::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 120                          ::
  ::                  Wednesday, March 10th, 1999                 ::
  ::                                                              ::


From: "Jakub Jasinski" <jasiu@slo.zary.pl>
Subject: PLEASE
Date: Tue, 23 Feb 1999 21:32:59 +0100

Hi I am Kuba from Poland

Some time ago I lost contact  with Jim & Marcia Powers.
Now I try to find them, if you know their e-mail please send it to me.
I am trying to find they on web sites about Canterbury Music becouse Jim is
one of big fans of it.

Thank You, Kuba.


From: "David Humphries" <davhump@easynet.co.uk>
Subject: Canterbury Live
Date: Wed, 24 Feb 1999 10:24:37 UT

Dear fellow rattlers,

It strikes me that very few of you saw our favourite bands on stage in their heyday. Well, at least that's the impression I get. I saw Caravan at their peak (to me) - 1974, I think, that was in Guildford. The band was in fine form and played a thundering set of their best material, including great renditions of "Love In Your Eye" and "For Richard".

I saw Caravan, Hatfield, National Health etc. loads of times then, and I'd love it if others could share their memories of past gigs with us. I'm not good at telling stories myself.

Keep up the good work - WR has been fantastic, I'm a subscriber since #11!



From: "FRANCISCO E. JIMENEZ B." <fj714@yahoo.com>
Subject: "The night of the thuosand soft toys"
Date: Fri, 26 Feb 1999 04:35:47 -0800 (PST)

Cantebury musicians server suggeted to me to ask you.

I am looking for an album of R. Wyatt (I belive) that includes a song
called "The nigth of the thuosand soft toys" or somethin similar.

Have you heard it ?, I will apreciate if you know it please tell me
the rigth name of the artist and the albuim if possible

Thank u


From: Thomas CHAUSSADE <ensp0124@VMESA12.U-3MRS.FR>
Subject: Hello
Date: Tue, 02 Mar 1999 12:02:23 +0100

I'm a French fan of prog and Canterbury scene in particular.
I'm looking for info on the festival of 7 moons organised by Daevid Allen.
Do you have detailed info, in particular on the sites in France but also Ireland... Actually on some sites they mention Scottland... August anyway.

Thanks in advance.


From: Lars.Ohlsson@megacom.se
Subject: Egg/Henry Cow
Date: Fri, 05 Mar 1999 20:52:33 +0400

I'm a frequent visitor of the Mark Hewins excellent MUSART Canterbury site and I've read on his noticeboard about the new line-up of GONG for the tour in May.
Wow !
- Pierre Moerlen and Mike Howlett : the best GONG rhythm section I think.
- Daevid Allen and Gilli Smyth : GONG can't be GONG without them!
- Mark Hewins and Theo Travis : I'm glad that some new names join the GONG family. I've heard only a little of Mark's music and none of Theo's but I'm looking forward to discovering their talents.
I hope to see one of the concerts in Germany. Can't wait!



From: "msebek" <msebek@cro.cz>
Subject: Spirogyra / Keith Tippett
Date: Fri, 5 Mar 1999 15:01:10 +0100

Hi Ronald and all Rattlers,

Something about Spirogyra. This excellent british folk rock band released three albums in 1972-73: ST. RADIGUNS, OLD BOOT WINE  and  BELLS, BOOTS AND SHAMBLES. All were on B&C label, CDs are released on German label Repertoire in 1990-92 (they had web site: www.repertoire-records.com, but I'm not sure with adress). One of Spirogyra singers was fantastic Barbara Gaskin, known for their late collaboration with Hatfields and Dave Stewart. All albums are IMO great, but 3rd with slightly symfonic elements and most of Barbara's singing is best. On second LP is guested Rick Biddulph (Caravan of Dreams etc.) on mandoline and dormobile, Dave Mattacks (of Fairport fame) played drums on all albums. Very good, fresh sounding music.

