that was not his real
>name)...
>
>Maybe you (or someone) can enlighten me on this album.
It's called
>"Dreaming the magic of your mana"" and produced by
Akashic records
Ziska Baum and Elson (Loren Standlee) were part of the
downtown NYC jet set underground... a group whose core was in the
burgeoning loft scene of lower Manhattan but who sought
"enlightenment" (and just plain fun) in places like Ibiza and
Nepal... Daevid Allen describes his meeting with them in his book
- "Gong Dreaming"... I have a rare book of poems by them put out
soon after their return to the US called "The Orphic Egg"... In
addition they were involved with Aspen magazine, which was the
LaMonte Young/Marian Zazeela-led literary magazine of the late
60's..they included flexi-discs with the magazine... The Velvet
Underground were among those featured as was ziska/loren... Of
course Terry Riley (who met and influenced Allen in paris) was a
longtime friend of youngs... In addition, the scene included
original Velvet Underground drummer Angus MacLeish and
photograper/poet Ira Cohen... Cohen has issued work under the
Akashic records name... so perhaps he was involved... interesting
cheers
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From: mihra@cerbernet.co.uk (Roger Bunn)
Subject: What's Rattling
Date: Sat, 11 Apr 1998 20:18:10 +0100
Dear Almeric and all,
I am now looking for discriptions of Centipede, Softs,
Elton Dean, Mark Charig, Mike Patto, Davy Grahm and Uncle
Tom Cobblers and all live gigs to use as material for the
auto-biog.
Anyone who saw these (or Barrett / Floyd) and other
Canterbury linked concerts during the 60s (yes please) or
early seventies, would they please write a discription, (of what
little they can remember ;-) and send them to me.. Great..
Almeric?
Seems someone may be lining up a concert at a festival in
France for next year for Davy Grahm and myself, so if anyone wants
to do the same, get'em to talk to you or to me huh?
Thought I would send the following again just in case
there was someone out there who had a clue as to this album..
Daevid Allen : Maybe you (or someone) can enlighten
me on this rediscovered album. It's called "Dreaming the magic of
your mana"" and produced by Akashic records...
BTW, I think one of the Hx Experience may be rather ill
atm. But don't tell the media huh..? Don't need them atm..
Thanks for publishing the above..and for your assistance
Roger Bunn
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From: Martin Wakeling <marwak@globalnet.co.uk>
Subject: Kevin Ayers News
Date: Sun, 12 Apr 1998 15:51:58 +0100
Things are stirring at the bottom of the well and after
Michael Clare confirmed the San Francisco date (WR#89) can I add
the other date so far known - Richard Derrick will confirm shortly
I'm sure
Sunday May 24th San Francisco Venue: The Great
American Music Hall
7.00pm $10 advance $12 door Info Phone:
415-885-0759 www.musichallsf.com
Tickets: www.ticketweb.com
Kevin is playing with MUSHROOM
May 29, West Los Angeles, Venue : THE GIG (21 and over!)
Address :11637 West Pico Boulevard, West Los Angeles
Phone : 310 444 9870
Can I add a personal recommendation for Mushroom who are
playing their own set and then accompanying Kevin? They are
a splendid band with a couple of CDs released in Holland and
Germany and boast Kraut Rock, psychedelic and jazz fusion
influences with a nod to Can, Miles Davis and Soft Machine. Some
of their songs are really pretty - an important link is Pat Thomas
whom German fans will doubtless recall from his solo career. He
plays drums in Mushroom as alter-ego Patrick O'Hearne.
Needless to say they are all Kevin fans too and the gig comes as a
personal highspot for them. Contact Pat on
<normalsf@grin.net> he is a lovely guy to chat to.
The West LA gig is being organised by fan Richard Derrick
with whom Kevin stayed on the last (solo) trip to the USA. The
original idea was to make it a birthday party for Kevin last
August which didn't materialise but it typifies the spirit of what
people are trying to do and I was going to say that I hope the
earth moves for all of them but then I suddenly remembered the San
Andreas fault! Richard too is a magic man and can be contacted at
<normdeplume@megabytecoffee.com>
ARCHIVE CD RELEASES
More archive releases will be out in the near future.
