::                                                              ::
  ::                     - WHAT'S RATTLIN'? -                     ::
  ::     The "Periodical" Digest for Canterbury Music Addicts     ::
  ::                         Issue # 201                          ::
  ::                   Sunday, March 30th, 2003                   ::
  ::                                                              ::



OK - time has come at last to reveal the programme for the first edition of "Les Tritonales", a festival of progressive music with a particularly strong focus on the Canterbury scene. Having been closely involved with getting this together, I do hope you will find this event attractive. We have done our best to fit the "Canterbury" stuff into a reduced time-frame (May 29th to June 10th), allowing foreigners to plan a little stay in Paris (accommodation suggestion below).

In addition to most of the active key players from the Canterbury scene (Richard Sinclair, Phil Miller, Pip Pyle, Hugh Hopper, John Greaves, Patrice Meyer, Elton Dean...), the festival will host representatives of the Magma/Zeuhl scene (the first performances by Offering since 1995, and the first reunion of ex-Zao leaders Faton Cahen and Yochk'o Seffer in years) and the new progressive scene: One Shot is a really hot electric zeuhl/fusion quartet featuring three members of the current Magma line-up; Guapo is a British instrumental trio (keyboards, bass & drums) with a style between Magma and King Crimson; We Insist! is a heavy rock group with a brass section, with similarities to Magma, septet-period Soft Machine and Frank Zappa; NeBeLNeST is a heavy crimso/trance quartet; and Sotos is to these ears the best newcomer in the field of avant-prog/chamber rock, the prodigal sons of Univers Zero and suchlike. Let's not forget Mats & Morgan, the awesome Swedish duo who impressed Frank Zappa sufficiently to be asked to take part in the Zappa's Universe project in 1991 alongside Mike Keneally and Scott Thunes.

All in all, this is shaping up to be an incredible month of great music in Paris (please note that Le Triton is in the immediate suburbs, a couple of minutes' walk from a subway station, about 20 minutes from the centre of Paris, so no accessibility problems!). Book your flights/trains NOW !!


JUN 12 - GUAPO (B)

Ticket prices:
S : 22 euros
A : 15 euros
B : 11.50 euros

Reduced prices are available if you buy passes for 6 concerts, to be chosen among the whole festival programme : 2 from each category (S, A or B). Total price 88 euros instead of 97 euros.

Passes are only available directly from Le Triton
(More info: phone (00 33) 1 49 72 83 13 or <contact@letriton.com>)

Regular tickets can be bought online at:

All concerts begin at 9pm. The venue/bar opens at 8pm.
Hotel accommodation is available just a few yards away from the venue - a nice and really cheap hotel:

Hotel Paul De Kock
130 rue de Paris
93260 Les Lilas

Phone: (00 33) 1 43 62 82 90
Fax: (00 33) 1 48 97 94 19

More info on the festival, plus musical excerpts etc. at:



Jacky Barbier, whose name will be familiar to many of you, ran a music venue, A L'Ouest de la Grosne, in rural Burgundy (France) from 1974 until his death last summer. The place was not only a sympathetic shelter to travelling musicians, canterburian and otherwise, but also witnessed the recording of many classic albums, such as Soft Head's "Rogue Element", National Health's "Playtime", Richard Sinclair & Hugh Hopper's "Somewhere In France", Soft Heap's "A Veritable Centaur", and tracks from Gong's "Shapeshifter" or Short Wave's "Live" albums.

Since Jacky's passing, the considerable and priceless collection of live recordings made at the club is in peril. Thankfully, friends and supporters of the club have decided to do something about it. A fund is being set up with the aim of preserving, cataloguing and releasing these tapes on CD (when of sufficient artistic merit of course - there are hundreds of them !!).

