::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 105                          ::
  ::                  Thursday, October 2nd, 1998                 ::
  ::                                                              ::


From: Brett Laniosh <brett@g4nzk.demon.co.uk>
Subject: Re: CDs wanted
Date: Thu, 24 Sep 1998 23:15:03 +0100 (BST)

[In WR#104, Robert Hampton LeGrand III <rhl0940@cs.tamu.edu> wrote:]
> Howdy!  I'm having trouble finding the following CDs:
> Centipede - Septober Energy
> Egg - The Polite Force
> Gryphon - Midnight Mushrumps
> Happy the Man - Crafty Hands
> King Crimson - The Great Deceiver: Live 1973-1974
> Magma - Kohntarkosz
> Magma - Mekanik Destruktiw Kommandoh
> Magma - Udu Wudu
> Magma - Attahk
> Matching Mole - Matching Mole
> Quiet Sun - Mainstream
> Robert Wyatt - The End of an Ear
> If anyone could help me locate any of these, I'd really appreciate it.

Some great albums there. I've got all of them except the first four.
I'd be interested in reviews of these comments.

I'd recommend you take a look at:

Ultima Thule in Leicester carry a lot of this stuff but they are not "on-line".
Tel: 0116 285 4545
Address: 1 Conduit St, Leicester. LE2 0JN. UK
They do a wonderful catalogue with a Canterbury, Gong, Zeul (Magma) RIO section!


From: drj_saro <drj_saro@neo.lrun.com>
Subject: 7-Year Itch
Date: Thu, 24 Sep 98 18:41:38    

[In WR#104, GHenry1480@aol.com wrote:]
>I have been trying to get Pip Pyle's cd Seven Year Itch,

try the Artist Shop @ http://www.artist-shop.com/


From: "David Voci" <david_voci@tcibr.com>
Subject: Rattlebury Revisited
Date: 24 Sep 1998 16:57:20 U

More commentary on Canterbury.....

I am way behind in my reading of all previous WR's so alot of my thoughts point to previous conversations and might seem repetitive but then again, so do most conversations by now as this talkgroup has been going on for quite sometime...I seem to want to always bring something new to the group but for the life of me can't think of anything except my opinions of what's already been.

Brainstorm, here I go:

1) I would think that the most popular/biggest selling album of this style would be Soft Machine Third...Has this or another release  been verified to be the #1 seller?

2) Yes, I agree that there could other candidates to bring into the fold here on this talkgroup who of course could qualify in the category of sound similarity as this area has indeed influenced countless musicians in England and Europe and even worldwide. Then this would become an A-Z talk-group to which Canterbury might become slightly obscured even though the main thrust of discussion would be about CB. I wonder who the CB bands cite as their influences (Miles, Zappa, Spirit, Rare Earth, John Mayall, Graham Bond, Fela Kuti etc...) or am I way off base? Or maybe, Canterbury has influenced them???
To me, CB sound is pretty definitive, meaning that there is a certain Keyboard sound/vocal tendency/Psychedelic(fill in your jazz type name  here)jazz sound. It's just that there really is a specific sound that if you heard it without knowing the exact group then you would say "Oh yeah, that does sound like something that would come out of CB." Also, for my money, I am preferential to the more instrumental style of CB as opposed to the vocal stuff (It's funny that in Aymerics lyric page there are very few.

3) What connection does Bill Laswell have to the CB scene? I don't know how Canterbury he is but I do know that he played on Klaus Schulze/Pete Namlook series 'Dark Side of the Moog' Vols. 4-6, each released separately and either OOP or close to it. (Out of Print). I'm sure this isn't new info but when I can come up with a CB link that has not been referenced B4 then why not... Bill's playing in this context is very soothing and fits right in with the whole genre that is Klaus Schulze.