I have one wish. I'm preparing radio relation about KEITH TIPPETT and I'm not yet heard these albums: Blueprint (RCA 1972) and Warm Spirits-Cool Spirits (Vinyl 1976). I would be grateful, when someone can write me whatever about these records: personel, type of music etc. Of course, most wanted is recording on casette or in other  format. BTW, Tippett and also Nick Evans , Jim Dvorak and Roberto Bellatalla are included on new CD 'Zenfish' by the britjazz band DREAMTIME on SLAM label (see European Free Improvisation pages).

Thanks in advance, best regards
Milos Latislav (milos@muzikus.cz)


From: Ecsp97@aol.com
Subject: March 17th gig with Daevid Allen (Gong) and Malcom Mooney (Can)
Date: Sat, 6 Mar 1999 13:09:13 EST

ECSP support's the following local gig.
Jeff Melton, ECSP


Daevid Allen's University of Errors and Malcolm Mooney and the 10th
Planet will be performing at Bottom Of The Hill in San Francisco on
Wednesday March 17-St.Patrick's Day.
Showtime is 9:30, tickets a mere $7.00
available in advance via http://www.ticketweb.com

University of Errors are also playing in Los Angeles at Spaceland on
March 18.


From: DavAlbert@aol.com
Subject: Egg/Henry Cow
Date: Fri, 05 Mar 1999 20:52:33 +0400


Browsing through Calyx and past WR issues made me realise something I hadn't thought of previously.
The legendary Ottawa Music Company have sadly remained undocumented. Yet this ensemble seems to have been vastly important in the history of the Canterbury/RIO movement.
It brought together members of Egg and Henry Cow, which probably explains for Geoff Leigh guesting on the first Hatfield album, and Hodgkinson/Cooper doing the same on "Rotters Club".
It's also amazing to think that John Greaves and Dave Stewart had played together as early as 1971, a full seven years before Greaves joined National Health.
Which suggests more musical considerations. Is there really a missing link there, between Canterbury and RIO ?
For instance, I find the music in Egg's albums (particularly "Civil Surface") and Mont Campbell's compositions for the early National Health surprisingly similar in spirit (use of advanced musical vocabulary may sum it up) to those of Henry Cow and related bands.
I'd really like to know how much Egg and Henry Cow influenced each other as a result of playing together under the collective banner of OMC. I don't want to exaggerate a myth, but I think this is an important point.



From: jan van driel <driel@fsw.LeidenUniv.nl>
Subject: Wyatt on Lorca CD
Date: Tue, 09 Mar 1999 15:49:06 +0100

Dear fellow-rattlers,

I enjoyed the Robert Wyatt interview in the latest issue of Mojo very much.
A very nice and informative interview, plus some beautiful pictures. In the
interview, a Spanish CD is mentioned to which Robert has recently
contributed a song. The CD is called 'De Granada a la Luna' and was released
on the occasion of the Federico Garcia Lorca centenary. I have been looking
on the Internet for this CD, but I only found out that Neneh Cherry also
contributed a song. Does anybody know more about this CD, i.e., label, how &
where to order it?
Kind greetings,

Jan van Driel
E-mail: Driel@ICLON.LeidenUniv.NL


                      ABOUT "CANTERBURIED SOUNDS"

                           *    *    *    *

Q - Before "Canterburied Sounds" you have been involved in several archive
projects released by Voiceprint - the Wilde Flowers and Beggars Farm CDs.
What provided the impetus for these projects ? Why didn't they happen
sooner ? Has there been, as far as you can say, a significant resurgence of
interest in the Canterbury scene with the new decade ? What part did the
Voiceprint label and magazines such as Facelift play ? When did you first
become aware of them ?

A - Such projects were always in the back of my mind to do at some stage,  although in the past, the timing was never quite right for one reason or  another. I had thought as early as the late seventies of trying to put together a recording of an up-dated version of the Wilde Flowers using people such as Pye Hastings and some of the other guys, but it never materialised. I would say that the reason for these various releases happening now is a generation effect: those who were around in the sixties are now at that 'certain age' where nostalgia begins to creep into their lives and they like to be reminded of the stimulating times they had way back then and music is one of the most effective means to stir the memories and imagination.

