Showing posts with label Third Ear Band. Show all posts
Showing posts with label Third Ear Band. Show all posts

October 09, 2026

New Musical Express in 1969 on the Hyde Park festival.

 
A short piece by Nick Logan published in New Musical Express on July 12, 1969 recounts the Rolling Stones’ legendary performance at Hyde Park in 1969. Also appearing were the Third Ear Band, King Crimson (in their first live performance in open air) and Alexis Korner’s Blues Incorporated.
Given the scale of the event – organised by Blackhill Enterprises and having gone down in rock history in a big way – there is no need to say any more.


  no©2026LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

April 07, 2026

Behind the scenes of the creation of the cover for the Essen live album.

 
When M.I.G. (Music In Germany) asked me to oversee the vinyl release of the concert TEB played at the Essen Festival on April 24, 1970 (read here), we also discussed how to design the cover. The label’s initial idea was to use a photo of the band performing live, but there were no photos from the Essen concert and those in circulation had already been used, though they were well known among fans.

So I suggested using a shot from the concert excerpt available on an illegal South American DVD, in which Sweeney and the others were filmed on stage. However, the photos I managed to extract from the DVD were not of sufficient quality to produce a professional cover.

It was at that point that M.I.G.’s graphic designer, Anna Vavatsis, came up with the idea of creating the cover artwork from one of those photos... 
 






no©2026LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

March 11, 2026

Tolkien, Muz Murray and the Third Ear Band in an interesting essay by philologist Monica Sanz.

In an interesting article entitled "Shadows of Middle-Earth: Tolkien in Subculture, Counterculture and Exploitation" written by Monica Sanz, a graduate in English Philology specialising in British Isles Literature, I was quoted for my old interview with Muz Murray (read here) about his magazine "Gandalf's Garden' and his relationship with the Third Ear Band.

The seat of Gandalf's Garden in Chelsea (London), circa 1969. Photo: Colin Bord.

Sanz, an expert on J.R.R. Tolkien, reflects in his essay on the influence exerted by the writer on contemporary culture. “Tolkien's works have inspired many artists,” he explains in the abstract of the essay, "who reflected their 

Muz Murray and Jaya Amler  (photo by Colin Bord).

"views on illustrations, music, cinema or comics. But they also have inspired unexplored niches of artistic realisations, their influence reaching even subcultural and countercultural movements. Through Tolkien’s personal view of applicability and his aim to leave inspiration for other hands to complete his masterpieces, and by adopting a Cultural Studies perspective, this essay will take you on an unexpected journey through lesser known cultural phenomena that resonate with Tolkien’s works as inspiration, justification, appropriation or reflection. The results of such interactions may surprise you, as well as they could surprise Tolkien himself, but they prove to be worth the study as independent entities touched by the Professor’s writings."

"Gandalf's Garden" issue 1 (1968).

The essay can be downloaded free of charge from the Academia website at

no©2026LucaChinoFerrari (unless you intend to make a profit. In which case, ask first). 

March 04, 2026

American label published vinyl edition of the Elements album in August 2025.

In August 2025, the American label Antarctica Starts Here (San Francisco, California) released the remastered vinyl edition of Third Ear Band's second album (catalog number ASH 104) under license from Cherry Red Records. Following the release of “Alchemy” by Esoteric Recordings (2019) and “Music from Macbeth” by Spain's Munster Records (2020), the release of the Elements album completes the remastering of the Harvest catalog on vinyl, arriving just as long-playing records are enjoying a renaissance.

Comparing my original 1970 gatefold edition (SHSP 773) with this one, it must be said that the packaging of Antarctica Starts Here faithfully reproduces that of Harvest, but features a much thicker cardboard sleeve with bright, more contrasting colors. Inside, this new edition features brilliant black-and-white photo and drawings without (of course) the EMI-Harvest label and the catalog number.


On a colorful insert, brief notes by Dave Segal outline the band's history.


And how does the record sound?

Despite its decidedly dull label, the vinyl sounds really good, with brilliant dynamics, full-bodied sound, which, on my stereo system, make listening (especially at high volume) a unique, truly extraordinary experience that even shakes my conviction that “Alchemy” is my favourite album...


Distributed in regular record stores, it costs between 30 and 40 euros, and can be purchased on the label website (https://www.superiorviaduct.com/collections/catalogue/products/third-ear-band-s-t-lp) for 25 dollars.

 no©2026LucaChinoFerrari (unless you intend to make a profit. In which case, ask first). 

February 27, 2026

Penny Valentine interviewed Paul Buckmaster for Sounds in May 1971.

Every time I discover an old interview with Paul Buckmaster somewhere I'm glad to share it with all the TEB fans because Paul was a clever, smart guy, an extremely talented musician, a genius of creativity... and it always a gift to read his thoughts on paper.

Here we have an interview with Penny Valentine, published in Sounds on 29 May 1971, during a very creative period of his burgeoning career: although he was only 26, he had already produced some of Elton John's albums, arranged the score for Lewis Gilbert's film "Friends" (music by Elton John and lyrics by Bernie Taupin), arranged two tracks for the Rolling Stones' "Sticky Fingers", arranged David Bowie's masterpiece "Space Oddity" ...


no©2026LucaChinoFerrari (unless you intend to make a profit. In which case, ask first). 

February 22, 2026

A rare interview with Ursula Smith and Richard Coff in 1970 after their departure from the TEB.

Here is a rare interview with Ursula Smith and Richard Coff conducted by Steve Peacock and published by Sounds on October 17, 1970, just immediately following their departure from the Third Ear Band to form the duo COMIC OVERDOSE (according to other sources, COSMIC OVERDOSE). 

