::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 131                          ::
  ::                    Friday, June 25th, 1999                   ::
  ::                                                              ::


From: Martin Wakeling <marwak@globalnet.co.uk>
Subject:  Lady June
Date: Mon, 14 Jun 1999 10:22:51 +0200
I too was greatly saddened by the news of Lady June's death and would like to extend our condolences to those who will miss her on behalf of all the readership of 'Why Are We Sleeping'. She was another integral part of a circle that binds us together and, like the passing of Ollie Halsall and Archie Legget, brings it upon us to reflect how joyous and eternal a legacy remains.  June's 'Linguistic Leprosy' holds a very dear place for any Kevin Ayers devotee.  25 years on from 1974, it stands as a potent symbol. Alongside that year's heavyweight, corporate, expensive 'Confessions of Dr Dream' the Canterbury friends found time to crush into a tiny studio and stretch a budget of 600 quid to make a lovely, human album for June. It's why all this still exists today, at the heart and genesis of all our Canterbury music, in spite of all its diversity and inevitable rollercoaster factor, there is love and empathy and a spirit of giving. June always reminded me of that.  When I was honoured by a request to do the sleevenotes for the reissue of Linguistic Leprosy she could recall everyone of the people in the dedications and chuckled long and richly at the places and faces and memories they evoked. Her circle of acquaintances was immensely wide and she could easily have written a best seller libel laws permitting! Jonny Greene of GAS summed up superbly her 'directness' - she did enjoy a moan, particularly about the German invasion of her apartment block but it was rarely bitterness and usually ended up as a witty hand drawn postcard.  She rang me every time she was in London just to say 'Hi' and to swap news and they were lovely phonecalls. She was not always in the best of health - her back troubled her after a fall, the damp got into her bones and a slight stroke while she was recording 'Hit and Myth' in Belgium worried her. Her age didn't matter to us at all - that was the only thing she slapped my wrists for in the 'Leprosy'
sleevenotes. I included in the draft that she was born June 1931 and she asked me not to put down her age.  I rang See for Miles at once and passed on the
amendment but it appeared on the final notes and of course I apologised. She
forgave me instantly and I suspect she didn't really mind at all. She was a 'Lady' in every sense and if you seek out her poetry don't be sidetracked by apparent flippancy or occasional crudity - there is a phenomenal depth of perception behind the blackness of some of June's humour yet she was also capable of wondrously evocative lyricism and imagery.
And we shall miss her. Rest quietly June, in the comfort of your dreams.


From: "Theo Travis" <travis@travis33.demon.co.uk>
Subject: Gong - guerilla
Date: Fri, 18 Jun 1999 19:42:25 +0100

Dear Aymeric

I wrote this guerilla diary on the Europe tour. Mark thought you might want to put it up somewhere on the site.

All the best,


Theo Travis


               GONG EUROPE MAY 1999
               Guerilla missions
               Mark Hewins... guitar
               Theo Travis ....sax
               Tues 4 May - Berlin, Germany
               First Guerilla of tour. Pierre Moerlen fails to turn up at gig for various reasons...so theo and mark to the rescue mingling with the rather confused audience. gig venue is a crumbling brewery/ prisoner of war camp/techno club, so many strange spirits in the ether. Ambient guitar techniques plus first ever guerilla tenor sax start at the bar and slowly swirl around audiences until they reach the stage to applause and surprise. Berlin taken.
               Wed 5 May - Wuppertal, Germany
               Classic grand town hall haus der jugend inspires second guerilla mission. Again pre gig but this time into and out of lobby and echoey spiral staircase and round room, before mounting stage. Good comments received, but the curious e mail also received about enjoyment of playing by Didier and Steve Hillage on gig...........Pay attention please...
               Thur 6 May - Karlsruhe, Germany
               Well...not actually actual guerilla gigs, but 2 virtual  gigs....minds and bodies willing but they didn't quite happen. One in Karlsruhe cathedral and one in the (12 floor) lift. Would have been good.........next time, so watch out.
               Fri 7 May - Offenbach, Germany
               Flower power goa all night party is venue for gig. cool balcony overlooking river with  long long barges.. much chrome and tin in the vibe and noone seems to know who Gong are. Feels a bit like being  uninvited guests at one's own party. But lots of different rooms with different sounds in each, so chameleon guerillas adapt to ambient, rare groove, boat noise and bemused audiencechatter. And it was good. Ha....