The Wilde Flowers compilation was an obvious one to work on as so much mythology had grown up around the band. Canterburied Sounds was initiated after Rob Ayling at Voiceprint, knowing I had a lot more archive material, asked me to try and do something with it. I first met Rob about five or six years ago when he visited my brother's house in Canterbury and told me how much he wanted to bring-out the Wilde Flowers material (this was after at least two other specialist labels had approached me). Rob seemed to be the most enthusiastic, so it went the way of Voiceprint!

I think it was Hugh who first showed me 'Facelift' - it was an early edition featuring Soft Machine.

Q - Did this project involve a lot of research on your part, or were most of the tapes handy and ready for transfer ? Was any sonic enhancement performed ?

A - The tapes/acetates/cassettes were relatively handy as they had gone around  with me during different house moves although as they were not well documented, I had to spend many hours listening to them again (many after a lapse of nearly thirty years!) to figure-out what was of potential interest and how to arrange the varied material.  As mentioned in my sleeve notes for Canterburied Sounds Volume 1, the music had been recorded in an ad hoc fashion using very basic equipment (usually one microphone and a tape recorder and therefore mono) and without optimising room positions etc. Mostly, the tapes were impromptu recordings of spontaneous performances or rehearsals and were made mostly for the moment so that we could hear what our musical ideas and improvisations sounded like (in contrast, most of The Wilde Flowers sessions were demo tapes for promotional purposes and were therefore made in various recording studios - albeit fairly basic ones).

Consequently, after making the choice of material for the CDs, much work was necessary to reduce background noise and enhance the signals as far as possible whilst retaining the original feel of the performances.  I carried-out this processing together with sound engineer, Chris Thorpe of Serendipity Studios, who not only has some very impressive computer software for audio editing, but as a musician himself, was able to lend a 'sympathetic ear' to what I was trying to achieve.  Given all these factors, it is hardly surprising that the quality of most of the material is somewhat 'lo-fi', but I thought that because of the historical importance and unique nature of the material, listeners would accept the low audio quality and concentrate on the musical ideas and performances being presented.  After all, this is the only comprehensive archive to indicate the development of the key 'Canterbury' musicians and their early struggles to express their varied and often revolutionary concepts.

Q - There is a wealth of material spread over the four CDs. Was a significant
part of the available music left out, however, because it was of lesser interest ? Was the number of CDs (4) fixed from the start ?

A - The number of CDs for the Canterburied Sounds project was not fixed at four
- in fact I had originally thought there would only be two three - but as there was so much material available and I wanted as many examples of the various combinations of musicians to be heard, it ended up as four. There was of course, much more still unused: some of it was fairly repetitive of stuff already included; other material was either not so interesting musically or, of such poor quality as to make it difficult to use.

However, there is still some interesting remaining material which is possibly worth releasing e.g. a couple of early UK Soft Machine concerts which Hugh had remembered were particularly good performances on the night and which I had recorded at the time.  I have just finishing processing these. Watch this space, as they say!

Q - How did the other musicians featured on the recordings (mainly Robert
Wyatt, Mike Ratledge and your brother Hugh) react to this project ? Did
they have any reservations about seeing their earliest work released ? Do
you know if they have heard, and enjoyed, the finished product ?

A - There was not too much reaction either way to my releasing this old material.  Possibly Robert might have had reservations, as he is not always keen to look back on that period. However, we have always had and maintained a good understanding over many years and I like to think that he trusted my judgement in treating this material with honesty and releasing it (and writing about it) for what it really meant to us at the time.

There is no reason for any of us to betray our collective, relative innocence of that time.  Mike has little time for looking back on any of these events, but was mildly surprised that there were some interesting ideas being pursued at that early stage.  However, I might be completely wrong about their various reactions!  It would be best for you to ask them directly!