Before the action really begins, the fund is collecting as many signatures in order to get subsidies from various state/regional authorities. Please support this worthy project by making yourselves known to Genevieve at the CRJ Bourgogne - <crjbourgogne.ressources@wanadoo.fr>

You will be sent a form to fill in and sign and return to the following address -

CRJ Bourgogne
c/o Genevieve
3 bis place des Reines de Pologne
BP 824
58008 Nevers Cedex

Fax: (00 33) 3 86 57 93 05

>>>>>>>>>>>> THEY NEED YOUR SUPPORT !! <<<<<<<<<<<<


SOFT MACHINE "BBC Radio 1967-1971" (Hux Records HUX 037)

Not just a reissue of the classic Peel Sessions material, much of it of classic status since 1977's "Triple Echo" compilation. Hux Records have put together the definitive version of Soft Machine's studio sessions for the BBC (there have been several live releases as well), beginning with a double-CD focussing on the Robert Wyatt years, i.e. 1967-71.

The December 1967 session hasn't been heard, at least not in anything resembling a decent sound quality, since it was first broadcast. Miracle, here it is, sounding miraculously fresh. The first two of the five songs were not available as performed by Soft Machine until now - "Clarence In Wonderland" was recorded by Kevin Ayers on his second album "Shooting At The Moon", and "We Know What You Mean", re-titled "Soon Soon Soon", was cut in 1969 but not released until the "Odd Ditties" compilation in 1976. This version of the latter is a real gem, as are the three songs that popped up on the band's debut album a few months later - "A Certain Kind", "Hope For Happiness" and "Lullabye Letter". Here we are witnessing the birth of the classic early Soft Machine sound - the first recorded examples of Mike Ratledge playing his newly acquired Lowrey Holiday Deluxe organ, rather than the cheesy-sounding Vox Continental he used on the earlier sessions.

The next session (June 1969) encapsulates the dramatic move from progressive pop, with the classic trio rendition of Robert Wyatt's "Moon In June" epic (including the famous re-written lyrics about the BBC), to the experimental jazz/rock amalgam of the "Third" and "Fourth" albums : the "Facelift" medley has a guest appearance by Brian Hopper on saxophone, the closest thing to a documentation of his time as auxiliary member of the live group.

Next we are treated to one of the major finds of this release : Robert Wyatt's solo recording, surprisingly in the context of the legendary "septet" session of November 1969, of "Instant Pussy". This is the only complete version of the piece, with the opening 'song'. Robert was apparently reluctant about this coming out at all, judging it a sub-Leonard Cohen exercise. While not a masterpiece, it is rather pleasant, in spite of Robert's rather crude piano playing, and is nothing short of magic when, towards the end, it moves into the 'famous' motif the later versions (by Matching Mole, and under the name "To Caravan And Brother Jim" on Robert's debut album "The End Of An Ear") were based on, with Robert vocalising on top of it. The same formula is applied, a year and half later, to a similar solo rendition of "Dedicated To You, But You Weren't Listening".

The first CD closes with the "Third" medley of "Slightly All The Time" and "Out-Bloody-Rageous", but, unlike the 1990 release, it is presented complete, with the full version of "Eamonn Andrews" that concludes it.

The second CD sees the band giving full rein to its jazz inclinations. "Virtually" is a shortened version of the sidelong epic on "Fourth" (basically it's Part 2 & 3). "Fletcher's Blemish", which comes next, is totally unreleased. Frankly, I never really understood what the 'theme' to this Elton Dean 'composition' is. I would rather call this a 12-minute improv, and a good one at that, with Ratledge playing mostly acoustic piano, a rare treat. "Neo-Caliban Grides" follows, raising the same question as to it's 'theme'. Clearly we are really close here to the kind of music Soft Machine would play with Phil Howard, Robert's replacement, in the "Fifth" period, reinforcing the impression that Robert's departure didn't, in itself, mark such a musical 'revolution' in the band. Soft Machine had been playing this type of free-jazz-rock, with increasingly minimalist compositions, for quite a while already. The later medley of "Eamonn Andrews" / "All White", also previously unreleased, is a good example of that - examples of Mike Ratledge moving away from scored pieces into more skeletal themes that leave a lot of space for band interaction and individual expression. By the way, this particular track is really excellent.

