Acoustic Guitar, Electric Guitar, Guitar [Tenor] – Brian Godding
Drums, Percussion – Dave Sheen
Electric Bass, Double Bass [String Bass] – Steve Cook
Saxophone, Flute – George Khan
The short-lived Jazz-Rock Fusion group Mirage is an excellent example of the incredible high level of music created in Britain in the 1970s. Co-led by two great instrumentalist and composers: saxophonist George Khan and guitarist Brian Godding, they managed to record just one album, which was originally released on the obscure, but visionary Norwegian Compendium label (along with some other superb albums), which unfortunately folded shortly after this album was released. The group also included bassist Steve Cook and drummer Dave Sheen on permanent basis, but was often expanded to a sextet with the addition of Geoff Castle on keyboards and John Mitchell on percussion. The group played music composed by Khan and Godding, which was a typical British Fusion, somewhat similar to what the many Canterbury groups (Hatfield And The North, National Health) were doing at the time, with strong melodic lines and lengthy improvisations. Godding was of course one of the best British guitarists, sadly much under-appreciated and respected mostly among his peers. This most welcome reissue expands the original album by adding two long jam-like tracks recorded live, which give an excellent glimpse as to how the group (in its sextet form) sounded on stage. Brilliant stuff, from start to finish and a must to all Fusion-heads.
01. With Lady And Friend (4:25) 02. You're Disguised (17:52) - a) Orange Diamond - b) Northern Gardens - c) Phil's Little Dance - d) Northern Gardens 03. Island Of Rhodes (6:52) - a) Paper Boat - b) As If Your Eyes Were Open 04. Extract (9:27) 05. One End More (9:11) - a) Phil's Little Dance - b) Worlds Of Zin 06. Arriving Twice (1:41) 07. Notwithstanding (4:21) 08. Lady And Friend (4:06)
- Alan Gowen / piano, electric piano, synths - Phil Lee / guitars - Mike Travis / drums - Neil Murray / bass on 1, 2 - Peter Lemer / electric piano on 3, 4 - Steve Cook / bass on 3, 4 - Jeff Clyne / bass on 5, 6, 7, 8
This album consists of previously unpublished recordings that they did before they recorded their first album. Most of these songs ended up on their first self titled record from 1975. One of the interesting things about this release is that we get to hear their first bass player Neil Murray on the first two songs from 1973. The next two songs feature his replacement at the time Steve Cook from 1974. While the final four songs feature Jeff Clyne(NUCLEUS) on bass from 1975. It's also interesting that Dave Stewart became an honorary member (organ player) of the band, and played one gig with them after his band HATFIELD AND THE NORTH broke up. Unfortunately GILGAMESH folded not long after HATFIELD AND THE NORTH did. These two bands actually played together on the same bill twice in 1973, and ended the night with both bands on stage playing a 40 minute song composed by Alan Gowen specifically for the occassion. The track "Extract" on here is a section of that song. With both of these bands calling it quits, some of the former members from each got together to form NATIONAL HEALTH. The music here is really complex and it just blows me away when I listen attentively. The liner notes are so valuable as well and Steve F. from Cuneiform Records deserves a lot of credit here.
"With Lady And Friend" has a very pleasant soundscape of bass, guitar, drums and piano. Before a minute in that changes as the guitar starts playing angular melodies that carve their way throughout this song. "Your'e Disguised/ Orange Diamond/ Northern Gardens/ Phil's Little Dance/ Northern Gardens" is almost 18 minutes long. It is quite laid back for the first couple of minutes and then the pace and sound picks up. Beautiful piano melodies 4 minutes in before a calm arrives as the guitar takes a break. The guitar is back 9 minutes in, and it turns angular again at the 14 minute mark. "Island Of Rhodes/ Paper Boat/ As If Your Eyes Were Open" has some excellent drumming as the bass throbs. A very jazzy tune. Some nice guitar melodies as well.
"Extract" has a 2 minute piano intro before we are treated to some tasteful guitar as the bass, drums and keys fill out the sound. The guitar is more aggressive on "One End More/ Phil's Little Dance Worlds Of Zin" and 3 1/2 minutes in it's about as close to spacey as they will get. Nice sound though. What follows is even better as the guitar isn't as rough and the bass and drums provide an excellent rhythm. "Arriving Twice" features these liquid sounding keys that lead the way on this short and mellow track. "Notwithstanding" is a great track with some scorching guitar melodies and intricate sounds. Love Gowen on the Fender Rhodes. "Lady And Friend" is one of my favourites. It opens quietly before a collage of sounds that include bass, drums, guitar and keys arrive. Gowen shines on this one with the Fender Rhodes once again.
This is challenging, complex music yet very enjoyable. A lot of talent on display here including the band leader, the late Alan Gowen. This is MY music.