Q - The musicians in Caravan were slightly younger (2-3 years) to most of the
ones in Soft Machine. Without going as far as suggesting there was a"generation gap", would you agree that the influences of both bands differed significantly, i.e. primarily modern jazz for Soft Machine, pop for Caravan ? Is this difference to do purely with the age of those concerned, or also with the personality of the individual musicians (Pye Hastings etc.) ?

A - I guess it was more to do with the early influences of the various groups of individuals.  Mike Ratledge and myself had grown-up together through primary and secondary school and were influenced mostly by 'modern-classical' composers (Debussy, Bartok, Hindemith, Stockhausen, Varese, Messiaen, Berio, Boulez, etc. etc.) as well as modern poetry and literature. In addition, I had particular sympathies with some of the twentieth century English 'romantic' composers such as Boughton, Parry and especially Gerald Finzi as well as an early fascination with ethnic musical forms from other parts of the world - in particular, the eastern forms; plus of course R&B and R&R!

Hugh and Robert were contemporaries at school and listened to a lot of modern jazz, especially at Wellington House and particularly during the stays of Daevid Allen and George Neidorf.  I guess the synthesis and melding of all this came about to some extent via my visits to Wellington House and elsewhere by bringing to Robert the R&B and R&R interests and he playing me jazz (although there were also other contemporaries of mine at school who were into Mingus, Miles Davis etc and therefore I had exposure from several directions). At this time Mike was not really part of this scene - he and I were still exploring our own improvisations based on the musical forms mentioned above.  I guess you could say that these influences didn't find expression until Mike started to write extensively for Soft Machine!  Also, he was not interested at all in R&B, R&R or any pop music. Mike has always ploughed his own furrow!

As to the Caravan musicians, their exposure to modern jazz was minimal (apart from Pye Hastings), and was more firmly based in the pop and rock fields.  Indeed, one reason for inviting Richard Sinclair to play with the Wilde Flowers was because he knew many of the early pop songs including the Beatles!  This was when we were trying to become a more commercially acceptable group!

Q - The early recordings in the series, made between 1962-64, involve mainly young musicians around 17-20. You were all big fans of modern and free jazz, rather than rock'n'roll or early beat music. Ornette and Coltrane rather than Elvis or the Shadows. Were you at odds with most of the people your age at the time, in terms of musical interests ?

A - To some extent I've answered this in the previous responses, but you could say that although initially there was friction between the various musical influences amongst us, these were gradually resolved as we altered our horizons and ambitions.  However, you are right in saying that we were at odds with most other people of our age, but then we had already started to move into a niche social area!  Incidentally, I always was a fan of the Shadows as well as much of the early British beat scene (as also was Hugh) - The Shadows were an extremely important influence on many musicians, even if it is not cool to admit to it!

Q - A musician not featured on this series, but a very influential figure of the early Canterbury scene shortly before the timeframe of these recordings, is Daevid Allen. He was, I understand, crucial in introducing all of you to jazz, and art in general. How much does the music on "Canterburied Sounds" owe to his influence ?

A - Daevid was a large influence, particularly on Robert and to some extent Hugh through the Wellington House connection in introducing a lot of previously unheard modern jazz as well as his overall attitudes and lifestyle.  There was less direct influence on Mike and myself as we were pursuing our own goals and already had our own influences as previously mentioned, but in the overall scheme of things Daevid's influence was far reaching.

Q - A surprising thing about the early recordings is the total absence of
Robert Wyatt's singing. This seems to imply that he only became interested
in singing when he was forced to after Kevin Ayers and Graham Flight left
the Wilde Flowers. Is this true ? One can only dream what the music would
have sounded like with the addition of Robert's later vocal experiments...

A - I think Robert was always interested in his own voice and its use in the  music, but that his drumming skills and our need for a strong rhythmic base for the Wilde Flowers limited his scope for singing during the earlier stages.  It was partly Robert's desire to be more of a 'front man' and to give the band a more 'sexy' focal point up front that Richard Coughlan was brought in, releasing Robert from the drum stool.