The collection closes with one of my very favourite performances by Soft Machine - the incredible septet session from 1969. This has been restored to its original form, with the short 'drumlink' re-injected between "Mousetrap" and "Esther's Nosejob", resulting in a continuous 21-minute medley (it would have been nice to index the various themes, though). The septet line-up of Soft Machine had a frustratingly short lifespan, and its recorded output is consequently, and sadly, very small. This, plus the radio sessions on the recent Cuneiform release "Backwards" and some of the material on "Fourth" (especially "Teeth"), is nothing short of a treasure. Nick Evans' trombone solo on "Backwards" stands as one of the culminating points in the band's history.

Needless to say, this double-CD is an absolute must-own - even for those who bought the original release, since this has no less than 40 minutes of previously unreleased material, a good third of the total playing time. Add to this a glossy and well-illustrated booklet with informative liner notes by Mark Ellingham and short contributions from Kevin Ayers and Hugh Hopper - and you have one of the great classics of Canterbury music.

* * * * *


Q: Can you begin by first telling us a bit about the history of Hux Records and how you have come to specialise in releasing BBC radio sessions and concerts ?

A: I used to manage the Windsong label, which specialized in releasing archive BBC recordings. After a few years, I was frustrated at the restrictions imposed regarding budgets etc., so I left to set up Hux Records. Our aim was to build a collectors label of classic archive recordings. Several of our albums are comprised of BBC recordings, but we're also reissuing some great albums which were previously unavailable on CD.

Q: Do you personally have a particular interest in the Canterbury scene, as one could think based on your releases by Kevin Ayers, Caravan, and now Soft Machine ?

A: I don't know about a particular interest. I'm a fan of Soft Machine, Kevin Ayers & Caravan. But I'm a fan of lots of different types of music. In truth, I'm not really keen on the 'Canterbury Scene' tag. I agree with Hugh Hopper's comment about it being "a rather artificial label". I hope you don't mind me saying that. I mean, I think the Calyx site is superb and it's great that people can continue to discover these artists via sites like this.

Q: There had been a previous release of Soft Machine BBC sessions in 1989 or 1990, on Windsong Records, which I understand was a previous incarnation of Hux (is this correct?). Had this been out of print for some time ? What gave you the impulse to devise a new version ?

A: The thinking behind this new album was the same as the thinking behind every album we release. Which is that we felt there were some great recordings which weren't currently available. We thought that, if we could obtain the necessary approvals, we could release an excellent album. Yes, some of this stuff has been out before, but on albums which have long since been deleted.

Q: To make this compilation, you have obviously been able to go back to the original master tapes. Between the completely unreleased tracks and the longer versions of others, there is about 40 minutes of previously unissued material. The BBC has a rather mixed reputation about the preservation of its archive of classic recordings. Were the Softs tapes well sorted of did this project neccessitate a lot of research ?

A: Well, it did require a certain element of research, as do all of our albums. I wouldn't exactly say that we spend endless hours crawling on our knees through dusty basements, scouring shelves for lost masters, but effective research is an essential part of a company like Hux.

Q: Would you say the BBC, as an institution, has been helpful and supportive to your projects ? Has it been easy to work with ? Or did this project necessitate mountains of paperwork, years of waiting for tapes to be delivered/copiedÖ ?

A: The BBC have been incredibly helpful and supportive of all our projects. Bearing in mind that some of these sessions were recorded over 30 years ago and they were never intended to be commercially released, I think the BBC have done a great job of archiving all their tapes and making them available for license to companies like Hux.

Q: Hearing the 1967 session in such fine sound quality is nothing short of a miracle. The credits mention Mike King (author of the "Wrong Movements" Robert Wyatt biography) as having been involved in remastering that tape, which had long been presumed lost. How were you able to include it in this release ?

A: Steve at Cunieform Records put us in touch with a collector in the States who had access to the 1967 master tape. He sent it on to Mike King who did a great job on the mastering. Mike was also kind enough to lend us a couple of photos for the CD booklet.

