BEFORE THE INTERNET

Back in the day (Music Memoire #1)


HEWINS LIVE LINKS Gotta love cloudy computing . Some *Canteresque* memoirs... (Hardcopy book after collation) Thank you so much for visiting. Please do not download, copy, edit, reproduce, blog or publish any of these images or Music. Unless stated they are not for use without permission © Ⓟ2011/12 There is no 'Progressive' or 'Prog' music in the list below. I don't play that style. However, I…  (read more)

BEFORE THE INTERNET

05 Apr 2011 154
The Polite Force 1977 ?. Summer of '76? even Gig outside at Kent University.. This band could so easily have been called "The Civil Surface", just great names is all. ( Much as 'SOFT MACHINE' was borrowed from W. S. Burroughs. ) Another Polite Force band in Tampere, Finland. en.wikipedia.org/wiki/The_Polite_Force_ Graham Flight : Bass (Wilde Flowers) Vince Clarke : Drums (Back Door) Dave Sinclair : Kbds (Caravan etc. Mark Hewiins : Guitar (MotherSun) Max Metto : Tenor Sax (from the Cameroun) Engineer : Jeremy Darby. I remember my gear: Gibson SG 1971, '61 Vox AC15 - Tolex cover, Alnico 'blue' speaker, simples (occasionally a waa-waa pedal): The amp drowned, tragically in Vince's basement during the Canterbury floods ('79?), it could have been salvaged easily. The bits were thrown away by *someone. Best amp I ever had. I have a '62 'copperplate' JMI VOX AC30 now; essentially has same guts inside. From ' CALYX ' the Canterbury Music Oracle .. " The Polite Force were a vital link in the 'lost' Canterbury scene of the late 70's. Ex-Gaye Perez Band members, guitarist Mark Hewins (who had moved from London to Canterbury specifically to work with the Canterbury scene musicians) and drummer Vince Clarke (who had also played for Back Door in the North of England)), joined forces with Graham Flight (originally a member of the eponymous Wilde Flowers in the 1960's alongside Robert Wyatt, the Sinclair cousins, the Hopper brothers and others) on bass to play on Dave Sinclair's solo album Moon Over Man, (only released 15 years later on the Voiceprint label), around 1976. While keeping busy playing with Richard Sinclair in various pickup bands, they joined sax player, (and maths student from the Cameroon) Max Metto, ( another 'Africa-Canterbury' connection. m|h ) to form 'The Polite Force', (the name inspired by Egg's second album title from 1970). Polite Force, between 1976 and 1978, gigged a lot locally; (with guest appearances by the likes of Richard Sinclair, Geoffrey Richardson, Richard Coughlan and Jan Schelhaas of Caravan, Andy Latimer and Andy Ward of Camel, Virtuoso Saxophonist Tony Coe and youngster Billy "the kid" Jenkins, an old school friend of Hewins, amongst many others), making its debut at the Kent University (Photo above), and subsequently recorded a large body of material with various line-ups, all of which remained unreleased (apart from tracks appearing on Hewins' Canteresque Compilation series) - until Voiceprint, selected the best of these recordings for a full-length CD release". Much more of this Music is still stored as 'unreleased'. Although, I see, boots circulate, for sale. m|h The Engineer : JD The pre-CD version 'Canterbury Knights' (Voiceprint VP187), was recorded, actually in Canterbury, with some very early audio equipment by Sound Engineer, Producer and owner of the 'Canterbury Music Company' studio in Toronto Jeremy Darby , who later went on to huge success'; and to make some very famous Not-Canterbury records indeed. He and I have worked together since '74, and has "the best ears I ever heard". One of my oldest friends, Im proud to call him 'Brother'. He's working right now at his studio in Canada compiling a tune of mine, ( Phil's Filip ), that I wrote some years ago for Phil Miller: . Phil and I talk regularly, he called me last week and wants to play on the track; and Im thrilled about that; (I first met him in '71-2 at the second Hatfield rehearsal). I have only just now returned from Toronto , where we recorded several new tracks with a new band and re-mastered some old ones. (Oct .'11). Jeremy Darby is Deep Canterbury.. Keep the Faith in Music. m|h Aymeric on Polite Force "The music is very much in the mould of late-period Soft Machine, with Dave Sinclair playing cool and complex jazz piano, while Mark Hewins' guitar work shows why he later went on to play alongside Hugh Hopper and Elton Dean in various projects and bands (including Soft Heap and Mashu) as well as being a founding member of Richard Sinclair's Caravan Of Dreams"." HUGE THX to Aymeric Leroy at 'CALYX' The Canterbury Music Website. m|h