4) Holger Czukay/Hugh Hopper...these two guys almost look alike(light/receding hair). There is a long song on 1984 called 'Miniplenty' which immediately makes me think of Can. True, as somebody once noted, that '1984' has very little to do with the CB sound other than some itinerant sax playing . And, needless to say, resembles very closely, Softs 'Spaced' project which, of course, is what Hugh starts off by saying in the reissue CD booklet. 1984, in my opinion, is very much CB. There are some fantastic issues by solo members of this group that could qualify as the CB sound (Irmin Schmidt's Soundtracks Series/Holger Czukay's LP's Moving Pictures/Movies etc) and even Can's Discography seems to at least intersect with some of the CB stuff for sound similarity.
One more band I'd like to mention that is very obscure that has this same, exploratory, experimental/free jazz sound from Germany? is Exmagma (no relation whatsoever to Magma) and an LP called 'Goldball'(on a French label called Dysjuncta or something). Phenomenal, Eurojazz that reeks of CB.

5) New acquisitions of late, as I have just tapped back into the Canterbury thing after being engrossed for awhile there in Electronica, specifically the Berlin sound as Klaus Schulze, in the last 4 years, has released from his tape archives 45 CD's that are all over 70 minutes long. So, as you can see, there was alot of ground to cover.
Anyway, fellow rattlers, my recent list is:
Henry Cow-Legend, Unrest & In Praise Of Learning (Great/long overlooked music/ very abstract and experimental...I see via the liner notes allusions to Faust. Can do w/o Dagmar Krause though/no offense).
Lol Coxhill-Ear of the Beholder (alot of filler songs but pretty strong especially the long song 'Rasa Moods'.
Hopper-1984 & Hoppertunity (both excellent CD's with Hoppertunity resembling in some places some Rubber Riff song structures, 1984 is a brilliant CD that has a niche all it's own).
Soft Heap-Rogue Element (Enjoyable, truly Canterbury).
Soft Head-Veritable Centaur (Very freaky beginning song/great CD all the way through with great use of strange guitar).
Hopper / Gowen-Two Rainbows (I really like this one/the appended songs, thx cuneiform, at the end are good listens, one writer once noted that they could've been more enthusiastic live but I'm ok with these tracks).
Hopper Band-Meccano (At first sounded like formula stuff but after further listens, found it to be a very nice CD that does have some great guitar passages on it).
Softs-Paradiso/Virtually... Bringing me to another point: It's good to see the availability of the recent live Softs stuff that's being issued on CD from old tapes that are still in existence...Just got Paradiso and Virtually and am very happy with these. I see that Aymeric has been thanked on Virt. so this is cool to see. Also the Elton Dean keyboards that flavour this set 1 are nice to hear. Paradiso is a tight set even if the vox are a little off...no bid deal when you consider the tightness of the set musically...also the drum solo toward the end of Paradiso is palatable as I'm not one (I doubt many people are unless they're drummers) one for drum solos.
Egg-Egg/Polite Force (I like Arzachel so when I first heard these I thought something was missing, Duh, maybe that was S Hillage. Anyway, pleased with Polite more than 1st Egg, probably due to the maturity shown on the second effort... Noticed some references to either a Hatfield or NH song here).
Arzachel (Love the psychedelic nature of this recording... very blues based as well bringing to mind mid to late sixties English blues scene).
Isotope-ST/Illusion (At first sounded like formula fusion but upon further listening found this CD to be very likable and it's great when Hopper starts playing on Illusion...unmistakably Hugh. Gary Boyle is indeed a great guitar player).