From: Michael Rae <raejonnymac@yahoo.com>
Subject: Reviews
Date: Sunday 13 June 1999 20:21

'Allo Aymeric,

Thought I should give you some review fodder for the next WR.

Where do I start? Well, at the beginning, of course!

May 27th: I start the long, solitary drive from Rochester to N.Y.C. for the Gong gig at The Knitting Factory...arriving at about 9 pm, I've missed the start of the 1st show, but that's OK, so I acquire my ticket for the late show and then go wander down to the Hudson River for some fireworks and the 'Jersey shoreview. Gong comes on around 11:30, starting out with "Thoughts for Naught" and blazing through a trilogy/Camembert-oriented set which knocked my socks off! Mark Hewins and Chris Taylor blend in quite well with the veterans, and everyone seems quite happy with the performance.

May 28th: I stick around the big apple area for Porcupine Tree at The Knitting Factory; while not a huge fan, I owned enough of their music to pique my curiosity, plus I knew the fellas from 'Strange Trips' who were largely responsible for their being in N.America. Well, Porcupine Tree did not disappoint either; despite some problems with their DAT machine the show came off quite well...Steven Wilson is a powerful guitarist, 'tho a bit on the introverted side in the 'frontman' department; otherwise the band was a very coherent ensemble, blazing through old and new 'tree music alike: "Voyage 34" "Don't Hate Me" "Waiting" and "Radioactive Toy" for a 2nd encore.

June 5th: I head down to Cleveland, Ohio for a 2nd Porcupine Tree show, this time with 2 friends...I run into some good friends from the progressive-friendly Cleverland area, and even a conspiratorial nemesis! Anyway, the Cleverland set seemed even more powerful than the NYC set, though the song list remained the same...me thinx they gave their all, as this was the final show of the tour....then we drive back to Rachacha, ariiving home at the wonderfully early time of 6:30 AM!

June 8th: Round 2 of the long trek down to ze Beehg Ahhple, this time for those monsters of Zeuhl, Magma.  Packed into the small, sweltering Wetlands, Magma do not disappoint: though I'm not a huge fan, the intensity of the musicianship really blew me away! Consisting of a standard Rock Quartet w/3 vocalists, Magma's set may have qualified for the best show I'll see for the end of the millenium! Not knowing their catalogue, I can only tell you they played 4 long pieces, 2 of them timing in at over a 1/2 hour each! Then, another trek into the night, back to upstate NY...a la prochaine, la grande pomme!

June 10th: Round 2 of Cleverland, this time for a 2nd dose of Gong. We arrive before the band & meet up with one of our Cleverland buddies, who later gives me a brief tour of the Flats section of Cleverland...the band arrives, and by around 8pm the 1st of 2 opening bands is on, a mainly percussion-oriented unit which backed Thom the Poet at last year's 'Strange Daze' festival...they are joined later in their set by none other than Bloomdido Bad de Grass, who adds colourful reed tonings to the percussive maelstrom... I never caught the name of the 2nd band either, just that one of the guys from Pere Ubu was playing Synthi with 'em... Gong finally arrive on the stage, and, like Porcupine Tree the set remains the same, but the energy and delivery are different; Mark Hewins approached his Guitar parts differently than in NYC, and the vibe was different too...the whole band was 'on' once again, with a wonderful "Tropical Fish/Selene" to close it all off.....whew!!!!

Well, that's it: a tad bit late, yet better than never, eh? Hope to see University of Errors in the Fall, and I'm crossin' my fingers that Planet Gong/Here & Now do make that proposed raid of N. America.
Later Aymeric,
Mike Rae


From: "R. A. Hearne" <bob.hearne@btinternet.com>
Subject: Caravan at Diss
Date: Mon, 14 Jun 1999 14:53:35 +0100

Hi Aymeric and fellow Rattlers,

Just returned from the Caravan gig a Park Hotel in Diss. What a change from the somewhat lacklustre performance at the Astoria last time out! At least this is the consensus from the eight of us who made the trip.

The band appeared to be thoroughly enjoying themselves, perhaps it's the venue. No sooner had the first chords struck up that two hours turned into 5 minutes such was the rate at which time flashed by.