Before the Internet

05 Apr 2011 83
The Polite Force '79 One of the last gigs we did. At 'Quines' bar in Canterbury. Graham Flight, bass and I; and In the forground is the later Sax player, (Alto/Soprano), Geoff Corner from 'oop Norf. We had the beginnings of a horn section at times. Tony Coe used to come and jam. I had left Canterbury by this time to go back to London after 4 years on the coast living in Herne Bay. I had done pretty much everything I wanted to. The scene in Canterbury was changing so I returned up 'the smoke' to find more Musicians to work with. One of these just happened to be Master Drummer John Stevens, (John Stevens 'Away'), who introduced me to some *really wild and supremely skilled players. Amongst them was Elton Dean. Graham Flight went on to form 'The Happy Accidents', a band which is still producing great work today. I continued to work with Graham at a few 'one offs', but I had started travelling to the US more to work and my concentration was taken elsewhere. Always loved 'Flighty's bass playing, he's still one of the most chilled ouit of guys and Introduced me to the playing of Fela Kuti and a whole lot of other Music i count as essential in my inspiration

Back in the day

23 May 2011 155
Soft HEAP 1996, Paris : Jam at Pip's Pip Pyle, Elton Dean, Myself, John Greaves, plus Didier Malherbe (Gong) . Early days on the web. Part of the archive, I suppose. (If you're that interested.) ----------------------------------------------------------------------------- COPIED FROM CALYX ⇓ MARK HEWINS CALYX INTERVIEW 1996 This interview with Mark Hewins was conducted by Aymeric Leroy on e-mail in March 1996. It was the first interview conducted specifically for Calyx, (now appears only here.) ( I may have said the wrong things ..mh) How did you start in music? Who were your teen idols? I have been listening to all sorts of music (knowingly) since I was 7 or 8. One of my mates had a brother who had played bass in the 'Bluesbreakers' for a couple of weeks; he was really a commercial graphic artist though and couldn't put up with being poor so he'd left the band! That was his story anyway. I used to spend a lot of my time listening to his record collection. All sorts of things from blues and jazz to classic and beyond. I was like a sponge at the time and tried to sit as still as possible so he wouldn't notice me and throw me out of his room - he being much older than us! But I was able, as his brother's best mate, to hang around and listen to some stunning music, as it came out during the mid to late 60's. Although, come to think of it, I should have been too young to be understanding let alone liking what I was hearing! He introduced me to Peter Green's playing. I could, absolutely, hear the guitar talking to me and I knew (although it was a couple of years or so before I got my hands on one) that was what I was going to do. It was the way the Guitar was used as a soloing 'voice' that fascinated me. I could see how you could express youself this way very easily. However, I have found since; actually doing it to make it sound like this is far more difficult! At school they used to leave me on my own to practice in the music rooms. It must have been obvious that music was what I was going to do so I was never pressured to go to proper 'lessons' in my last couple of years there (13-15). Hendrix's death in 1970 made me want learn much more, and to do as much playing as possible. It was my first real experience of mortality (I never saw him live, to my eternal regret). I can still remember hearing 'Voodoo Chile' for the first time, and to this day I still pester Hugh, Lol etc. (1996), for their stories about Hendrix's brushes with the Canterbury chaps. My first Solo concert was when I was 15, I had been playing for a while and my Mum got me the gig. I've just sort of carried on (and left home around then). In fact I joined my first band (MotherSun) soon afterwards and was recording, writing and gigging from then on. I left home then, so the greater part of my 'teenage' years was spent learning and playing Music, on the 'road'. How did you become acquainted with the 'Canterbury' musicians you later played with? I first met Richard Sinclair in London in 1972-3?, at one of the first 'Hatfield' rehearsals. I lived in Herne Bay and worked with him (on and off) from 1975 onwards. I was 19 at the time and consequently was always treated as the 'baby' of any band - sometimes this really pissed me off! My first recording was with Dave Sinclair in 1976? "Moon over Man" 1975/6 - which was not released until 1992 (I think), when Voiceprint put it out on CD. Were you already a fan of Canterbury music before you met Richard? Of course. My main goal in my musical life has been to strive not only for personal 'expression' but also excellence in technique. The musicians connected with 'Canterburian sect' are, quite simply, the best and most inventive of their generation. I had to work with these guys. What are your favourite 'Canterbury' records ? Favourites?? I suppose, early on... Hatfield... (In hindsight Henry Cow- m|h ) Also Soft Machine, Caravan 'Grey & pink' (side 2) and later the 'Gong maison' album. When did you feel you'd really become part of the 'Canterbury scene', and were not just "someone who sometimes played with Canterbury musicians"? I would like to be described as both, I suppose. I know some of the musicians MOST connected with the Canterbury scene wish, for some reason, they weren't. 