Q - Around the time of "Volume Two" in 1969, you were almost a fulltime member of Soft Machine, and one may wonder why you didn't join. Were there a lack of musical affinity ? Or were you simply not "available" for full membership, for reasons other than musical ?

A - The Big Question!  Yes, I was heavily involved in that phase of Soft Machine (and really enjoyed it - especially the recording sessions) as well as running my own band - Zobe - plus gigging with several other local jazz musicians.  Robert asked me to join Soft Machine on a full time basis and I must say I was very tempted.  However, I had been working as a biologist for several years (another parallel universe!) and I was also studying Ecology and Behaviour for a university degree on a part time basis in London - something I was keen to continue.  Also, I doubted my ability to contribute on an increasingly technical level musically (although Soft Machine would have provided a good vehicle for my own compositions) and also doubted my capacity to live the ephemeral life style necessitated by the existence of most bands.  I guess it was partly a lack of self-confidence and also a clash of too many diverse interests. I was already moving in different directions.

Q - After disappearing from the "mainstream" Canterbury scene in the early 70s, did you sustain interest in what your ex-colleagues were doing ? Did this extend to spinoff, or second generation, bands like Gong, Hatfield and the North, National Health, Henry Cow, etc. ? How do you analyze the way the scene evolved in the 70s ? For better or worse ? Any albums you think are particularly memorable ?

A - Because of the reasons and ambitions I talked about earlier, my direct involvement in music reduced from the early seventies onwards.  This was also brought into stark focus in 1971 by the suicide of Ron Huie - our final drummer in Zobe.  Although my enthusiasm for the music had been waning, this was the final act which pushed me further in the directions I had been pursuing for a number of years.  However, I continued to listen to a wide range of music including the further developments of particular favourites: Frank Zappa, Jeff Beck and others, although apart from Soft Machine, Caravan and Hatfield and the North, my exposure to other generic 'Canterbury' bands was limited - Egg and Steve Hillage being exceptions.

As for the development of the music scene in general, I was also disappointed in the way that things were going - I shouldn't say they were progressing at that stage.  This was especially so with the entire punk thing.  I mean, after all the hard work that many musicians had put-in during the sixties to raise the whole musical experience to previously unimagined levels, there was this complete antithesis with crude, simple and destructive music swamping everything.

Q - In the liner notes, you mention not being involved in music at all between the early 70s and late 80s, and then slowly resuming your musical activities, first playing keyboards, then sax. Do you have any projects ? Were all these archive projects an inspiration for them ? What can we expect ?

A - One of the main inspirations for resuming more direct involvement in music
in the late eighties was the availability and development of exciting electronic instruments - especially synthesisers and more recently computer sequencing etc.  At last I had the possibility of realising some of the more exotic sounds I had in my head in the early sixties but without the means to play and express them at that time.  This stemmed from my early interest in electronic music (Stockhausen etc.) and also from the use of natural sounds.  But being 'out' of direct involvement in music for so long, it took a long while to regain familiarity.  Also, as a result of my 'parallel universe' activities as a biologist I spent most of the seventies and eighties living and working in many different countries, including a two-year spell in China.  This life style made it virtually impossible to play with other musicians or develop musical ideas on a practical level.

The various archive projects have been quite incidental during the last few years to my other musical activities, although I suppose overall interaction tends to reinforce all the activities.  So what else have I been doing?  Over the last two years or so I have been working with Robert Fenner - a musician who has had some success in the realms of ambient music, both under his own name and as a member of 'Runestones'.  We have both been writing for some new projects we are currently recording, which has enabled me to explore both the exotic synthesised sounds as well as the natural, ethnic ones I referred to earlier and to incorporate some other elements such as saxophones used in both a jazz context and as another instrument.