Q: Apparently, most of the past members were cooperative, or at least sympathetic, towards this project. Kevin Ayers and Hugh Hopper have both contributed liner notes; Robert Wyatt has made suggestions regarding the order (presumably to avoid the repetition of "Mousetrap" on the first CD). Do you have interesting anecdotes about their involvement ?

A: Yes, the band were all very supportive. In addition to the points you mention above, Robert also lent us a couple of his abstract 'photographs', for use on the cover art and Elton Dean lent us a photograph for use in the booklet. No anecdotes, I'm afraid. I was just grateful to the band for their co-operation and support. I'm sure it must be very odd for them all now, to be faced with the prospect of releasing sessions which they recorded over 30 years ago.

Q: The booklet (including Mark Ellingham's informative liner notes) and overall design is a definite improvement over the previous version. There is also a significant improvement in the sound quality of the previously heard material. This is obviously a labour of love - any comments on all these aspects ?

A: Yes, it's definitely true to say this is a labour of love. We've spent more time and money on this package than on anything we've done before. We even printed the booklet on a special paper which has a 'waxy' feel to it and which is very expensive. We could probably have released the album in a plain brown paper bag and it would have sold just the same amount. But we wanted it to look and feel like something special. (Which is just one reason why I'll never get rich from this business).

Q: The contents for the second volume have just been announced. It will consist of three sessions from 1971-73, just one CD in total. Two other Phil Howard-era sessions are missing. These and two remaining BBC radio sessions from 1974 (Jazz In Britain, featuring Allan Holdsworth) and 1976 (live at Newcastle Jazz Festival, featuring Percy Jones) have yet to see the light of day. Why ?

A: Our plan is to release all the sessions which still exist in the BBC archive. So if the original tapes exist, they'll be included on the album. We don't want to use second generation 'off air' recordings on this album as we're aiming to have the best sound possible.

Q: Any upcoming projects for Hux Records that you think would be of interest to Canterbury music fans ?

A: We've got several great albums scheduled for release this year, including Nucleus, Wreckless Eric, Brinsley Schwarz, Gryphon and The Grease Band. In fact, Wreckless Eric was just telling us the other day about how Kevin Ayers was a huge influence on his own career. Whether or not any of these albums will be of interest to 'Canterbury Music' fans, who knows? I certainly hope so.

* * * * *

CARAVAN "Live UK Tour 1975" (MLP Ltd MLP 03)

With the news that the release of the new Caravan album has now been postponed to September due to record company "issues", this live release from the 'classic' period is most welcome. Recorded live in Nottingham in December 1975, this features the Hastings-Richardson-Schelhaas-Wedgwood-Coughlan line-up, i.e. the same as on the previous live release "Surprise Supplies". Thankfully, the setlist is almost entirely different with the sole exception of "The Love In Your Eye". Whereas "Surprise Supplies" was recorded on the "Blind Dog At St.Dunstans" tour (in May 1976) and focussed largely on the material from that album, "Live UK Tour 1975" (the title could have been a little more inspired) has a good mixture of songs from previous albums, including a large chunk of the then-current "Cunning Stunts" - "The Show Of Our Lives" and "The Dabsong Conshirtoe", interesting both composed by David Sinclair who was no longer in the band. A few songs from "For Girls Who Grow Plump In The Night" too, plus "Virgin On The Ridiculous" and the obligatory closing number "For Richard". It is a rare opportunity to hear all these songs performed with Jan Schelhaas on keyboards - his parts are obviously somewhat similar to Sinclair's but with his own personal touch too. The only complaint with this good-sounding release, which includes over 75 minutes of music, is Pye Hastings' truly awful lead guitar sound. He must have had a really crap distorsion pedal at the time since the same problem plagued the "BBC In Concert" show from a few months earlier. Thankfully this only concerns a portion of the performance, and doesn't detract too much from one's enjoyment of the music.