'Do you have to LIVE in Canterbury to qualify' is a more pertinent question here I think... I lived in Herne Bay, does that disqualify me anyway? As a composer, do you rather write songs, or instrumentals, or both? I compose in all areas of music, for many reasons. This allows me a large compositional vocabulary and several musical languages to express myself. And make a living! If you had the opportunity to record another solo album, would it again be a solo guitar thing, or a collaboration with other musicians? Who would you think of as contributors, ideally? I think a solo album should be just that.... Solo. Otherwise it's a band... I am in the middle of recording at the moment. I have finished some tracks in Nashville (1996), the rest will be done in New York. However, this time I have a producer, whose input I value greatly (Jerry Darby), so on my terms, it's not strictly 'Solo'. Also there is 'overdubbing': I have a slight difficulty to come to terms with this, in the context of 'Solo' recording. Because again, in strictly 'Solo' terms there is more than one of me! I'm not known for being 'famous' with a 'famous' band, so luckily I'm not tarred with a musical brush for people to piegeon-hole me into areas I don't want to go. I can, musically do whatever I like with whoever I want without feeling I have to please people other than myself. If I have a project in mind I usually grab whoever is nearest at the time and let them play what they want. I do, however, have several 'Fantasy bands'. Fun, but impossible to fund; let alone get together. Some of the members are dead... (this was in 1996- m|h ) What are your best musical memories/achievements, the moments in your life when you really felt you'd done something of great value? (gigs, records, sessions, private jams etc.) That's a hard one as I have a lot of fantastic musical memories of 'moments'. Not perhaps 'achievements' as they would be hard for me to quantify, I'll leave that to other people. Adiba, though; Pip's [then] partner, springs to mind. We played together at Jacky Barbier's on the 20th anniversary of the club. Improvisational heaven. Such wonderfully accessible music. Completely spontaneous... Joyous, and a complete surprise to everybody!! Including ourselves.... Some of my most enjoyable moments playing music have been with people who are doing it for the 'Joy' only. Elton Dean plays like this. Soft Heap is the best band I have ever been in, in any context. Shyamal's joy means he can make some of the most interesting sounds to play with. Can you tell us more about some of the many 'Canterbury'-combinations you were part of over the years ? I played with Elton Dean's Quartet during the 80's, as well as taking over in 'Soft Heap' two days after Alan Gowen died. I took Richard Sinclair to Texas with me as a 'guest artist' when I played solo and with Dennis Gonzalez at the 'Caravan of Dreams' concert hall in Fort Worth, that's where he got the name - I think he has done quite well solo in the US since! Then Andy Ward, Richard Sinclair and I formed 'Going Going' with Hugh Hopper (in 1990), which evolved into the original 'Caravan of Dreams' trio. We played several gigs, and two large festivals prior to the recording of the CD. Unfortunately I had taken on some very lucrative work for Casio, with very tight deadlines, before any recording was mentioned and I couldn't afford to forego this in order to record with the band for nothing. If that sounds mercenary, it isn't meant to, it's just that I have to earn my living from music and the Casio Contract clashed with the recording dates. How come so few releases feature your playing, although you took part in so many different bands? Canterbury music, although well known, has an extremely limited amount of fans. So we can only ever do 'small' concerts to a few interested people in this musical genre. I think this is why, although I have known and played with most of the musicians on your pages for over 20 years, I'm not on any of the records you mention! Until recently, the funds just haven't been available to produce them - it's getting slightly better now (1996). I have many hours of concerts, radio broadcasts and 'family fun' from various combinations on tape, but it's unlikely that we'll ever be able put them all out commercially unless there's a real demand from the fans of this music for them. Musart , (WebArchive link), did have tapes, which were advertised on our pages, that included early recordings with a number of the Canterbury musicians, for example the Mad Axe Quartet (Hugh Hopper, Lol Coxhill, Dave Sheen and myself)... There are many others... (c) 1996 Calyx - The Canterbury Website . en.wikipedia.org/wiki/Mark_Hewins