With Doug Boyle back the band played a changed set from last four gigs or so. Still based around the "Battle of Hastings" album, with highlights for me "Somewhere in your heart", "Travelling Ways" (with Jim's mike turned-on this time!),"I know why you're laughing" and a bit of a singalong to "Liar".

There was a new medley of old songs this time, including "Where but for Caravan...", "Love in your eye" and "O Caroline" with Doug Boyle doing a passable Robert Wyatt on vocals.

One of the high points was "Nightmare" from "Better By far" with Geoffrey Richardson, in the same dodgy shirt that he wore for the sleeve of "The Battle of Hastings" album, superb on the violin as usual.

"If I could do it all over again...etc." brought back memories of Pye Hastings in the velvet suit of "Top of The Pops" and Ewell Tech days (my first Caravan gig).

Must not forget "Nine feet underground" with David superb.

As usual Richard was hiding behind his drums quietly conducting the timing of proceedings.

Unfortunately there was one notable absentee from the set and this was "For Richard", I was'nt sure whether this was palnned for a second encore which did not happen as the authorities appeared to pull the plug and we were all left feeling a little deprived.

Looking forward to October 1st.


Bob Hearne


From: "David Voci" <david_voci@tcibr.com>
Subject: Fwd: MUFFINS 99 Show
Date: 14 Jun 99 14:53:56 -0700

Hi Aymeric...
pls post in WR if you see fit...
you might have already gotten this btw...thx...david voci

>PRESS RELEASE               For immediate release
>Jack Joseph Events                Judy McMuffin
>EventsJJ@aol.com                 JJprantL@aol.com
>Phantasmagoria Tel: 301.949.8886
>June 1, 1999 - The Muffins, one of the best known progressive groups ever to >come out of Washington, DC, announced they will be performing their >once-a-year reunion show at PHANTASMAGORIA in Wheaton, MD, USA on Saturday >July 17th, with Washington DC's own VECTOR.
>The lineup will be their best known - Tom Scott, Paul Sears, Billy Swann and >Dave Newhouse.  The internationally acclaimed Muffins recorded several albums >during the 1970s and early 1980s, including 2 with Fred Frith- "<185>", and >"Gravity". Some have been reissued by Cuneiform Records.
>The Muffins also recorded during the early 1990s for "Unsettled Scores", a >Cuneiform Records double CD project that included>Hugh Hopper, Kit Watkins, >Doctor Nerve and Univers Zero. A new Muffins record is planned for release
>in Y2K.


From: maciej <kostek@pro.onet.pl>
Subject: RW
Date:     Tue, 15 Jun 1999 16:13:43 +0200

I'm looking for text: "Stallin wasn't stallen'" (or something like that)
by Robert Wyatt. Can You help me?



From: marina.rtr@9na.it (marina.rtr@9na.it)
Subject: new gig on your database
Date: Wed, 16 Jun 1999 11:57:15 +0000


is it possible to add the following gig on you site?

Place: Vigevano (nr Milan) Italy
Venue: The Castle (it's not just a name of a venue: it's really THE ancient
Castle of Vigevano!)
Date: 11th July 1999
Ticket info: web-italy@marillion.com

Many thanks in advance!


*  www.marillion.com/web-italy *
*  web-italy@marillion.com     *


From: mario.bucci@euronet.be
Subject: Henry Cow live shows & remixes
Date: Wed, 16 Jun 1999 23:16:02 +0200

Dear all,

>> Didn't HC archive their live shows onto tape and put them into vaults
>> as a lot of musicians did which have been released onto CD in current times?
> If they did then I'm sure that Chris Cutler would have some sort of plan to
> go through them all and release the best stuff. But this is all conjecture.
> Mr C - over to you?

A small contribution on the topic. I remember that back in 1978, shortly after the annoucement that HC would split, Chris wrote in one of his catalogues (or elsewhere?) that one of the plans was to release an album of live recordings, so I suppose that some good quality material must exist. However, in the past 21 years (Oh God I can't believe I'm that old) I have written several times to Chris trying to "stimulate" some commitment on the issue and his replies have always been quite evasive - he never sounded too hot about it. On the other hand he has been very blunt in stating that "no good quality recording exists of the Orkestra" (and, btw, this applies also to Art Bears concerts), so we can be sure that unless someone comes up with an unknown tape, we will never have anything released of the merged group Henry Cow + M.Westbrook Orchestra + Frankie Armstrong. I wish Chris expressed himself publicly on the subject.