This CD is available direct from the label, MLP Ltd, for the price of 15 euros including P&P to Europe (it is possible to send cash) - MLP Ltd, PO Box 363, Banbury OX16 9GS (UK). E-mail: mlp@hotmail.com


From: "Stephen Yarwood" <stephen.yarwood@btinternet.com>
Subject: Softworks
Date: Sat, 22 Feb 2003 14:32:56 -0000

Pre-release review of the eagerly awaited first album from Softworks [Elton Dean, Hugh Hopper, Allan Holdsworth & John  Marshall].

Keep an eye on http://www.moonjune.com/softworks/index.html for release details.

In June 2002 ex Soft Machine luminaries Elton Dean,  John Marshall, Hugh Hopper and Allan Holdsworth gathered at a London studio to record their first album as Softworks. Although similar in name, comparisons with the much edgier sound of the classic Softs quartet soon disappear, the closest reference point would be the Volume 6/7 period once Karl Jenkins had become principal composer.
But enough of the Soft Machine connection, these guys have done a lot of other things. The lineage of Softworks can be traced back many years through various combos in which the likes of Keith Tippett and Joe Gallivan joined frequent collaborators Dean and Hopper. A one-off gig in 1999 as SoftWare brought in John Marshall. Then in 2002 Holdsworth was persuaded to give it a shot when Tippett couldn't make it and SoftWorks was born. To date they have played one gig, at the Progman Cometh Festival in Seattle last Summer, an event that was enjoyed by musicians and audience alike. They even played Facelift as an encore!

Many of the compositions on Abracadabra can be found elsewhere in one form or another, but you may not recognise them all immediately. Cunningly changed titles often hide these reworkings. It will be interesting to see how much material specifically written for this line-up emerges. Hugh Hopper commented, "The title track on the CD is completely new. The problem has been to find time to rehearse new pieces - Allan lives in Los Angeles and John, Elton and I live in Europe. Not impossible but it makes life  more complicated".

Hugh Hopper is anchorman, he plays what is appropriate, there are no wasted notes, his lines complement the music. I'm sure  my radar picked up a fuzz box in the mix somewhere. John Marshall is an all  rounder, subtlety and attack, rhythmic accuracy whatever the time signature. Nice brushwork on Baker's Treat.

Dean and Hopper contribute six of the eight tunes, an even split of three each. Elton Dean has "Seven Formerly", an old Ninesense number that used to have a big band arrangement, "Baker's Treat", a ballad  originally on ED's Moorsong album, and "Willie's Knee", also from Moorsong, a rhythm and blues groove on which the composer plays Fender Rhodes as well as his trademark alto. Hugh Hopper's tunes are "First Trane", swinging along on a  characteristic mid-tempo bass riff, "Elsewhere", something of a Pat Metheny feel,  almost commercial (!), and "Abracadabra", pastoral saxello gets tougher and ends  up with an eastern flavour. The latter composition, in this writer's humble opinion, being the high watermark of the album.

The other tracks are Phil Miller‚s K Licks, better known to aficionados of quirky English rock ensemble Hatfield & the North as "Calyx", and Allan Holdsworth's "Madam Vintage", which is a Marshall/Holdsworth duet.

During his brief tenure with the Softs back in 1974 Allan Holdsworth was an up and coming fusion player with blinding technique looking for a direction. He was basically a soloist, not significantly adding to the overall sound when the spotlight was on somebody else. The artist we hear today is a much more sophisticated entity. The synthaxe textures and other guitar embellishments are a crucial part of the soundscape here. The solos are no less fast but have a maturity which allows them to develop on all sorts of  levels and through a wide range of tones and phrasing.

It can't happen too often that Allan Holdsworth shares a stage with a soloist of equal stature to himself. Elton Dean has not diminished with age, he is as compelling as ever, melodic and reflective, harsh and aggressive. The man is a giant. Here he mainly  sticks to alto with occasional input from saxello in more serene  moments.