On Rob LeGrand's list:

I don't know where you live but Magma is available in alot of USA shops (Rasputin's in Campbell CA/CD Warehouse in Sunnyvale CA (not the chain 'Wherehouse')... the latter place is where I found the 1st two Matching Mole's and End of an Ear (now temporarily out of print). As for the KC Box, it is also out of print but you can call or fax the DGM company listed in most of KC's newer releases including in the 'Epitaph' recording for this info. Additionally, Rob, if you know any decent CD shops with good sources I would think that most titles, if available on CD, can be found quite readily through special ordering methods...Good Luck

David Voci

[A few minutes later, David sent me another message which goes - "For Rob Legrand III...forgot to say...if Aymeric didn't already, that almost all Magma's are available from Cuneiform Records who is referenced in these pages quite a bit...and the KC Great Deceiver might be available from J&R music world in New York at 800 221 8180...Later Friends" - AL]


From: "Alex Lippisch" <alippisch@boston.bozellkamstra.com>
Subject: What's Rattlin' subscription
Date: Thu, 24 Sep 1998 20:26:28 -0500

Hello Aymeric, at long last I am back from the E-mail dead.

Please re-subscribe me to What's Rattlin' (I hope you are still publishing this fantastic info service).  I have really missed reading it!

Several weeks ago I saw the ol' divided alien Daevid Allen, at a local hall here in Boston USA.  He played first on a triple bill with Roy Harper and The Flower Kings. His singsong was in fine order even though his set was very short (about one half hour).  He played solo on acoustic and glissando guitars, doing songs which seemed new to my 41 year old ears.  Afterwards I had a chance to talk with him, what a really sincere and nice human bean he is.

Looking forward to the word on the street.

Alex Lippisch


From: mihra@cerbernet.co.uk (Roger Bunn)
Subject: : The Real Memories of the 70s?
Date: Fri, 25 Sep 1998 02:58:51 +0100


Huh, I didn't even remember playing with Jimi H, until it was too late.

But now I remember you. Two guitars that night, me and Jim Mullen with another bassist. Dave Thompson was not  on drums,  he played keyboard and soprano. I had officailly left PIBLOKTO  by that time but was back to see what two very very different jazz guitarists, Jim Mullen and I, could do when playing together with another bassist.

You weer in the support band? Did'nt they had a trombone?

In reference to : "let's just go back to 1970 and one last interesting little morsel from Wrong Movements: "June 25 - Amazing Band, Mercury Theatre, supporting Piblokto"! I'm sure awonderful time was had by all that night! Does it get a mention in the autobiog, Roger?""

Sure : But as the editor fired herself.. Eer, more shot herself in the foot than fired. And, as I am over worked, under paid and still over here, there may be a short delay in publication

George Khan? Yes, we worked together on a few projects. One was with Bob Wyatt's  lady Alfie. And I can't contact her it seems.. (Wish  I could.) "My self is another" with Chris Goody (sp) on piano, a film.  I need to fill out some discography forms

But also, and only a v few people know this one. George, Roy Babington, Laurie Allen, Pete Lemer, and the late Eddie O'Neil on percussion and I got together in Stagecoach which rehearsed things from Enjin (with me singing) <?!> Ornette tunes like WRU with Babbington on his 6 string and all playing the lead lines. I played guitar.

And although Arthur Brown and others used to regularly drop by the studio in Covent Garden to catch an earful. sadly Stagecoach never recorded. But it did a single gig at the Marquee.  It's only gig. T'was a lovely band. And I have my most favourite stage photograph from that gig.

In reference to : "Which brings me back to Piblokto and "Canterbury". Tracing overlaps of personnel doesn't necessarily get you to the heart of the matter."

How very true. The "matter" in question was what you had to say, not who or from where one derived. Therefore PIBLOKTO came from all over. I took over John Mclaughlin arrangements of Pete's lyrics and dusted them off. Jim, and I and Pete wrote three or four of the tracks on the Arts School Dance together..And to be downright honest. If you listen to Mullen's High Flying Bird, then you are listening to my own favorite laid back professionally Paul Chambered bass line of all time, (I think..) Man, when Mullen said how pleased he was, y'could have knocked me down with a feature.

We recorded that album at Abbey Road? Home of the sexually weirdotape ops? And Steve Swallow turned up? Just as I was to record one of the three bass solos on that album.