> I for one really welcome the CD versions of Henry Cow's original mixes. I
> think there are glaring flaws with the remixes. As an example I offer the
> big arpeggio passage near the end of "With the Yellow Half-Moon and Blue
> Star". The guitar takes the first couple arpeggios, then the sax chimes in.
> The remix, being heavily prejudiced against wind instruments, suffers a
> great drop in intensity at that point.
> Much as I love Lindsay Cooper's playing, I don't like the replacement of
> Geoff Leigh's sax with her bassoon in "Amygdala" at all; I think somehow
> it's out of balance.
> I didn't find anything so obnoxious about the "Unrest" remix, of course
> excepting the inadequate volume level.
> The "In Praise of Learning" remix is the worst of the lot; important horn
> lines are entirely missing, and the digital processing of Greaves's bass is
> not only anachronistic but cheesy.
I would tend to agree with this opinion. However, what I would find more interesting is a debate about the actual meaning of these ex-post remixes done by the artists themselves. When I got the Souvenir Box (ESD mixes) I was extremely disappointed by both Legend and In Praise of Learning (I hadn't bought the LP remix of IPOL which I understand is the same that appears on the ESD cd) precisely for the reasons raised by Michael Bloom - it's great to find someone else on earth who feels the same. A similar feeling has come up with the re-releases of two of the solo albums by David Thomas of Pere Ubu (I know it's not much of Canterbury, but it happens to be the two albums made with Chris Cutler and Lindsay Cooper, so ...).

What I think is that, after all, it was the composers themselves (or some of them) who had decided the changes - maybe to bring the music up-to-date to their evolved tastes, or (like in the case of David Thomas) to present the music in the originally intended format. It could be a way to keep 25 years old music changing and evolving, given that it is not played live anymore. I always found very interesting the operations made by Fred Frith on Henry Cow music (re: Nirvana Again on "Step Across the Border", and The Entire Work of Henry Cow on the "Miniatures" album), so why not take the opportunity of a re-issue on cd and of the recent technological tools to give us a "new" version of the old music? One should also consider that G.Leigh hasn't been in the band as long as Lindsay, so that it is likely that some of the Legend tunes have been played more often with Lindsay than with Geoff. Or that at the time of IPOL Lindsay was not a full member of HC, so that the mix which erases some of her playing (for instance on Living in the Heart of the Beast) could be historically justified. I don't know, maybe in the end we should think that the musicians still "own" their music, and are free to do with it whatever they feel is more appropriate. Having said this, I still don't like/agree with most of their more recent choices.

I wonder if my (our - what do you think Michael?) disappointment is not mere nostalgia, as for me the first 3 HC albums are the Virgin versions and nothing else ....

Another aspect which seems relevant in the case of Henry Cow is what kind of collective debate has led to the remix decisions. We know that when HC existed all decisions were taken collectively, and this was a very peculiar characteristic of the group, one which forged the style (both musical and socio-political) of the group, and which eventually led to its disbandment. However, it seems to me that the cd versions are the responsibility only of some members of the group. Is this true? and if it is, why is that? what do the other members think of the remixes? do they care? were they consulted in any way? is there any internal - post-split - agreement which leaves Tim, Fred and Chris the sole (or main) depositories of the HC legacy?

I would appreciate if any of the readers/contributors of What's Rattling could shed some light on these questions for which I don't have an answer myself.

On the other hand, I have really appreciated in the ESD re-issues the inclusion of the unreleased tracks (to me Lovers of Gold on IPOL is a real pearl). I wonder why Chris does not re-release also Western Culture with the addition of (a remixed!) Viva Pa Ubu - one of my all-time favourites - and Slice from the Recommended Records Sampler.

Over & out
Mario Bucci


From: "Nick Loebner" <nloebner@siroyan.com>
Subject: Here and Now Live CD
Date: Thu, 17 Jun 1999 08:51:11 +0100

Hi Aymeric,

Your Canterbury Discography lists this title, but not I or anyone I've spoken to has ever heard of it - what is the source of your information? Who is/was "Taste", the label?

If it does exist I'd love to find a copy - it is aledged to feature Dominic Luckman a fantastic drummer.

- Nick.


