::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 106                          ::
  ::                   Friday, October 9th, 1998                  ::
  ::                                                              ::


From: "msebek" <msebek@cro.cz>
Subject: Elton Dean - rewievs etc.
Date: Thu, 24 Sep 1998 10:44:13 +0200

[For some mysterious reason, this message got lost in my e-mail. Here it is at last... better late than never! - AL]

Hello Aymeric and all  Rattlers!

This is my first major contribution to this great on line conversation forum on most interesting and better organizing music site I know. My name is Milos Latislav and I'm a newmusic/jazz/progressive enthusiast (also music journalist) from Prague, Czech republic. My english isn't very good, but I will try to write some small rewievs of my Canterbury related albums. My favourite musicians (from Canterbury area) are Elton Dean (absolutely), Hugh Hopper, Robert Wyatt, Keith  Tippett, Daevid Allen... I like Soft Machine, Gong, Caravan (mostly early albums), Kevin Ayers, Nucleus (post-Jenkins era)... I absoutely agree with this guy, who wrote in some previous WR that the song "Teeth" from Soft Machine's Fourth is their masterpiece. And now some rewievs:

ELTON DEAN: Two's & Three's
Pure communication between Elton and other players in duos and trios, very interesting, but sometimes hard to listen for me. IMO not so good sound as may be with sensitive mastering  (I know something about this), most of recordings (probably from various places) has much treble  - I think you understand what I mean. Very good sleevenote from Pip Pyle (he is not playing on this). Great last track "The Duke" - at the beginning free riding duo of Tony Levin on drums and Paul Rogers on bass which Elton joins and segues into speaky dialogue with Paul Dunmall's tenor. Fully in this last mentioned vein is Elton's & Paul's Voiceprint  CD "If Dubois  Only Knew".

Relatively restfull conversations (drums, piano, sax) in very unusual contexts and slow rhythms. Sometimes exciting.

ANGLO ITALIAN QUARTET: Put It Right, Mr. Smoothie
Ornette Coleman/Don Cherry type of quartet with Elton, Harry Beckett on trumpet and Italian rhythm section. Melodic type of jazz close to contemporary acoustic mainstream, very good. Mostly Elton?s and Harry?s tunes. Elton?s piece "Unda" (theme is slightly similiar to Santamaria?s  "Afro Blue" played by Coltrane) is reworked on his Saxophone Company Unlimited Ogun CD, and under changed title "Amba" on another CD:

PIP PYLE?S EQUIP?OUT: Up! (I have signed promo copy in universal paper outer - I?d like to see original cover sometime)
Great sounded jazz quartet of Pip, Elton, Paul Rogers and Sophia Domancich on piano & synth organ. Six copositions mostly by Elton and Sophia, some good free sections. Pip?s drumming is slightly more symetrical than playing by other three. Very good.

Coltrane-ish acoustic quartet. Two compositions by Elton (one of which is ballad "First In The Wagoon" previously recorded on "Silent Knowledge" - this older versions i like much more for slightly slower tempo), three by pianist Howard and two nice free improvisations.

Mostly wild free jazz improvisation in two parts, live from Vortex club. Conversation in various  combinations and intensities - only for hardcore Elton or free jazz fans.

Similiar to previous, studio recording done couple of days later. More 'alternative', very energic, close to Mujician?s first CD "The Journey".  

Above I wrote couple of months ago but not yet submit, recently I have some new arrivals, so I'll write another rewievs soon, I hope.

Finally I'd like to use this open forum for one my desire. I'm looking for the follwing ELTON DEAN titles mostly released on vinyl only:

El Skid, Happy Daze, Oh! For The Edge (I have only cassete recording, despite good quality), Welcomet, Bologna Tape, Intercontinental Express, EDQ Live, Equip Out's first, Keith Tippett Septet (and every other Ogun release, this
company does genial music).

If someone can help me somehow, I'll be happy. Ideal would be straight from vinyl DAT recording plus cover scan or photo copy. In retune I can send you CD-R or DAT copy of my rare vinyls - if you want to know my collection, mail me at milos@muzikus.cz

Keep rattlin'



From: drj_saro <drj_saro@neo.lrun.com>
Subject: Bill Laswell
Date: Fri,  2 Oct 98 23:11:29    

[In WR#105, David Voci <david_voci@tcibr.com> wrote:]
>3) What connection does Bill Laswell have to the CB scene?

Laswell and his band Material were part of New York Gong, and took part in the ManiFestival Tour of the USA back in 78 or 79.