Ever hear any jazz progressive rock album not by a featured bassist, that has three bass solos these daze? Swallow said he was pleased  to see that someone in the band was doing something profound.. <?>

Must have been outa his head.

In reference to : "Another way of looking at the connection is that, in their different ways, both Pete Brown and the Softs represented the more intelligent, genuinely imaginative side of the late 60s/early 70s underground".  

Talk to me about it... If only, if only  ha!! But seriously folks. Actually playing that genre of music one sets out seeking challenge, as a band.

No other, (apart from an understanding whatever one could of  the techniques employed by Garrison / Coltrane etc etc) element was necessary. After all, Pete has not got the best voice in the world, which is ironic really. For Pete knew where he wanted to go vocally. More so that many of his contempories.

Sadly both Mal Dean and Dave Myatt, both also the PIBLOKTO "roadies" died before their time.

In reference to : "Lyn Dobson, who Roger tells us (WR#101) was in the  "Pete Brown supported" Endjin with him in the _early_ sixties (?)."

Well, it was like this : No one wanted me to leave PIBLOKTO, but I would not stop slamming the bass into the mike stands. No  one thought about buying spare equipment if the striings broke. Which they did. With great regularity.

And I had just got together with Mishi who I knew from Apple, in Baker St where at the invitation of McCartney I had laid down the  demos for "Piece of Mind", later to be recorded in Holland with the Dutch National Orchestra.

The temptations to keep hitting that mike stand were enormous. I was also getting some really interesting sounds. Before the strings broke.

So Pete, (secretly and by way of his accountant, funded a new band for me) Alexsis's son-in-law, both now demised I believe on bass, Edward Ray-Smith on trombone, Malcolm from the Average White band on tenor, who either replaced or was replaced by Lyn. Lyn, Ned Balen and I had opened the Round House. We were the first ever act to take the stage. Tabla, Flute and Acoustic guitar / voice. A few months later would return to listen to Jefferson Airplane and the Doors on the same bill.

"Excuse me Mr Morrison." But they were Great days

If anyone out there has access to a half inch tape machine I have some tapes of Laurie, Mullen, Lyn and I and a few others, that have'nt seen the light of day for 20 years.

Anyone interested?

Thank you very much for your kind word Bee. And no, I didn't take offence by being linked to the "not so great and worthy". My values don't stretch to that sort of pandering philosophy any more.  Seemingly it confuses those that do ;-)

Finally that Kieran White album? I played Dbass on about three tracks. But the main plus is that You, Oh noble BBee, gave me some ammunition. I had completelty forgotten they had issued Piece of Mind in Germany..!! Boy that single brain cell.

Wait til the Royalty counduits Swiss bank accountants hear about this.!. Running for hills? Maybe not.

Probably only sold a couple of copies.

By that time Bowie was singing my "Life is a Circus" on stage. And even after his rise to fortune Our Dave never sent me a penny, never even said thank you. Ain't life a <deleted> huh?

thank you for the info. I shall now pass it through to PAMRA and the PRS and expect a Large cheque in the post by the end of the Milleneum, or should that be linoleum?

btw : Any one notice how the MPA's grip on  the PRS is tightening? The Unholy Alliance are really the publishers hit men?

And Roxy?  Alas, I could not control myself. "Bryan" I said. "Think you could stop posing and begin to sing?" I said.

Think Eno and Co will ever pay me for those hours of session work on their behalf? Anyone got their number? I will call'em myself.

"Hello?" "Ferry?" Give me my money you arrogent tax exiled outa tune prissy white voiced pop star at all costs b'stard ..

No, I don't think so.. Time is on my side.

Roger Bunn

Policy Office
Music Industry Human Rights Association
UK Homepage  http://www.cerbernet.co.uk/mihra
US Satellite http://www.212.net / roger@212.net
General Email Mihra@cerbernet.co.uk
Mihra was founded during UN50 to advance and protect creators rights in a cultural market monopolised by the six member recording  / publishing Cartel. Mihra's roots are in music and anti-racism and it has called for a sports boycott of both Indonesia and Burma for the Sydney 2000 Olympic Games.