Hux Records (run as an independent now by the two people
once behind Windsong Records) 'www.huxrecords.com' are putting out
a double CD that reissues the January 1972 BBC In Concert (Whole
World + orchestra) along with the previously unissued In Concert
sets from 19/04/75 (Ollie Halsall on guitar) and from 23/10/76
(Andy Summers on guitar). One of the versions of 'Shouting In A
Bucket' has been edited to avoid duplication (though the two
versions are completely different!). Another single CD release
includes the BBC in Concert 'Banana Follies' from October 1972
which is a lot of fun. This latter session in particular is
great sound and restores what has only ever been a virtually
unlistenable tape on the swapping circuit. The sleeve notes
have been written and just await Kevin's additions and sleeve
artwork - a problem arose as virtually no Banana Follies photos
appear to exist unless someone is sitting on a stash?? Also
Marlene (an early 'Decadence') has been omitted at Kevin's wishes
from the Follies release.
WAWS
Please accept 1000 apologies for the ongoing delay in
producing the next "Why Are We Sleeping?". It WILL happen as
soon soon soon as the crazy train stops and I can get off! In the
meantime don't forget the WAWS site at
http://www.users.globalnet.co.uk/~marwak/index.htm
Best wishes as ever to all Rattlers
Martin
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From: "Bringloe, Paul - O&M Ldn"
<Paul.Bringloe@ogilvy.com>
Subject: Quantum Jump
Date: Tue, 14 Apr 1998 17:47:00 +0100
Cripes! Barracuda by Quantum Jump being (re) released on
CD? I've wanted to get hold of that for bloody years! Tap, t-tap
dancer! By Gum... anyone got the time/charitable disposition to
mail me a tape of it? Anyone know if it's out there somewhere? I
hope it's classed as Canterbury by the way, or I'll be getting one
right in the e-mail from Cedric or whatever 'is name is!
Thanks and bon appetit,
Paul.Bringloe@Ogilvy.com
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From: Pat and Julian <nomad@netrover.com>
Subject: Ultramarine & Robert Wyatt/Henry Cow's
LEGEND/Canada???
Date: Wed, 15 Apr 1998 01:24:43 -0400
Hello Rattlers!!!
I've had the ULTRAMARINE cd called "Every Man & Woman
Is A Star" in my CD player for a couple of weeks now (I love
it!!!). I have a few questions about the tracks Ultramarine sample
Robert Wyatt's voice:
1-on the track called "Saratoga", which Robert Wyatt tune
are they sampling him from?
2-on the track called "Lights In My Brain", which Robert
Wyatt tune are they sampling him from?
Other notes on this CD. I think I heard Ultramarine
sampling Yes' "Close To The Edge". I'm positive about the Kevin
Ayers' "Shooting At The Moon" album being sampled on the tune
called *Panther*(very cool).
Now..., I have a Henry Cow question. It was written way
back in August 1997 that ReR Records was going to re-issue Henry
Cow's "Legend"(the original mix) in the near future on CD. Is this
project still in the works, and when will it be re-issued on
ReR??? Anyone know where I could possibly purchase the *original
mix* of Henry Cow's LEGEND on CD???
To conclude...; Why in the heck don't any of these
Canterbury bands ever tour Canada dammit!!! :)
Ciao,
JULIAN "Jimmy The Weed" BELANGER
Host of "Out-Bloody-Rageous!", CJAM 91.5FM, Univ.Of
Windsor, Canada
[I haven't heard that particular Ultramarine CD, but the
title "Lights In My Brain" would suggest that they're using a
sample from Soft Machine's "Lullabye Letter" : "I've got lights in
my brain/We'll have fights in the rain..." - AL]
-------------------------------------------------------------------------
From: "msebek" <msebek@cro.cz>
Subject: Strasbourg Gong gig
Date: Fri, 17 Apr 1998 14:53:12 +0200
Hello Aymeric,
This is Milos Latislav from Prague, CR. I plan to visit
Gong gig in Strasbourg at May 1st with some friends. I am afraid
this gig may be sold out when we come to place at the day of
concert. Is there some possibility to know some contact (phone,
mail, fax) to concert organisers and reserve tickets? If you can
help me, mail me please at msebek@cro.cz or milos@muzikus.cz
(first adress is better).