I am also writing and recording some stuff of my own, some of which is jazz based, other which is more 'symphonic' (in its basic, non-classical music definition).  I am hoping Hugh will be adding some bass parts on the more jazz-oriented stuff.  I also have some other ideas relating to up-dated versions of some of the material from the sixties including some previously unrecorded songs.  I would like to involve several of the musicians from the early bands in such a project, but this will require a great deal of organisation and willingness to co-operate!  Who knows, my somewhat unique position in this whole milieu might just provide the catalyst that is necessary?  In the meantime, watch this space!


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

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

A European tour is being arranged at the moment.
May 02 - Verviers (Belgium), Spirit of '66
May 03 - Hamburg (Germany)
May 04 - Berlin (Germany)
May 05 - Wuppertal (Germany)
May 06 - Karlsruhe (Germany)
May 07 - Ebensee (Germany)
May 08 - Munich (Germany)
May 11-13 - Austria (2/3 gigs)
May 14-16 - Italy (2/3 gigs in the North)
May 16-20 - France (2/3 dates in the South-East, possibly Nice)

Mar 25-31 : California
Apr 24-30 : Cornwall
May 24-30 : France
Jun 22-28 : Ireland
Jul 22-28 : USA
Aug 20-26 : Scotland
Sep 19-25 : near London

Mar 17 - San Francisco, Bottom Of The Hill [University Of Errors]
Mar 18 - Los Angeles, Planet Spaceland [University Of Errors]
Apr 18 - Leeds, Duchess of York
Apr 21 - Stoke-on-Trent, Riddles Music Bar
Apr 22 - Cheltenham, Axion Centre
Apr 25 - Exeter, Cavern
Apr 29/30 - Israel [with Graham Clark]
and more t.b.a.

Mar 21 - Paris, Maison de la Radio [with Pierre Bensusan]
May 09 - Bethune (France), Retrospective Concert 79-99 [info:]

Apr 06 - Hulzen, Centauri Electronic Music Festival [info:]

[H.Hopper-P.Meyer-F.van der Kooij + a drummer]
Tour of Holland in March (tbc)

May 20 - Poole (Dorset), Arts Centre
May 21 - Carlyon Bay (Cornwall), Waterfront
May 23 - Barnet (Herts.), Bull Theatre
May 25 - Newbury (Berks.), Corn Exchange
May 26 - Aldershot (Hants.), West End Centre
May 27 - Banbury (Oxon), Mill Arts Centre
May 28 - Brentford, Watermans Arts Centre
May 29 - London, Blackheath Concert Halls
May 30 - Heath (W.Sussex), Clair Hall Haywards
Jun 02 - Swindon, Arts Centre
Jun 03 - Southampton, Gantry Arts Centre
Jun 04 - Staffs, Lichfield Arts Centre
Jun 05 - Trowbridge (Wilts), Arc Theatre
Jun 06 - Wavendon (Bucks), The Stables

A couple of French gigs in late May.

There are plans for gigs in the coming weeks by Pip's reactivated jazz line-up (first gigs since 1995!)

UK and European dates currently being arranged for June.

UK tour in March/April (details tbc)