From: "Jim Powers" <j.and.m.powers@juno.com>
Subject: Fwd: Discs for sale
Date: Fri, 18 Jun 1999 17:12:56 -0500

Dear Aymeric,

I have a few discs to sell, and some of them are Canterbury related, or might be of interest to Canterbury fans.  Anyone who's interested can contact me off list at j.and.m.powers@juno.com for a listing of them.

Thank you,


Jim Powers


From: "Stephen Yarwood" <stephen.yarwood@talk21.com>
Subject: Bill Bruford's Earthworks / John Wetton
Date: Thu, 17 Jun 1999 19:48:21 +0100

Bill Bruford's Earthworks (6th June 1999)

John Wetton (17th April 1999)

Venue: The Stables, Wavendon, Buckinghamshire, UK

The Stables is an intimate venue hidden away in the rural outskirts of Milton  Keynes. The owners, jazz legends Johnny Dankworth and Cleo Laine, ensure that  the booking policy is always interesting, particularly in the area of jazz. This  was one of the last gigs on the Earthworks UK tour and found the band in fine  form. An added incentive to the musicians was the presence of the BBC Mobile  Recording Unit in the car park, Bill Bruford himself confirming that the gig was  being recorded for future broadcast on Radio 3. British readers keep an eye on  the Saturday evening Jazz on 3 slot in your Radio Times for details. As for the  music, if I'm not careful I'll run out of superlatives, quite simply it was  sensational. Tightly arranged compositions mainly from the pen of Bill Bruford  punctuated by inspired solos made for a memorable evening. The material was all  from the Bruford jazz catalogue, mostly from Earthworks albums past and present, as well as a couple of selections from a recent collaboration with American veterans Eddie Gomez and Ralph Towner. Most of the best musicians in this genre tend to be found in the USA but it was a gratifying on this occasion to be told that the other members of the quartet were "the cream of British jazz talent." There was no disputing that Patrick Clahar (Tenor/Soprano Sax), Steve Hamilton (Keyboards) and Mark Hodgson (Bass) were in that category. Equally at home playing the complex arranged stuff as the high flying solo interludes, they were  unassuming yet clearly enjoying themselves, the flamboyance and on stage chat  was left in the more than capable hands of their leader. Throughout Bill Bruford was relaxed and totally in control, a gifted musician versatile and talented enough to play jazz in low key venues whilst earning a handsome living in the premier division of rock. How many musicians could get away with a drum solo as an encore? Forty years ago jazz legend Max Roach recorded an album purely of drum/percussion pieces, Bill Bruford took the stage by himself and performed one of these compositions. It demonstrated perfectly how to take drumming into new dimensions, there are few who have the talent to do so. An Earthworks gig is definitely a jazz gig, but the curious rock fan coming on the strength of the Yes/King Crimson connection might find this an education, a case of opening the ears to new possibilities.

A month or so earlier at the same venue I had witnessed an acoustic set by  Bill Bruford's former King Crimson partner in rhythm John Wetton. Backed by  David Kilminster (guitar) and Martin Orford (keyboards) we were treated to a  delightful mix of old and new material. The Wetton voice was as powerful as  ever, Book of Saturday, Easy Money, The Night Watch, and Starless from King  Crimson days, Thirty Years and Rendezvous 6.02 from the UK back catalogue, a  couple of Asia songs, plus an assortment from his own solo albums. He even  included a version of My Friend the Sun from his time with Family. This British  tour apparently precedes JW and Carl Palmer taking a reformed Asia back on the  road, I suspect performances at American football stadiums will be a little less  intimate. The unplugged format seems to have revitalised John Wetton s career,  his solo gigs both here and in the USA have been well received. He is  comfortable with his extensive back catalogue, committed performances and fresh  arrangements have given old songs a new lease of life. I would recommend  checking out his live unplugged CD "Akustika" recorded in the States with former  Crimson reedsman Ian MacDonald and present keyboard man Martin Orford.

Stephen Yarwood
Bedford, UK


From: jtrimble <jtrimble@iquest.net>
Subject: On Seeing Magma Live
Date: Sun, 20 Jun 1999 18:33:57 -0400

As a huge Magma fan I was totally shocked when I read that Magma was actually going to play at Martyrs, a small club in Chicago. I didn't even realize they were playing live anywhere on the planet, much less near me. So I gladly planned to attend, driving in from Indianapolis some 3 hours away. Then the fear set in, would they be old and tired, "phoning in" a performance that would tarnish my image of them forever? Was musical vandalism about to occur? This short story has an incredibly happy ending, however, Magma was freaking great!