Thank you
Milos Latislav
[If anyone on the list can help Milos, I think our Czech
friend will be most grateful ! - AL]
-------------------------------------------------------------------------
From: Age Rotshuizen <age@xs4all.nl>
Subject: Tom Cora's died
Date: Fri, 17 Apr 1998 09:06:35 +0200
Hello,
Tom Cora may not be a key figure in the Canterbury field
of music, but he
played with Fred Frith in The Skeleton Crew, so I think
this might be of
interest for some of us. He died, age 44, after suffering
some time from
lymph gland cancer.
Age
[I was very saddened to read of Cora's death, although I
was not that familiar with his work, except obviously for Skeleton
Crew and a few bits. I'd seen him play live once, with a
shortlived band that featured Chris Cutler and Maggie Nichols at
1990's Grenoble Jazz Festival. A vivid memory of that gig is Cora
putting his cello on his knees and playing it as if it were a
guitar during one piece. A funny *and* musical moment - AL]
-------------------------------------------------------------------------
From: Theo Travis <100701.3031@compuserve.com>
Subject: John Marshall
Date: Sat, 18 Apr 1998 09:31:06 -0400
Hi.
I thought you might be interested to know that John
Marshall has a new improvising trio called Marshall Travis Wood
who have just released a CD called Bodywork. You can read all
about it (and hear some real audio) on my site at
http://ourworld.compuserve.com/homepages/TheoTravis
Cheers,
Theo Travis
-------------------------------------------------------------------------
From: age@xs4all.nl (Age Rotshuizen)
Subject: Wyatt re-releases
Date: Sun, 19 Apr 1998 00:18:41 GMT
The record company of Robert Wyatt in the US appears to
have been releasing a few of his previous solo-pieces, i.e. Rock
Bottom and Ruth is Stranger than Richard. Has anyone seen them in
stores yet? What's the difference with the Virgin re-issues?
Age
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* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
*
FORTHCOMING CANTERBURY-RELATED
CONCERTS
*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info : check out the 'Concerts' page of CALYX -
see URL below]
DAEVID ALLEN - SOLO UK TOUR
Apr 22 - Stoke-on-Trent, Wheatsheaf
Apr 25 - Lewes, All Saints
Apr 26 - Leeds, Duchess of York
GONG - FRENCH TOUR
[Allen-Smyth-Malherbe-Sharpstrings-Howlett-Moerlen]
Apr 30 - Bethune [near Lille] (France), venue unknown
May 1 - Strasbourg (France), Laiterie
May 2 - Nancy (France), Terminal Export
May 3 - Vitry-le-Francois (France), Cafe Musiques
May 5 - Ploemeur [near Lorient] (France), Oceanis
May 7 - Blois (France), Chateau d'Eau
May 9 - Perpignan (France), Mediator
May 10 - Montpellier (France), Mimi La Sardine
May 11 - Toulouse (France), Bikini
May 12 - Bordeaux (France), Theatre Barbey
May 14 - Paris (France), Bataclan
May 15 - Rennes (France), Salle de la Cite
CARAVAN - EUROPEAN DATES
[Hastings-Sinclair-Richardson-Coughlan-Leverton-Boyle-Bentall]