Gilgamesh is one of the more inaccessible group in the Canterbury genre, and of their two historic albums, I can say without any shame I am not a fan of those two. So when I found this one at the library, I was not expecting some rather adventurously obtuse jazz-rock bordering on the free jazz and RIO, but this was actually quite a surprise. This posthumous album is made of tracks ranging from 73 to 75, and believe me, these are not bottom-of-the-drawer tracks. As a matter of fact, I appreciate this album much more than the two studio albums.
The thing that strikes most is that the music is much more melodic and accessible, bordering on a very pleasant jazz-rock somewhere between early 70's Miles Davis, Isotope and Mahavishnu Orchestra. One of the real highlights is the almost 18-min "suite" (more like a lengthy but tight improvisation) called You're Disguised, which is simply breathtaking at times. Guitarist Phil Lee is really the star in this track and gives keysman Alan Gowen are real challenge to keep up with him. From the second session in late 74, Extract is another highlight, but clearly a hint that this was part of another bigger track. Throughout the three sessions, it is funny to see Gilgamesh never had a fully installed bassist, as the rest of three members remained put. From the third session late 75, the four tracks are scorchers (except for the very expandable but thankfully short title track, and it is interesting to hear that Gowan's synth-playing has evolved due to progress while his electric piano stayed constant.
One of the strange things about the content of this Cd is that although coming from three different sessions, those tracks manage to make a pretty good album on its own with no tracks standing out like a sore thumb. If I have to compare this compilation to the two studio albums, I would say that this Cd is much closer to the second album, Another Fine Mess with its cold fusion rather than the debut, which is much closer to some free jazz.
Less "groundbreaking" than the two historic albums , but certainly a spotless release by the superb Cuneiform label. Again, fairly different than the other two albums, this album is not really suited as a proper intro to the band because it is unrepresentative of their albums.
01. Darker Brighter (5:40) 02. Bobberty-Theme From Something Else (10:41) 03. Waiting (2:25) 04. Play Time (7:14) 05. Underwater Song (7:04) 06. Foel'd Again (1:50) 07. T.N.T.F.X (2:54)
- Phil Lee / guitars - Alan Gowen / keyboards - Hugh Hopper / bass - Trevor Tomkins / drums
Gilgamesh's second album is certainly more accessible than its debut. With a different rhythm section, one could not fear for the music's nature too much, certainly so as Hugh Hopper was now free of Soft Machine, but involved in the Soft Heap projects (see the Esoteric reissues). The music here can be best described as a typical example later-70's Canterbury music, as we are never far away from a cross of jazz-rock/fusion and more conventional ECM-type jazz but always remaining calm and determined. While the two frontmen have remained, the rhythm section sees the arrival of the adore-mentioned Hugh Hopper, but also the ex-Rendell-Car Quintett drummer Trevor Tomkins
However, this album is definitely Alan Gowan's vehicle especially with his electric piano on the 10 min+ Bobberty where he shows his full ability on KB, and that track is relatively representative of the album. Although the quartet might appear very aloof-sounding in its approach, they are a very tight unit, as shown on Play Time and Underwater Song. I can only recommend Gilgamesh's second album to confirmed Canterbury fans, but if you are one, this album although not essential, it is very worthy of your investigations. To others, I suggest you start with the debut or the posthumous release.
The tragic death of Alan Gowen at the age of just 33 would rob the progressive rock world of one of it's more refined talents and ultimately overshadow a career that both promised and delivered much. A highly-skilled keyboardist and composer, Gowen's career would start with brief stints in both Afro-rock outfit Assegai and his own, short-lived jazz group Sunship, before joining the blossoming Canterbury movement during the early part of the 1970's. Like many of his peers, Gowen's membership with groups such as National Health and Gilgamesh was fluid - he would move between both several times for both artistic and financial reasons - yet the best of him would be seen in Gilgamesh, a complex, instrumental jazz-prog outfit that released two excellent albums of delicately-wrought music that, although retrospectively popular with both fans and critics, failed to make any serious commercial headway. Featuring guitarist Phil Lee, Soft Machine alumni Hugh Hopper on bass and drummer Trevor Tomkins, this 1978 release would be the second-and-final Gilgamesh album - and undoubtedly their most impressive - yet in truth it probably arrived far too late in the day to make any real impact on the then rapidly-developing music scene. The light jazz touch prevalent here is beautifully- executed, streaking through a series of lushly-realised compositions, yet with punk barking away it seemed that Gilgamesh were fighting a losing battle that no-one was really watching. The complexity of the music and the poverty of the musicians involved also made touring unrealistic, and Gilgamesh would dissolve before really getting the chance to shine. It's a sad tale as this was a band who deserved so much more, particularly as they were just as good as any of their fellow Canterbury contemporaries, groups such asCaravan, Soft Machine, National Health & Hatfield & The North. However, despite the lack of success you shouldn't be put off. 'Another Fine Tune You've Got Me Into' is a dazzling jazz odyssey, and an album that should definitely be investigated by all classic prog lovers. Here's to you Alan. You deserved so much more.