BACK IN THE DAY

23 May 2011 55
A larger scale band FF , early 80's On stage here I see.. Moi, Roger Turner's percussion kit. Viv , (singing) Peter Blegvad (singing) Colin Bass ; (Bass, at the rear) and Phil Minton , (singing). - Another picture here

Back in the day

23 May 2011 84
Elton Dean tribute concert.100 club London - May 2006 (Organised by Hazel Miller from Ogun Records) Too loud for the Jazzers? Not loud enough by half. imvho Duo: Mark Sanders -Drums Myself - Slide Guitar

Back in the day

16 Aug 2006 114
Bob Loveday & Pip Pyle August 2006 - At a certain 'Sir Saint's' ancient Priory home in Faversham, Kent, for dinner. (Note the fingerpointing) Pip Pyle : Homage. This photo was taken a couple of weeks before Pip's tragic and untimely death on 28th August 2006. He came with the family for two weeks holiday at our house on the beach. We all had a wonderful time swimming, walking the dogs, BBQ-ing; Pip and I reminiscing about Soft Heap days and lots of other musical scrapes we had been in together over the years. He even sat in on Drums at a local open air Jazz festival Hugh Hopper, Alex Maguire and I were performing at during his stay... A great deal of fun we had. I first met Pip and the others at the second 'Hatfield and the North' rehearsal in Jubilee Studios, Covent Garden, London, (I was in the band rehearsing after them), This would have been about '72.... Respects to one of the greatest drummers ever to come out of England... Truly world class... A devastating loss to Music Pip's home was Sawbridgeworth, Hertfordshire. The Miller Brothers, (Steve and Phil) hailed from there and coincidentally, I was born about 10 miles away, (some few years later), in Hitchin, Hertfordshire. I remember thinking during these last times we spent together, "I wonder why all these old stories?". Now I know: RIP Pip old friend...

BACK IN THE DAY

13 Dec 2012 128
Dressing Room: Hugh Hopper and backing singers, the 'x girls', make-up in Osaka 1999. On tour with the 'Gong Global Family', 'Canterbury Family' & 'Godess T" combinations. www.discogs.com/Goddess-T-Electric-Shiatsu/release/513865 Hugh compiled his own list of performances, here's his original list on the old 'MUSART' site on Internet Archive, (starts May 1963 & updated to 1996). web.archive.org/web/19980429232408/http://musart.co.uk/hh...

Before the internet

22 Oct 2011 81
Dave Sinclair ( Mid recording, Garden at Graveny. 1976-77 ) . Not sure who took this. Not me anyway.

BEFORE THE INTERNET

01 Nov 2011 1 172
Lady June.. R E B E L A ... The 'AudioBiography'. ----------------------------------------------------------- Track 1 REBELA ; timeline 1930's-40's time; Freetempo Vocal Reading - Lady June Campbell-Cramer Bob Loveday, Graham Clark; Violins Jim Dvorak; Mute Trumpet Phil Miller; Electric Guitar Daevid Allen; E Drone Guitar Steve Miller; Piano Hewins; Electric Guitar Drone; Composite & Steel strung Acoustic Guitars (Gibson SG, Y. Tomas Tatay, Seeliger) Shyamal Maitra; Percussion Pete Brown; bells, cups & Rainstick Drums N.B. The drum machine sequence on the last section of this track was sampled from 'Linguistic Leprosy'; Lady June's first Album; and was originally programmed by Brian Eno: Digital manipulation on this sample - Mark Hewins Galen Ayers, young REBELA Miranda B; Voices DonnaMatrix; Carpet toys (Bob Loveday also played penny whistle on this track)