May 23 - Diss, Norfolk (England), Park Hotel [tel:
0137.985.4206]
May 31 - Utrecht (Netherlands), Tivoli (tbc)
Jul 18 - Kassel (Germany), festival appearance (tbc)
BRAINVILLE - UK TOUR
[Daevid Allen-Mark Kramer-Hugh Hopper-Pip Pyle]
Jun 16 - Leeds, Duchess of York
Jun 18 - Ashburton, Lanterns
KEVIN AYERS - CALIFORNIAN TOUR
May 24 - San Francisco (CA), Great American Music Hall
[tel: 415.885.0750]
May 29 - Los Angeles (CA), The Gig [11637 W.Pico Bld]
[tel: 310.444.9870]
PETER BLEGVAD TRIO
[Peter Blegvad-John Greaves-Chris Cutler]
Jun 12 - Tokyo (Japan), Star Pins Cafe
Jun 13 - Tokyo (Japan), Star Pins Cafe
Jun 14 - Tokyo (Japan), Star Pins Cafe
PIERRE BENSUSAN/DIDIER MALHERBE DUO - UK TOUR
May 20 - Brighton, The Concorde
May 21 - Ashburton, The Lanterns
May 22 - Southampton, The Gantry
May 23 - Bury, The Met
May 24 - Sheffield, The Board Walk
May 26 - Chester, Tellford House
May 28 - South Shields, The Cellar Club
May 29 - London, The Weavers
May 30 - Basingstoke, Fairfields Arts Centre
Also :
May 16 - Coutances (France), Jazz Sous les Pommiers
(Festival)
FORGAS BAND PHENOMENA
May 2 - Paris (France), Peniche 'Le Six/Huit'
May 9 - Fontenay-sous-Bois (France), Le Comptoir du
Monde
May 19 - Paris (France), Le Cavern
Jun 15 - Paris (France), Peniche 'La Balle Au Bond'
Jun 29 - Paris (France), Duc des Lombards
Sep 3 - Paris (France), Petit Journal Montparnasse
Sep 11 - Paris (France), Le Glaz' Art
Sep 18 - Paris (France), Studio des Islettes
Sep 19 - Paris (France), Studio des Islettes
BEVIS FROND [FEAT.ANDY WARD]
Apr 20 - Los Angeles, Spaceland
Apr 23 - Austin, venue tbc
Apr 24 - Houston, Mary Jane's
Apr 25 - Memphis, Young Avenue Deli
Apr 27 - Chapel Hill, venue tbc
Apr 28 - Chapel Hill, venue tbc
May 01 - Syracuse, Hungry Charley's
May 02 - New York City, venue tbc
May 05 - Boston, Middle East
May 06 - Providence, Century Lounge
FRED FRITH - SOLO/DUO GIGS
May 18 - St. Etienne (France) (with Louis Sclavis/J-P
Drouet)
May 29 - Tullins (France), MJC (with Noél Akchoté)
May 30 - Figeac (France) (with Louis Sclavis)
FRED FRITH "TENSE SERENITY"
Apr 24 - Rostock (Germany), Zabrik
Apr 25 - Amsterdam (Netherlands), Bimhaus
Apr 26 - Utrecht (Netherlands)
Apr 28 - Unterschleisheim (Germany), Burgerhaus
Apr 30 - Ulrichsberg (Germany), Jazz Atelier
May 1 - Willisau (Switzerland), Rathausbühne
May 2 - Le Mans (France), Jazz Festival
May 4 - Gent (Belgium), Vooruit
ALLAN HOLDSWORTH GROUP - JAPANESE TOUR
May 2 - Tokyo (Japan), Pit-Inn (Shinjuku)
May 3 - Tokyo (Japan), Pit-Inn (Shinjuku)
May 4 - Tokyo (Japan), Pit-Inn (Shinjuku)
May 5 - Tokyo (Japan), Pit-Inn (Shinjuku)
JAZZ RUMOURS
All Sunday nights at The Vortex
[139 Stoke Newington Church St, London N16]
feat. various combinations of the following musicians :
Elton Dean, Jim Dvorak, Paul Dunmall, Simon Picard, George
Haslam, Marcio Mattos, Alex Maguire, Liam Genockey...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
END OF ISSUE 90
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