From: Lizard4663@aol.com
Subject: Random Hold
Date: Fri, 25 Sep 1998 10:37:08 EDT

Hi!  I have started a Random Hold mailing list at RandomHold@onelist.com.  I
thought I'd pass the info around.  



From: IChippett@aol.com
Subject: Steve Hillage at Bercy
Date: Sat, 26 Sep 1998 13:03:54 EDT

There's an interesting article in "Le Monde" today (Sunday) on Steve Hillage who's Musical Director of the Raï Festival "Un, Deux, Trois Soleils" at Bercy this weekend. In French, of course, but worth struggling through with a dictionary for those who wonder how he became interested in this musical form.

Ian C


From: mgo@chilepac.net (rodrigo garcia)
Subject: "¿Daevid en Sudamerica, or just a drunk weekend fantasy?"
Date: Mon, 28 Sep 1998 22:05:06 -0400 (CST)

Hello Americo,

Congratulations for your excellent mail service, and great web page. I have just written you once, so this time I must present myself. My name is Rodrigo Garcia, and i live in Santiago, Chile, and just like many others here (as i have noticed) i am attracted by the lisergic effects of the whole cosmic world of Gong. Last weekend i was having some drinks  with my band (ah, i have a band), and some friends, and one of them said that he heard something about Gong coming to play to Argentina. In that second everyone went crazy, so we figured it up as if it was true, so we could have great reason to ask for another bottle of wine. But believe me, here we must have that information clear. We don´t want to miss the chance to see Gong, and to have a nice poetry conversation with Daevid.

Getting back to what is reffered to my band, we could be identified as very "progressive" or "canterburian" , our own music has a lot of this influence, and some covers we play also, for example we play "Fitter stocke has bath" from Hatfield, "lark´s tongues in aspic p.2" from KC, "never let go" from Camel and others. We also experiment a lot with music, and improvise on stage. On December we are expecting the visit of John Zorn, and we hope this kind of concerts will continue. Personally i would love to see King Crimson live, or Robert Wyatt , but i know this one  is imposible. Some months ago i bought "Shleep" and i believe it has got really magic into it. well this it, goodbye.
se despide
il roooooooooooro


From: "osamu suzuki" <o_suzuki@shindengen.co.jp>
Subject: Pip Pyle "7 Year Itch"
Date: Tue, 29 Sep 1998 18:33:07 +0900

Hello, I want to listen PYLE (Pip) - Seven Year Itch ASAP!! Do you know when this CD will issue?

Shindengen electric  MFG.CO.LTD,
Tel  0429-71-1384
Fax 0429-71-1176

[Mail-order vendors may reply privately... - AL]


From: IChippett@aol.com
Subject: In Cahoots in Argenteuil
Date: Tue, 29 Sep 1998 09:40:45 EDT

Argenteuil's not exactly a big place but it would be nice if someone could tell us exactly where In Cahoots are playing on the 16th.

Thanks in advance

Ian Chippett

[I'll try to find out - AL]


From: TALandon@aol.com
Subject: Little comment for WR
Date: Tue, 29 Sep 1998 17:02:01 EDT

Dear Aymeric,

As I work through the previous issues of WR and as I read interviews with Robert Wyatt, I get a very negative impression of Mike Ratledge. This is certainly partly right, since he did help to kick out Wyatt and therefore reduce the excitement I felt with my favourite band (of the time).

But I would just like to point out that I met Ratledge (in 1980 or 81, can't remember) at Bracknell Arts Centre where he did a talk on the history of Soft Machine (was it recorded - does anyone know?).

In the middle, he took a break and, as nobody else did, I went up to him, bought him a drink (always a good idea with musicians) and started chatting. We all know that he's very clever (Oxford philosophy degree and all that) but I have to say that he was also charming and very open (despite his "shut-out shades" image on all the albums). A really nice, clever, open guy.