Before The Internet

23 May 2011 65
Tim Hodgkinson Cold Storage Studio, Brixton. London - Mid 80's? .

MORE RECENTLY

27 Nov 2011 80
2010 Myself and Alex Maguire in the studio working with the software version of the vintage CS80V synthesiser. A fantastic software recreation, stays in tune, weightless, lot of fun, I can plug my Guitar into it live, great! Looking serious for a change... Being watched over by an old band. I'm wearing the hat Elton Dean gave me when he was recording at my house, just before he passed away

BACK IN THE DAY

21 Feb 2012 101
With Mike Howlett & Gong - Berlin Pffeferburg ('99) (Credit: Arnold Bresch)

BEFORE THE INTERNET

05 Apr 2011 78
Hugh Hopper and I, mid 90's? Rehearsing at my old flat in South London. In the foreground is one of the cases of 3.5" computer disks we all used back then. A handy storage medium these particular disks, containing 16bit 44Khz samples worked a little like the 'flash drives' of today (2011) I am holding my white Casio PG380 guitar. Hugh his, (then new), Peavey bass. Between us is my Lakewood Electro/Acoustic; made for me by Martin Seeliger in Cologne to perform at the 1994 Nashville NAMM show. A splendid sounding instrument I have used it recently on recordings with Neil Sparkes of Transglobal Underground. Lucky me, I was given an AER amplifier for the same NAMM show and 'Ace of Clubs' gig in Nashville. Ser # 001. Udo (AER) and Martin (Lakewood) made a Guitar/amp combo that is perfectly calibrated. 'CORTEX' RECENT TRACK OGGY , Hopper-Hewins-Van der Kooij; with guest Jim Dvorak (from Hugh's last words)

ELTON DEAN (before the Internet)

27 Nov 2011 56
I recently located an old diary and found I took this photograph of Elton Dean in the mid 80's at the BBC Maida Vale studios in a break during the recording of a 'Jazz Today' session for Radio 3 with my own group 'The Music Doctors'. The band included Lol Coxhill on Soprano and Sopranino Saxophone. Elton Dean played Alto and Saxello. . soundcloud.com/markhewins . Canterbury Scene: Set

BEFORE THE INTERNET

01 Feb 2011 76
With Elton Dean BAR TORQUE ( Live at the Jazz Cafe 1992 : CD release 2001) . . Liner notes.. www.jazzcds.co.uk/artist_id_909/biography_id_909

BEFORE THE INTERNET

14 Jan 2012 105
Soft HEAP Dunois, Paris, France 1988 (Elton Dean, Moi, Pip Pyle, John Greaves) I have two complete double sets recorded from 'DUNOIS' of this band dated 1982-1988. Hope these will see the light of day, one day. Apparently there are videos too. Paris 1996 - London 1982

BEFORE THE INTERNET

02 Feb 2012 81
E.D.Q. (Late 80's) Jazz Cafe, Stoke Newington. Mark Sanders, Elton Dean, Marcio Mattos & me (& my '58 ES175D) (I have a BBC R3 'Jazz Today' recording of this band which I might post one day.) Sea of Infinity 2004

Before the internet

02 Feb 2012 1 121
From film print: Mtutuzel Dudu Pukwana and I duetting at the old Jazz Cafe: Stoke Newington. 1988-9? Looks like I was working quite hard! . I was introduced to Dudu by John Stevens and one of my most deeply pleasurable musical memories is working as a trio with both John and Dudu at the original 'Arts Theatre Club' in London. in '79-'80. John Stevens was a most amazing Musician who had an incalcuable influence on many young players during his (all too short) life. Always inclusive , never exclusive he encouraged us to freely swap genres whilst retaining the 'Improvised' ethic which he truly embodied in his life and playing. Like Dudu, another 'Master'. With 'ZILA' mid-80's

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