There is no doubt this album will be filed under jazz, but the distinctive voices of the musicians raises it head and shoulders above much of that genre currently out there. It will be available to the Asian market through Universal Records Japan in March 2003, with the USA scheduled for early June courtesy of Shrapnel/Ryko. A European release will follow shortly after. Credit to MoonJune who have pulled off a major coup in assembling this line up. A world tour is planned, be there, you won't be  disappointed.

For further ED CD reviews see:

Stephen Yarwood


From: "Roger Farbey" <r.farbey@bda-dentistry.org.uk>
Subject: First review of Nucleus live in Bremen
Date: Mon, 24 Mar 2003 10:50:49 -0000

Dear Aymeric

Readers may wish to learn that the first review of  the Cuneiform CD Nucleus live in Bremen review is up on the 'Unofficial Ian Carr and Nucleus Web Site' now!


Best wishes



From: "Stephen GOOD" <steve@goodies.fslife.co.uk>
Subject: Hatfield and the Health!
Date: Tue, 21 Jan 2003 22:26:16 -0000

Hi Aymeric

Just - by luck - I came upon your wonderful "What's Rattlin'"  pages, as I've recently just started to fill in some gaps of Hatfields and Nat Health stuff (I finally got hold of the fantastic NH "Playtime" CD too, which you provided notes for).

I played at the same festival that National Health played at Chiswick Park back in June 1977, and this was where I rather belatedly came across their fantastic music... and I'm glad to say that I've followed them ever since.

I wrote to Dave (Stewart) a few years back, and got a couple of real nice replies from him, reminiscing about that festival, amongst other things (it was a beautiful day when they played, and poured with rain for me!!).

I was pleased to have been recently sent some of the Hatfields' BBC Radio sessions (and also a recording of their Rainbow gig from  '75) - I feel this stuff should be readily available!

Hardly a week goes by without either of the brilliant Hatfields, or National Health CDs being  played at home.

Hope to hear from you soon, and thank you for such a wonderful site. I have just had a quick look around it, but it looks fantastic!

Kindest regards from England,


From: "Oded Judelman" <tsuvv@hotmail.com>
Subject: Soft Machine - BBC... and more
Date: Thu, 06 Mar 2003 21:20:15 +0200


I actually wanted to tell you that you did not include Kevin Ayers among the musicians, but... I also want to thank you for creating the Calyx site. It has halped me a lot by introdusing all the artists and giving detailed information. It was and still is a real joy to use Calyx - a great site!

I also want to say that your involvement in releasing old unreleased material from the Soft Machine and others is truely blessed.

And a question, if you don't mind: do you know of any thoughts of releasing unreleased Hatfield material?

I'm very sorry I can't be more helpful for the Calyx site.

Again, thanks for everything and I hope you have time to answer



From: H Rowe <hrowe@videotron.ca>
Subject: Gongzilla - East Village Sessions
Date: Sat, 01 Mar 2003 17:13:43 -0500

Press Release

East Village Sessions

April 1st, 2003 CD / Vinyl release!

New studio recording from the monster group!                                                                                                                                      

Hansford Rowe - bass (ex-Gong)
Bon Lozaga - guitar (ex-Gong)
Benoît Moerlen - vibes, marimba (ex-Gong)
Phil Kester - percussion
Gary Husband - drums (Allan Holdsworth, Level 42)

With special guest
David Fiuczynski - guitar (Screaming Headless Torsos)

Gongzilla has been in the studio.

But not just any studio. Dangerous Music in Manhattan's alphabet city is the only facility they considered. State of the art analog gear at its pinnacle was required and nothing else - no programming, no synths, no syncing, no sequencing and no sampling or digital editing. Press record and play.

Americans Bon Lozaga and Hansford Rowe, Frenchman Benoît Moerlen and Englishman Gary Husband are Gongzilla's core. Brooklyn's Phil Kester adds his vast percussion array. Their history together can be traced back to the legendary jazz-rock group GONG and their work with Mike Oldfield and Allan Holdsworth. Gongzilla‚s first two CDs, Suffer and Thrive, have become cult hits in the fusion world. They featured monster guitarists Allan Holdsworth and David Torn.