>I don't know how
>Canterbury he (Bill Laswell) is but I do know that he played on Klaus
>Schulze/Pete Namlook series 'Dark Side of the Moog'...

What possible connection does Klaus Schulze have to Canterbury?

Julius J. SAROKA


From: Adam Levin <alevin@ProgRock.net>
Subject: The Progressive Rock Website: New Location
Date: Fri, 2 Oct 1998 18:35:11 -0400 (EDT)

Hi folks,

As of this afternoon, after three and a half years at http://www.ari.net/prog/ The Progressive Rock Web Site has relocated to http://www.progrock.net/

For awhile, the old URL will be redirected to the new site, but PLEASE update your links and bookmarks as soon as you can, because the redirects  are not guaranteed to be there permanently.

I will be working on extensively updating and rearranging the site over the next few months, so please stay tuned!



From: David Wayne <d-wayne@lanl.gov>
Subject: Laswell/Exmagma
Date: Fri, 02 Oct 1998 16:37:25 -0600

Hi Aymeric!

[David Voci wrote:]
>Subject: Rattlebury Revisited
>3) What connection does Bill Laswell have to the CB scene?

...wasn't he in Daevid Allen's "New York Gong", out of which sprang
'Material' (w/ Michael Beinhorn, Cliff Cultreri, etc.), and then some of
those guys later wound up in Curlew! etc., etc., etc.

>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.

...boy, you are on the money there! Exmagma is a great group! Quirky jazzy
Krautrock... or Krauty rocky Quirkjazz... very hard to compare with other
German bands, but perhaps similar to Embryo (ca. 'Surfin') in places. I
think that most Canterburians would enjoy Exmagma. The drummer, Fred
Braceful, has played with a lot of interesting jazz musicians including
Wolfgang Dauner, Michael Hornstein, Mal Waldron, etc. Dunno what happened
to the other 2 guys (Goldner & Balluff). I just found out from a very
reliable source that 'Goldball' is actually the second Exmagma recording...
the first (self-titled) is on a tiny label called 'Neusi' & is supposedly
even better than 'Goldball'.


>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

I say:
1) Hatfield & the North - first album
2) Soft Machine - Third
3) Matching Mole - Little Red Record

[Hey, folks! I asked that you didn't just give your own Top 3's, but also tried to explain WHY you chose these 3 albums out of the whole Canterbury legacy - AL]


From: mihra@cerbernet.co.uk (Roger Bunn)
Subject: Dark side of the Moog?
Date: Sat, 03 Oct 1998 08:33:24 +0100

Remember them?    

Having Significant, but little contact over my career as a guitarist / bassist with the actual Canterbury "squads". I have only a skim of knowledge in regard to many of their  many releases. However, in the case of the above, "The Dark
Side  of the Moog". Having never heard the message behind the album, I have a certain Special Interest.

[Well, it's unclear how this album got mentioned in the first place, but Klaus Schulze has indeed little to do with the Canterbury scene... - AL]

On the Internet you will see plenty about MK, the military use of mind control. But what few know is that Moog was involved with the so called US security services and that there may be a connection between his work and Calspan of Buffalo. Calspan was a university research organisation that turned into a busness. They were supposed to be testing auto safety and in fact the vast majority of the literature surrounding Calspan is about their experiments with cars. But in  reality that is not the case

Calspan makes MK mind control tools, implants. They over-flew the Gulf War. Calspan were monitoring US front line troops who had implants.

One of those troopers, Timothy McVeigh, one of the only two bombers convicted of the Murrah Building OkCity bombing, was working as a security  guard at Calspan Building Four when he discovered  that  his "government were into "large scale drugtransportation" and he has fequently complained of having an implant in his butt.

Other research points to where these implanted soldiers (and sleepers) are sent into operation by the use of sound waves. There is also documentation on other uses of this type of sound transmission. One incident took place in Bristol, England..

IF Anyone has any background on the mysterious Dr Moog, we would be most grateful to receive it.

I have been to Calspan and have talked to some of McVeigh's  Burns guards friends. If you want more on Burns / Wackenhut. Those wonderful people who now run the UK's first private prison.  Please do not hesitate to ask.

For others interested in the OkC bombing? Daivid Hoffman's book, "Politics of Terror" has now been released in Europe. Contact turnuk@aol.com for details.

"Hmmmm" Said the black helicopter.

"Secrets?" This is butt one of over a hundred symposiums taking place around the western world. Right now.