Among the moments I remember of that evening: Ratledge telling me he was bored with Soft Machine from 6 onwards, Ratledge playing us a fiendishly-complex backing tape over which he should have improvised but "the promised minimoog didn't arrive", Ratledge regretting (yes!) R. Wyatt's departure from Soft Machine and the subsequent bad blood between them, though wondering why, since RW defended "pop music", he then went on to even more experimental stuff with Matching Mole - oh, and Ratledge saying that, although his music was very complicated (time signatures, etc.), it really didn't matter (got the impression that the complexity was basically to keep himself amused).

See you all soon.



From: David R Ashcraft <105704.1431@compuserve.com>
Subject: Blegvad concert
Date: Tue, 29 Sep 1998 22:54:34 -0400

Just thought I'd share some observations of the recent show with everyone...

On September 17th the Peter Blegvad Trio graced Martyr's in Chicago. The show was a resounding success with about 120 people in attendance (which is pretty good for a Thursday night!). The highlight for many of us was the muscular rhythm section of John Greaves and Chris Cutler. Having never seen Cutler in action I was fascinated by his unique style. His hands dance through the air in a not particularly efficient but certainly very musical fashion. Cutler is riveting to watch and it is easy to see how influencial he has been for other drummers (most recent example was David Kerman who was a highlight of the Present show). Greaves played a Steinberger bass and held down the bottom in a very convincing fashion. His facial expressions were just one step short of his former band-mate, Phil Miller.

Blegvad was the focal point of the show and he performed two hours worth of solo material from "Just Woke Up", the new "Hangman's Hill", and others. The audience was highly appreciative and they performed several encores (including the request, King Strut). I am also pleased to say that all three guys are extremely nice and were happy to discuss tales of the Cow and Healthy Ones. John Greaves' son is an engineer with Simon Heyworth of Virgin fame! Chris even tantilized us with talk of a possible duo tour next year with harpist Zeena Parkins! Quite a night for all...


From: Michel Delville <mdelville@ulg.ac.be>
Subject: In Cahoots update
Date: Wed, 30 Sep 1998 08:50:03 +0100

Dear Aymeric Leroy:

This is just a short note to tell you that the In Cahoots concert
originally scheduled in Liège on October 21 will take place on Sunday
OCTOBER 18 at the Cirque Divers.

With best wishes,



From: Michael Clare <mykelc@earthlink.net>
Subject: Alien In SF//Consensus Sought
Date: Wed, 30 Sep 1998 17:49:43 -0700

Hello To All-

I am pleased to report that Daevid Allen's visit to California last week was very much enjoyed by all especially Daevid who is in great health and spirits and his fingers are flying like greased lightning over the fretboard. Two shows opening for "the bard" Roy Harper (SF and Santa Cruz) and a headlining show in Nevada City were augmented by a radio interview with a rough mix of a track from the Brainville recdordings in New York and a guest appearance playing ripping electric guitar on Friday night with SF improv band Mushroom. Hopefully this will lead to more activity here in 1999.

On a different note--- I am in need of some input in determing a consensus on something that I thought was a given for over two decades. Is there a definitive album which represents "The Canterbury Sound"??? Put another way, if someone were to ask you to recommend a Canterbury CD as an introduction to the genre and you could only choose one, which would it be????  I am not sure if this is an appropriate discussion for postings to What's Rattlin' so feel free to e-mail me directly with any thoughts on this.

Hope all is well with all of you and that we all will be sharing the common listening experience of 7 Year Itch very soon.