East Village Sessions continues that tradition with frequent collaborator David "Fuze" Fiuczynski whose magic fretless guitar playing can also be heard on Gongzilla's "Live" !

LoLo 017

1. Haniface
2. Aquila
3. Lilly
4. Ging Gong
5. Thrive
6. My Doctor Told Me
7. The News
8. No Pennies Please



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

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

==> Daevid ALLEN <=======================================================

Apr 19 - NEW YORK CITY (NY), The Colony Cafe [DA duo with Nic Stephanz]

May 21 - BIRKENHEAD, Iron Door / May 22 - OXFORD, Zodiac / May 23 - GLASTONBURY, Assembly Rooms / May 24 - MANCHESTER, Royal Arms /
May 25 - ASHTON-UNDER-LYMNE, Witchwood / May 27 - CREWE, Limelight / May 28 - SHEFFIELD, Boardwalk / May 29 - LEEDS, The Roscoe / May 30 - NORTHAMPTON, Roadmenders / May 31 - LONDON, New Mean Fiddler

(May 21-31 dates are for University Of Errors + Here And Now)

Jun 10 - PARIS / LES LILAS, Le Triton [Guru & Zero]

Oct 21 - LONDON, Royal Festival Hall [<you'N'gong>]

Oct 22-Dec 22 - tour [<you'N'gong>]

More info/updates at http://www.planetgong.co.uk

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

May 10 - OSAKA (Japan), Big Cat / May 12/13 - TOKYO, On Air West

Line-up: Pye Hastings, Jan Schelhaas, Richard Coughlan,
         Geoff Richardson, Doug Boyle, Jim Leverton, Simon Bentall

More info/updates at http://www.caravan-info.co.uk

==> IN CAHOOTS <=========================================================

Apr 22 - LONDON, Vortex Jazz Bar / Jun 04 - LES LILAS (PARIS), Le Triton (Festival "Les Tritonales") / Oct 31 - LITCHFIELD, Garrick Theatre

Line-up: Phil Miller, Elton Dean, Jim Dvorak, Peter Lemer, Fred Baker, Mark Fletcher

==> Didier MALHERBE <====================================================

Apr 08-21 - LA REUNION, tour / May 04-16 - VIENTIANE (Laos), Residency / May 30 - GLOMEL (22), Festival des Clarinettes / Jun 14 - VISCOMTAT (63), Théâtre des Voyageurs

HADOUK TRIO with Loy Ehrlich (hajouj, kora & keyboards) & Steve Shehan (percussion)

More info/updates at http://www.didiermalherbe.com


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

==> CAMEL <==============================================================

Tour dates announced at http://www.camelproductions.com

==> KING CRIMSON <=======================================================

Apr 12 - NAGANO (Japan), Matsumoto Bunka / Apr 13 - TOKYO (Japan), Hitomi Memorial Hall / Apr 15/16/17 - TOKYO (Japan), Kosei Nenkin Kaikan / Apr 19 - FUKUKOA (Japan), Mielparque Hall / Apr 20 - NAGOYA (Japan), Aichi Kosei Nenkin Kaikan / Apr 21 - OSAKA (Japan), Kosei Nenkin Kaikan

Line-up: Robert Fripp, Adrian Belew, Trey Gunn, Pat Mastelotto

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

May 07 - ROMBAS [nr Metz] (France), Espace Culturel / Jun 13 - STRASBOURG (France), La Laiterie / Jun 28 - TRENTON (NJ), NEARfest / Jul 01 - NEW YORK CITY (NY), Knitting Factory

Line-up: Christian Vander, Stella Vander, Emmanuel Borghi,
         Philippe Bussonnett, James McGaw, Isabelle Feuillebois,
         Antoine Paganotti, Himiko Paganotti


                          END OF ISSUE 201

WHAT'S RATTLIN'?     -      WHAT'S RATTLIN'?      -     WHAT'S RATTLIN'?

CALYX - The Canterbury Website

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