I have often thought of the lucky audience members you can hear screaming at the end of "Magma Live", of how it must have felt to have seen and heard that caliber of live performance. I can honestly say that I have now lost my sense of envy because after seeing Magma on May 28th in Chicago I felt I saw a concert of similar intensity. No Didier Lockwood, but that's just nit-picking. They featured the incomprable Christian Vander , of course, on drums and some vocal passages. Now, I hate when you feel the need to use too many superlatives in order to somehow validate an event, but I will tell you this: I have seen many great drummers, I have been lucky enough to have seen Mitch Mitchell, Robert Wyatt, Bill Bruford, Billy Cobham, John Marshall, Ginger Baker, multiple times, all in their prime, just to name a few. Christian Vander is the greatest drummer I have ever seen. Flat out.

I somehow commandeered two bar stools  and I was standing on them, perched next to the sound booth. Any doubts I had were immediately driven away by the first chord Magma played. They essentially played the majority of Magma Live, all the long pieces, Mekanik Desruktiw Commandoh, Kohntark, etc. I am sure that my Kobian spelling is faulty but you get the idea. They featured Stella Vander on vocals with a male lead singer (all in Kobian) another female singer, bass guitar, lead guitar, and Fender rhodes electric piano with a little bit of synthesizer. It was intense, extremely urgent music. The only pieces that they played that I had not heard was the encore when they launched into the longer piece on their new single CD. It was also very gratifying to see an entire audience going nuts over one of the most obscure and greatest bands in the world. The room was shaking. A last footnote: we got there early and I see Christian Vander talking to one of the sound guys at the bar. My wife speaks french, I do not. She introduced me, he speaks almost no English, her translations of my appreciation for him only somewhat succesfully conveyed. But it was a thrill, how many guys do you meet that have invented their own language?   After the encore, Stella Vander commented that Magma had not been in the USA since 1973 when they appeared at the Newport jazz Festival and hoped it wouldn't be that long again. Me too.


From: Earl Rapp <donnamx@waterw.com>
Subject: Gong in Philly
Date: Fri, 18 Jun 1999 01:07:43 +0400

Hello Rattlers:

I saw Gong again at the TLA June 12th in Philadelphia. !!! Wow ! What a great show.

What I saw as weird in a club setting, (Daevid's performance May 26th at Phantasmagoria). came off as brilliant on a theatre stage. Daevid was compelling, funny and of course out-there, and I loved it.

The band was smoking ! Gong's group dynamics are fantastic. Gong's level of performance is musically intense, they produce a show, unlike anything I ever seen before. Filled with humour, Gilli's space whispers, wild sounds, Daevid's space scats and talk about; "drum and bass" combinations, Mike Howlett <b> and Chris Taylor<d> they played with a non-stop energy, going alot of different places in a hurry.

Mark Hewins was great and fun to watch on a big stage, and his solo toward the end of the evening was a keeper.

Didier ! What can you say ! let's call him a great sax/flute man.

I would really like to talk about Gong with anyone on this list. I have been Gong-crazy since May 26th 1999 !

Best Wishes:
Earl Rapp


From: "Louis Behiels (Crohinga Well)" <louis.behiels@planetinternet.be>
Subject: Apocryphal story?
Date: Fri, 18 Jun 1999 22:41:59 +0200

Hi Aymeric,

Sorry to burst in on you like this, but I've a question that can probably only be answered by hardcore Daevid Allen aficionados: have you by any chance ever heard of an album or band called Princess Flower And The Moonrays? A friend of mine says he knows someone who has an album by them, which has the name of Daevid Allen on the back cover as participating musician. The album is thought to be from '68 and is supposedly recorded on a river barge. Could this possibly be l'Atalante?

Could you or any of the Rattlers out there verify this story?

All the best



From: Roger Farbey <r.farbey@bda-dentistry.org.uk>
Subject: Tippett album
Date: Mon, 14 Jun 1999 12:53:59 +0100


Does anybody know whether Tippett's *You Are Here....* has ever been released on CD?  I still have a copy of the LP which, sadly, now skips. KT's second, *Dedicated To You....* has been released on CD and is quite wonderful.  I hear rumors that the landmark Centipede recording *Septober Energy* is on CD now, but haven't been able to confirm it.