"On 20-22 October in Shrivenham, England, the Royal Military College of Science (RMCS) is organizing the European Synthetic Environment Symposium where privileged participants may be able to see how British special forces train for urban warfare."

btw : If anyone wants to employ my butt as an uniquely antiquely progressive and Lydian Augmented playing rock bassist / guitarist, (without, to the best  of its meagre anti-monopolista knowledge, an implant)  giv'em my number huh?

And : The mysterious Dr Moog? Most grateful to receive it.



From: "Sean David Schmidt" <seanschmidt@mailexcite.com>
Subject: Fave Canterbury album
Date: Sat, 03 Oct 1998 10:03:13 -0700


I gotta cast my vote for "Of Queues and Cures" by National Health. Possibly the finest set of music these ears have ever heard!!!


From: Julian Belanger <nomad@netrover.com>
Subject: Canterbury Free Jazz in London?
Date: Sun, 04 Oct 1998 01:05:42 -0400

Hello Rattlers!

I understand there is a bar in London, England where the Canterbury Jazz dudes jam once a week(or bi-weekly). I heard Lol Coxhill and all, jam there weekly. Does anyone know where this bar is in London. I may be going to England on my honeymoon in June and I wouldn't mind hanging out with Lol Coxhill nad his mates. :) Some info. would be greatly appreciated please.


(Paincourt, Ontario, Canada)

in CD player: Herbie Hancock - "Sextant"(a new re-issue out on Sony/Legacy). All
Canterbury freaks should check this out.


From: "Dan Kurdilla/Mary Fallon" <dkmjf@sprynet.com>
Subject: Bill Laswell
Date: Sun, 4 Oct 1998 10:21:18 -0400

Hello, Aymeric et al,

[David Voci wrote:]

>3) What connection does Bill Laswell have to the CB scene? I don't know how
>Canterbury he is...

Well, I'm sure Laswell has listened to and been influenced by Canterbury bands, as well as almost any other style you can think of, but I certainly wouldn't consider him a Canterbury artist.  He has certainly played on some Canterbury records - with Daevid Allen in New York Gong, and with Fred Frith in Massacre and on 'Speechless'.  Also, his band Material covered Hugh Hopper's song 'Memories'.


From: "msebek" <msebek@cro.cz>
Subject: total music meeting + LJCO
Date: Tue, 6 Oct 1998 10:37:44 +0100

Hello Rattlers,

I am planning to visit (with on or two friends) Total Music Meeting in Berlin (organised by FMP label) on 4. - 8. november and concert of great London Jazz Composers Orchestra (feat. Marc Charig, Paul Dunmall, Evan Parker and many others) with Maggie Nicols and Marylin Crispell on november 6th. I am from Prague and for me big problem is accomodation (where to sleep)  - hotels are very expensive for me. Is there in Berlin or around Berlin any free jazz fan, who will visit these concerts too and who can help me some way? Thanx.

Milos Latislav (milos@muzikus.cz)


From: TALandon@aol.com
Subject: Re : Little comment for WR
Date: Tue, 6 Oct 1998 15:32:27 EDT

Dear Aymeric,

In what I wrote about Ratledge (Roger Bunn's comment about the single brain cell seems to apply), I forgot to mention two details:

When I met him, I asked Mike Ratledge who his favourite musician was and he said, with no hesitation whatsoever: Allan Holdsworth - and for the following reason which I found and still find hard to believe (but maybe it's true...): he said that Holdsworth couldn't read music (or very little) so he did almost everything by ear... with the results that we know (cf Bundles). I was very impressed.

The other, probably less interesting thing was that he said he sacked Phil Howard (drummer on 5) because he was too 'free' - he even went on to say that what he appreciated the most in any musician was his ability to follow a chart (particularly John Marshall). I know this is difficult to reconcile with what he said about Holdsworth, but that's what he said - Holdsworth must be even more brilliant than we imagine).

While I'm at it, I also saw Hopper/Gowen with, I think, Dave Sheen on drums (but I may be mistaken) around the same time (1981-2) at Bracknell - probably stuff that's on the Bracknell-Bresse album which I've never heard, but then it was almost all improvised or sounded like it. Highlights were a tape loop by Hugh Hopper called "A Night at the Opera" which he played during the interval, and meetings with the two great men: Hopper struck me as a very shy person, despite his subsequent loquacious sleeve notes (thanks Hugh!); Gowen was a model of friendly politeness, not seeming to realize that for me he was a hero. I asked him two things: was that the only way that he earned money at the time (he laughed, somewhat sadly, and with age I have now understood!) and would he give me lessons - sadly, he said he didn't do that, so I'm just as bad a keyboard player as ever.