Cheery Bananas---Michael Clare

[I think it would be interesting for all of us if subscribers mentioned their one (or two or three, possibly not more) favourite Canterbury, PROVIDED they argue WHY they are their favourites, in a few sentences - AL]


From: "Karl D. Gursli" <gurslikd@c2i.net>
Subject: Progressive Music
Date: Thu, 1 Oct 1998 19:00:25 +0200

Hi, There

I see that you like the same kind of music as I  do. We are a couple of guys who are quite into gong  and related canterbury. In Oktober 1997 we went to the Forum in London, it was  the greatest concert I ever been at. We are looking forward to see Gong at the Festival Of Fools some time next year, it seems to be a great  experience. Do you know about websites or shops who sells this kind of music..     Keep up the good work. Canterbury Music Rules!

Regards, Karl D. Gursli
Unix System Adminitrator Sema Group Norway

[Mail-order vendors may reply privately... - AL]


A final note on address changes - quite a few WRs are bounced back to me because of unvalid addresses. Obviously, the people concerned will never read this, but may I insist that every one of you please care to inform me that their e-mail account is either cancelled, or moved to another address. In the latter case, please give me you former e-mail address so I can delete it. Thanks/AL


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*               FORTHCOMING CANTERBURY-RELATED CONCERTS                 *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

[for more info : check out the 'Concerts' page of CALYX - see URL below]

Oct 30 - London, Astoria

Oct 15 - Rotterdam (Holland), Dizzy
Oct 16 - Argenteuil (France)
Oct 17 - Massy (France)
Oct 18 - Liege (Belgium), Cirque Divers
Oct 20 - Brussels (Belgium), Travers

Nov 12 - London Jazz Festival, Lansdown House

Oct 03 - Jersey (C.I.), Festival International
Oct 05 - Oxford, The Zodiac
Oct 06 - London, The Purcell Room
Oct 07 - Cambridge, The Portland Arms
Oct 08 - Nottingham, Bonington Theatre
Oct 09 - New Milton, Forest Arts Centre
Oct 10 - Tamworth, The Arts Centre
Nov 27 - Paris (France), New Morning
Dec 05 - Alençon (France), La Luciole [tel:]
Jan 22 - Elancourt (France), venue unknown [tel:]
Jan 23 - Montereau (France), venue unknown [tel:]
Feb 26 - Valenciennes (France), Théatre le Phoenix [tel:]
Feb 27 - Faches-Tumesnil [near Lille] (France), Les Arcades [tel:]
Mar 06 - Jarny (France), Espace Gérard Philippe [tel:]

Oct 10 - Torino, Salone Della Musica Festival
Oct 11 - Vilnius, Jazz Festival

CHRIS CUTLER with various projects
Oct 17 - Berlin (Germany), Prix Europa [with Shelley Hirsch/Lutz Glandien]
Oct 24 - Bucarest (Rumania), Radio House [Iancu Dumitrescu Orchestra]
Nov 14 - Berlin (Germany), venue unknown [with Lutz Glandien]
Nov 16 - Krakow (Poland), Audio Art Festival [with P53]
Nov 19 - Paris (France), Instants Chavirés [with Tony Buck/JM Montera/JJ Pauvros]

Oct 23 - Paris (France), Theatre Dunois [opening for John Wetton]
Nov 13 - Paris (France), Le Glaz'Art [tel: 140.364.849]
Nov 17 - Paris (France), Peniche 'Le 6/8' [tel: 143.807.454]

And a plug for our Japanese friends...

Oct 16 - Fashes-Thumesnil (France), Les Arcades [info:]
Oct 17 - Brussels (Belgium), Magasin 4 [info: Travers (31) 2.218.1509]
Oct 23 - Göteborg (Sweden), Scandinavian Progressive Rock Festival [info: (46)]

...and a plug for our Kobaians friends:

Oct 20 - Brussels (Belgium)
Oct 21 - Hamburg (Germany)
Oct 22 - Leverkusen (Germany)
Oct 24 - Berlin (Germany)
Oct 25 - Bratislava (Slovakia)
Nov 07 - Torcy (77) (France)
Nov 27 - St.Nazaire (44) (France)
Nov 28 - St.Quentin (02) (France)

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

                        END OF ISSUE 105

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