Keith Tippett Group's first album has not to my knowledge been re-released on yet CD but it jolly well should be because it is an excellent album featuring I believe a few Canterburystalwarts (Elton Dean at least I think???). Originally a Polydor album, this is one of a number of 'lost' albums which really should now see the light of day again.

Other 'lost' Polydor albums I can think of off the top of my head would include Jack Bruce's 'Harmony Row' (feat. John Marshall on drums) and his jazz album 'Things we like'. But there are of course more...

Roger Farbey


From: m.laplante@videotron.ca (m. laplante)
Subject: Re: WR#130
Date: Fri, 18 Jun 1999 01:18:02 -0400 (EDT)

Well,our friend found a link between Henry Cow and the Knitting Factory... Personally,I once found a reference to Henry Cow in the French comics "Achille Talon": there was a wrestler named "Riton La Vache" in one episode!

This said, Keith Tippett and Mujician apparently recently played the Victoriaville Festival de Musique Actuelle, but I heard very little comment about their performance...



From: "David Voci" <david_voci@tcibr.com>
Subject: WR:Fred Frith Rattling
Date: 21 Jun 99 12:40:41 -0700

Hi Readers Canterbury,

Just wanted to inform that Fred Frith Mailing list is getting alot of contributions/activity lately to those who subscribed awhile back and saw nothing on this newsgroup. I have seen Age Rosthuizen's (A rattler)contributions recently as we agreed weeks ago that the mailing list was pretty dead. That all seems to have changed for the better.

Comments about FF can be forwarded to email:

Fred's Website for further newsgroup instructions is: www.fredfrith.com




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

        [for more info : check out the 'Concerts' page of CALYX]

==> CARAVAN <============================================================

Oct 01 - London, Astoria [+ special guests Annie Haslam/Michael Dunford]

==> PETER BLEGVAD <======================================================

Jun 27 - Paris, Hotel du Nord [with Robyn Hitchcock] (8pm)
Jun 28 - Paris, Hotel du Nord [with Robyn Hitchcock] (8pm)

Info: http://www.anythingmatters.com or <mailto:matters@wanadoo.fr>

==> DIDIER MALHERBE + LOY EHRLICH <======================================

Late Jun/early Jul - Essaouira (Morocco), Festival de musique Gnawa

Didier's website: http://www.multimania.com/malherbedidier/

==> KEVIN AYERS / BELGIAN DATES <========================================

Jul 11 - Koekelberg, Baseliek Plazeyfestival Park
Aug 20 - Mechelen-Vismarkt, Dijlesfeesten
Aug 22 - Wilrijk, Spytelinck Kasteel
Sep 19 - Bornem, CC

Info: BOOM! Bookings, phone: + 02 360 28 51

==> GONG GLOBAL FAMILY <=================================================
                  GODDESS T [G.Smyth-D.Allen-M.Hewins-O.Allen-T.Wandella]
           GONG TRIO [ex-Brainville] [D.Allen-M.Hewins-H.Hopper-C.Cutler]

Jun 26 - Kyoto, Taku Taku
Jun 27 - Okayama, Pepperland
Jun 28 - Osaka, Club Quattro

==> MAGICK BROTHERS (D.ALLEN/G.CLARK/M.ROBSON) <=========================

Aug 11 -  Cornwall (tbc)
Aug 13 or 14 - Wimbourne, Gaunt's House Gathering
[more dates t.b.a.]

==> E.DEAN / H.HOPPER / K.TIPPETT / J.MARSHALL <=========================

Sep 04 - Chemnitz (Germany), Augustusburg Castle

Info: http://home.t-online.de/home/Olaf.Seidel/

==> ANNIE WHITEHEAD / ROBERT WYATT PROJECT <=============================

Oct 10 - Nottingham / Nov 12, 13 or 14 - London, QEH (Jazz Festival)

This project will consist of Robert Wyatt compositions performed by a 10-piece band featuring Julie Tippetts (vocals), and Ian Maidman (vocals/bass), Didier Malherbe (sax/fl), George Khan (sax), Harry Beckett (tpt), Jeanette Mason (kb), Liam Genockey (d) and Gazy Azuks (pc). Please note that Robert Wyatt *will not* be appearing, although he will be attending various rehearsals to lend his ideas and direction.