01. One End More / Phil's Little Dance - For Phil Miller's Trousers / Worlds Of Zin (10:20) - a) One End More - b) Phil's Little Dance - For Phil Miller's Trousers - c) Worlds Of Zin 02. Lady and Friend (3:44) 03. Notwithstanding (4:45) 04. Arriving Twice (1:36) 05. Island Of Rhodes / Paper Boat - For Doris / As If Your Eyes Were Open (6:39) - a) Island Of Rhodes - b) Paper Boat - For Doris - c) As If Your Eyes Were Open 06. For Absent Friends (1:11) 07. We Are All / Someone Else's Food / Jamo And Other Boating Disasters - From The Holiday Of The Same Name (7:48) - a) We Are All - b) Someone Else's Food - c) Jamo And Other Boating Disasters - From The Holiday Of The Same Name 08. Just C (0:45)
- Alan Gowen / acoustic and electric piano, clavinet, synthesizers, mellotron - Jeff Clyne / bass - Phil Lee / electric and acoustic guitars - Michael Travis / drums
Keyboard whiz Alan GOWEN's own project in the 70s, Gilgamesh is an obvious attempt to make a late stab at the Canterbury sound though none of the players are from any of the original bands from the Sixties. This album is produced, however, by none other than Dave Stewart--late of Hatfield and the North--whose sound this quite resembles.
1. "One End More / Phil's Little Dance - For Phil Miller's Trousers / Worlds Of Zin" (10:20) collects several sounds and styles being used in the then current jazz world including the clavinet, Eric Gale/John Tropea-like guitar play (think Deodato's "Also Sprach Zarathustra") and some more laid back drumming with tight, quiet fills and lots of quirky accessory (cymbals, etc.) play. The finale, "Worlds Of Zin," is the suite's shining moment in which a bluesy Santana-like guitar solos over some absolutely gorgeous support from the rest of the band--keyboards, bass, and drums. This one gets a (9/10) from me for its memorable melodic hooks and nice compositional organization--though the final section is a full 10/10. 2. "Lady and Friend" (3:44) opens with an acoustic guitar and Fender Rhodes playing off their gentle play to establish a melody. Then a rather dynamic section interrupts for a few seconds before we return to a very nice, gentle keyboard and bass interplay--which is later joined by gentle jazz electric guitar in a kind of Jan AKKERMAN style. The final 45 seconds shifts into a definite FOCUS sound and structure. Nice piece! (10/10)
2. "Notwithstanding" (4:45) is a bit more Herbie Hancock-like in its keyboard sounds and with some rather weak drumming and an Eric GALE-like guitar sound and style feeling as if it is detracting from the high caliber of skill required of the composition. (8/10)
4. "Arriving Twice" (1:36) revives the melodic theme from the album's opening song only in a slightly different arrangement and with a variation in the instruments used. (9/10)
5. "Island Of Rhodes / Paper Boat - For Doris / As If Your Eyes Were Open" (6:39) The opening section, "Island Of Rhodes," uses a repeated bass line as its rather simple foundation, but then the second section, "Paper Boat - For Doris" builds over this with the drums mixed quite a bit behind the dominant multiple keyboards and bass. The final section, "As If Your Eyes Were Open," allows the guitarist to so his chops (not bad!) over a bouncy clavinet and fast-paced drum play. Nice development and composition! (Especially considering its rather weak start.) (9/10)
6. "For Absent Friends" (1:11) is a pleasant acoustic guitar solo of the pseudo-classical vein.
7. "We Are All / Someone Else's Food / Jamo And Other Boating Disasters - From The Holiday Of The Same Name" (7:48) opens with the electric guitar establishing the melody and tempo in the first section, "We Are All." I really enjoy the jazz rhythm guitar play beneath the Fender Rhodes electric piano solo toward the end of the movement. The bass play is a little simplistic but it does a nice job of holding the song together in terms of pace. And I LOVE the drum and guitar play at the end of the fourth minute--just before the transition into the brief countrified second section, "Someone Else's Food." The third section, "Jamo And Other Boating Disasters - From The Holiday Of The Same Name," is an odd piece in which the keyboard goes from clavinet to piano and then Aarp-like synth while in this last part, being accompanied by layers of vocals as done by future 'Northette' Amanda Parsons. Overall, this is probably the piece in which the band shines most instrumentally and compositionally--when they are at their most original and most technically proficient as well as tightest as a band. This is a song well worth repeated listens. (9/10)
8. "Just C (0:45) is a brief piano solo to close out the album.
This is a very nice album full-on representative of the quirky jazz being produced in the style of the Canterbury masters at this point (1975) in the evolution of the music of the Scene. A 3.5 star album rated up for its consistency and its compositional maturity. Alan Gowan can play keyboards! Many!