[Barbara Thompson/Billy Thompson/Peter Lemer/Dave Ball/Jon Hiseman]
Mar 09 - Regensburg (Germany), Jazzclub
Mar 10 - Hockenheim (Germany), Pumpwerk
Mar 11 - Nürnberg (Germany), Hirsch
Mar 12 - Kufstein (Austria), Kulturfabrik
Mar 13 - Salzburg (Austria), Rockhouse
Mar 14 - Graz (Austria), Orpheum
Mar 15 - Wien (Austria), Metropol od. Szene
Mar 17 - Budapest (Hungary), t.b.a.
Mar 18 - St. Pölten (Austria), Bühne im Hof
Mar 19 - Oslip (Austria), Cselley Mühle
Mar 20 - Spielberg (Austria), Kulturzentrum
Mar 21 - Linz (Austria), Posthof
Apr 08 - Vlotho (Germany), t.b.a.
Apr 09 - Salzgitter (Germany), Kulturscheune
Apr 10 - Kiel (Germany), Räucherei
Apr 11 - Bremen (Germany), t.b.a.
Apr 13 - Kaiserslautern (Germany), Kammgarn
Apr 14 - Kehl (Germany), Stadthalle
Apr 15 - Pfullendorf (Germany), Stadthalle
Apr 16 - Heidenheim (Germany), Berufsakademie Heidenheim
Apr 17 - Singen (Germany), Gems
Apr 18 - Freiburg (Germany), Jazzhaus
Apr 21 - Osnabrück (Germany), Lagerhalle
Apr 22 - Gronau (Germany), Studio in der Brücke
Apr 24 - Tübingen (Germany), Zentrum Zoo
May 26 - Taunton, Brewhouse Arts Centre (Coal Orchard) [7.45pm]
May 28 - Norwich, Arts Centre
May 29 - Brentwood, Hermit Club (plus drum workshop)
May 31 - Bridport, Arts Centre
Jun 02 - Hayward's Heath (West Sussex), Clair Hall (Perrymount Road) [8.00pm]
Jun 03 - Poole (Dorset), Arts Centre (Kingland Road) [8.00pm]
Jun 04 - Gravesend (Kent), Woodville Halls Theatre (Woodville Place) [8.00pm]
Jun 06 - London, Barbican Centre (Foyer concert) [12.30-2.30pm]
Jun 06 - Bracknell, Wilde Theatre [7.45pm]
Jun 08 - Cardiff?
Jun 09 - Exeter, Arts Centre
Jun 10 - Cardiff?
Jun 11 - Milton Keynes, Wavendon Arts Centre
Jun 12 - Colchester, Arts Centre plus drum workshop?
Jun 13 - Nottingham, Bonington Theatre (Jazz Club) [8.00pm]
Jun 15 - Newport, Corn Exchange?
Jun 16 - Camberley (Surrey), Arts Link (Knoll Road) [8.00pm]
Jun 18 - Kendal, Brewery Arts Centre
Jun 20 - Manchester, Royal Northern College of Music [afternoon concert]
Jun 24 - Cambridge, Eley?
Jun 25 - Halstead
Jun 27 - Lichfield Real, Jazz & Blues Festival [6pm] (2 sets)

Mar 15 - Paris, festival Banlieues Bleues

Apr 06 - Paris, festival Banlieues Bleues

Apr 14 - Torino / Apr 15 - Roma / Apr 16 - Verona / Apr 17 - Meldola / Apr 18 - Bolzano / Apr 19 - Milano

* * * * *


* North-American tour:
Mar 11 - Chicago (IL), Martyrs / Mar 14 - New York City (NY), Knitting Factory [with N.Didkovsky] / Mar 15 - Cambridge (MA), Middle East Restaurant [with Birdsongs Of The Mesozoic] / Mar 20 - Wheaton (MD), Phantasmagoria [with Pelt]

* French tour:
Mar 18 - Monaco, Salle des Variétés (CV Trio) [info:] / Mar 19 - Avignon / Mar 20 - Avignon / Mar 24 - Annecy / Mar 25 - Besançon / Apr 03 - Strasbourg / Apr 07 - Toulouse / Apr 08 - Montpellier / Apr 09 - Marseille / Apr 21 - Dijon / May 01 - Hagondange (near Metz)

* North-American tour:
May 23 - Québec City / May 25 - Boston / May 26 - Baltimore / May 27 - New York City / May 28 - Chicago / May 30 - San Francisco / May 31 - Los Angeles / Jun 01 - Seattle / Jun 02 - Vancouver / Jun 05 - Mexico City / Jun 06 - Mexico City

JAC LA GRECA [Holdsworth-style fusion]
2 gigs in Paris:
Apr 28 - Peniche "La Balle Au Bond" / Jun 03 - Peniche "Le Six-Huit"

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

                            END OF ISSUE 120


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