==> GLOBAL <=============================================================

Jul 10 - Salisbury, Lama Tree Festival / Aug 14 - Devon, Arlington Court Festival (near Barnstable) / Sep-Oct - small tour of Scotland/Ireland


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*                        AND OTHER GOOD GIGS...                         *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

==> BILL BRUFORD'S EARTHWORKS <==========================================

Jul 03 - Worms (Germany), Jazz Festival / Jul 07 - Salerno (Italy), Jazz Festival / Jul 08 - Sarteano (Italy), Jazz Festival / Jul 23 - Aanekoski (Finland), Keitelejazz Jazz Festival / Aug 13 - Brecon (Wales), Jazz Festival

==> MIKE OLDFIELD <======================================================

Jun 26 - Rostock (Germany), Stadthalle / Jun 27 - Bielefeld (Germany), Stadthalle / Jun 28 - Bonn (Germany), Museumsmeile / Jun 29 - Rotterdam (Netherlands), Ahoy / Jul 01 - Pamplona (Spain), Plaza De Toros / Jul 02 - Valencia (Spain), Jardines De Los Viveros / Jul 03 - Murcia (Spain), Polideportivo San Javier / Jul 04 - Ubeda (Spain), Nuevo Campo De Futbol De San Miguel / Jul 06 - Barcelona (Spain), Palau Sant Jordi / Jul 07 - Palma De Mallorca, Plaza De Toros / Jul 08 - Madrid (Spain), Plazas de Toros de Leganes / Jul 09 - Salamanca (Spain), Plaza De Toros / Jul 10 - Santander (Spain), Campo de Futbol Castro Urdiales / Jul 12 - Paris (France), Grand Rex / Jul 13 - London, Wembley Arena / Jul 14 - Birmingham, Nec / Jul 15 - Dublin, The Point / Jul 17 - Udine (Italy), Castle / Jul 20 - Fürth (near Nürnberg) (Germany), Stadthalle / Jul 22 - Zurich (Switzerland), Live At Sunset / Jul 23 - Leipzig (Germany), Parkbühne / Jul 24 - Prague (Czech Republic), Sports Hall / Jul 29 - Langelands Festival (Denmark) / Jul 31 - La Coruna Festival (Spain)

More info: http://www.mikeoldfield.org

==> OZRIC TENTACLES / US TOUR <==========================================

Jul 07 - Boston (MA), Paradise Rock Club [info: 617-562-8801] / Jul 08 - Philidelphia (PA), Theatre of Living Arts [info: 215-922-1011] / Jul 09 - New York (NY), Wetlands Preserve [info: 212-966-4225] / Jul 10 - New York (NY), Wetlands Preserve [info: 212-966-4225] / Jul 11 - West Springfield (VA), Jaxx Niteclub [info: 703-569-5940] / Jul 13 - Atlanta (GA), The Variety Playhouse [info: 414-524-7354] / Jul 14 - Winston-Salem), Ziggy's [info: 336-748-0810] / Jul 15 - Towson (MD), Recher Theater [info: 410-547-7598] / Jul 16 - Cleveland (OH), Odeon Concert Club [info: 216-574-6328] / Jul 17 - Detroit (MI), The Majestic [info: 313-833-9700] / Jul 18 - Chicago (IL), House Of Blues [info: 312-923-2011] / Jul 20 - Milwaukee (WI), Shank Hall [info: 414-276-7288] / Jul 21 - Minneapolis (MN), First Avenue [info: 612-338-8407] / Jul 22 - St Louis (MO), Mississippi Nights [info: 314-664-1015] / Jul 24 - Boulder (CO), Fox Theatre [info: 303-447-0095] / Jul 25 - Boulder (CO), Fox Theatre [info: 303-447-0095] / Jul 27 - Ventura (CA), Ventura Theatre [info: 805-965-2231] / Jul 29 - West Hollywood (CA), House Of Blues [info: 323-848-5700] / Jul 30 - Santa Cruz (CA), Palookaville [info: 831-454-0600]

==> MAGMA <==============================================================

Jun 27 - Fort de Bertheaume, near Brest (France)

Info: 02 98 00 12 43 / http://www.seventhrecords.com


                           END OF ISSUE 131


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