Regards to all.


[Holdsworth's inability to read music was apparently the main reason for him not being recruited by Alan Gowen in Gilgamesh when he formed the band in 1972. He chose Phil Lee instead. Who knows what would have happened if...? - AL]


From: Mark Bloch <markb@echonyc.com>
Subject: Laswell
Date: Wed, 7 Oct 1998 09:15:52 -0400 (EDT)

Hi someone asked about Bill Laswell's connection to the Softs, etc. Also I interviewed Hugh Hopper September 6, 1998 in New York. So here is a quote from that talk we had to shed a tiny bit of light on a Laswell connection and also to give a preview of the interview-- which is long and wonderful, thanks to Hugh's graciousness, and currently being transcribed:

Mark Bloch: So what were some of your earliest songs?
Hugh Hopper: Actually one of the earliest songs I ever wrote was Memories, which was... its funny... it was one the ones that is most covered by other people. It was one of the simplest songs I'd ever written. In fact it was the second thing I ever wrote. B minor E minor-- not even a proper bridge to it. It's a very simple song song and it works for that reason.  People can sing it in different ways. Yeah Robert (Wyatt) did a version as the B side of one of his singles and it was copied by... Did you ever hear the version that has Whitney Houston singing it?

Mark: One time only. I couldn't believe it
H: If you check it out Whitney Houston before she became famous she was just, like, used as a session singer by (Bill) Laswell. But she actually copies Robert's phrasing on this record exactly, because that's what they gave her to listen to. She actually copies the same phrasing.

M: Thats not a bad model.
H: No, its good.

M: So you actually get royalties for that song?
H: Oh yeah! Over the years its been one of the...obviously I'll never make a fortune from it unless they release Whitney Houston's version of it saying "featuring Whitney Houston"-  but yeah, its been covered by quite a few people in interesting different versions. A couple singers in Germany, the Rainbirds-- a couple female singers did a very haunting version with simple piano. And Damien and Noemi.

M: One of the nicer versions is the one on the Wilde Flowers record-- that was a demo of your songwriting with Ratledge playing the piano on it?
H: It's nice isnt it. I kind of half-wrote an idea kind of idea for Mike to play with a kind of Eric Satie feel to it. A very simple floating thing he developed it cuz I'm not a keyboard player in that sense. I just gave him an idea of the notes I thought would sound nice. put them down there He worked it out to a more professional sound. Its a nice version.

See ya!

Mark Bloch

PS I'd like to read that (any) Mike Ratledge interview someone mentioned.

[It's not an interview, just a recollection of a conversation - AL]


From: "47.watt" <47.watt@iol.it>
Subject: Robert Wyatt photo exibition
Date: Thu, 08 Oct 1998 16:42:05 +0200

Ciao Aymeric

I'm Carlo Bevilacqua.
Tomorrow ( Friday the 9th October ) we'll present the film on Robert in Turin at Salone della Musica and Robert will be there also.
We made also an exibition of 50 enlargement  of frames from the film. There are portrait of musician like Cutler,Coxhill, Eno, Beresford, Wyatt,... all  the people that worked with Robert and helped us to make our film.
this exibition is on line .
The location is: http://www.geocities.com/SoHo/3738/little.htm
Now is in Italian language. Will be an English version soon and soon there will be a web site with the documentary
Little Red Robin Hood too, with anecdotes, scene, curiosity, technical information, etc....
All the news from Milan at this moment.
Carlo B.

From: MHolmes822@aol.com
Subject: Caravan London Update
Date: Thu, 8 Oct 1998 10:46:16 EDT

Hi there
Here's the latest info on the Astoria London gig.
Date 30th October 1998
Doors open 6:00 PM
Order of artists

Due to various other commitments Wishbone Ash have had to pull out but I think
you'll agree The Enid & John Wetton are good replacements.
Tickets from the Astoria on (44) 0171 434 0403 Credit Card orders (44) 0171
434 0404

Also, Dougie Boyle will not be playing as he is in America at the moment.
Jimmy Hastings will be there in full swing.


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*               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), La Cave Dimiere
Oct 17 - Villebon-sur-Yvette (France), MJC Bobby Lapointe
Oct 18 - Liege (Belgium), Cirque Divers
Oct 20 - Brussels (Belgium), Travers

Nov 12 - London Jazz Festival, Lansdown House

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 106

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