It's an interesting and exclusive overview of the duo's artistic project, which nevertheless failed shortly afterwards due to its naive approach. In fact, as Ursula recalled in the interview she gave me in 2001 (read here), 

"Richard and I did some rehearsing and got some ideas together. Richard rang the "Melody Maker" music paper and got an interview, but we had not got equipment or management or agency.
We were busking near Speaker's Corner Hyde Park when this South African guy came up to chat to us, and said he knew a guy who ran an equipment shop and he could get us some equipment there.

 

"We went to the shop and Richard spoke to the manager who told us that this person was an intelligence agent for the South African government and that we should be very wary of him.
After that Richard rejoined the Third Ear Band and so did Paul Buckmaster.
Soon after that the Third Ear Band got signed for doing the music for Polanski’s "Macbeth"...".


Thanks to Italian fan Gianpaolo Banelli for finding the article and to my friend Mirco Delfino (Third Ear Band Facebook page) for bringing it to my attention.

no©2026LucaChinoFerrari (unless you intend to make a profit. In which case, ask first). 

December 27, 2025

Was TEB music truly inspired by Terry Riley?

When analyzing the musical form of a band, the question of sources of inspiration, if not actual influences, is fundamental in order to even begin to understand it.

We have often discussed the sources that inspired the music of the Third Ear Band, and this archive is proof of that. By the musicians' own admission, Indian music, Vaughan Williams' pastoral compositions (which undoubtedly inspired Dave Tomlin in the composition of “Lark's Rise”), the works of modern classic musicians as Stravinsky or Penderecki, and the aleatoric music of John Cage were undoubtedly the basis of TEB musicians.

Wim Mertens, a Belgian composer, musicologist and pianist also known as Soft Verdict, in his fine 1983 essay dedicated to American Minimalism (“American Minimal Music,” published by Kahn and Averill) adds Terry Riley to the pantheon of composers who influenced TEB. He wrote:

"Riley’s music has influenced a number of American and European avant-garde composers and many jazz and pop musicians. The Soft Machine’s Moon in June is a clear example of this — in fact, the cofounder of this group, David Allen, was a good friend of Riley’s. The English group Third Ear Band also show their debt to Riley in their use of modal patterns on the principle of periodic progression."

Do you think this assertion has any basis?

From a historiographical point of view, I don't recall any admissions in this regard by members of the group, while in Paul Minns' memoirs, which I first published in my short essay “Necromancers of the Drifting West” in 1996, the vaste references include classical modern musicians as Stravinski, Malipiero, Ives and jazz giants as Miles Davis, Dolphy, Coltrane, Pharoah Sanders, Yusef Lateef;  but, most of all, Indian players as Dr. Jog, Bismillah Khan, sitarist Vilyat Khan and sarod master Sharon Rani.

In the same essay, guitar player Mick Carter, analyzing the structure of the tunes, refers exclusively to Indian modal music and the different modes/scales that inspired the last compositions of the 1980s and 1990s. 

There is no denying that Terry Riley has been a major influence on the music scene since the second half of the 1960s, especially thanks to his wonderful works “A Rainbow In Curved Air” (1968) and “In C” (1969), but, as far as I can tell, there is no evidence that it was a conscious source of inspiration for the TEB.

It seems to me that also Riley was influenced by Indian music, which plays a decisive role in the syncretism of TEB's work.

no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

December 13, 2025

Another unexpected discovery: a Third Ear Band's radio session in 1970!

Here is another miraculous discovery from the web, a new live radio set by TEB from February 15, 1970, taken from a John Peel's Sunday Show that seemed lost forever.

The episode (approximately 40 minutes long) featured performances by the Third Ear Band and the Edgar Broughton Band, both on the Blackhill and Harvest Records roster, who often performed together live.

The TEB played only two tracks: "Mosaic," from the first album, and "Water" (here, unfortunately, incomplete), from the (forthcoming) second one, wrongly announced by Peel as  "The Sea," displaying, as I have written countless times, a prodigious interplay.

It's interesting to note that, compared to the version later released on the second album, "Water" has a darker, more sinister feel, as if a threat were looming.

Detailed information about the track list for the episode, which was rebroadcast in September 6, 1970, can be found at  https://peel.fandom.com/wiki/15_February_1970

 

 no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

October 12, 2025

Viv Albertine remembers first time she saw the Third Ear Band.

Viv Albertine, singer, guitar player, founder of seminal female punk band The Slits (1977-1982), in 2014 published an autobiography titled "Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys" where, at page 41, quite surprisingly, she writes a short memory on the Third Ear Band...

"One of the strangest bands I saw around this time was the Third Ear Band at the Queen Elizabeth Hall. I found out about then through listening to John Peel on the radio. He was always mentioning them. He played on their record Alchemy. The music was over my head, really difficult, but I understood their ideas - experimentation, pushing boundaries and not conforming to musical clichés. I stared at the stage, I couldn't tell if one of the players  in the band was male or female, the tall skinny one with  long black hair; I stared and stared at this one hoping and hoping that they were female. I left without knowing as she or he had their head down the whole time."
 
"Me and my friend Zaza went to see Third Ear Band again (even though they were very experimental, they played all over the place and had a big following) in July 1969 when I was fifteen. They opened for the Rolling Stones at the ‘Stones in the Park’ free concert in ‘the cockpit’ — the big dip in the grass in Hyde Park. King Crimson were on too."

 

Would she be pleased today to know that a woman also played at the Queen Elizabeth Hall... Ursula Smith?

no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

October 05, 2025

Bernard Parmegiani's "Pop Secret" on album.


For some time now, the music market and the web have been full of surprises and twists and turns that have made it almost impossible to keep up. Videos, radio broadcasts, live recordings, etc., that were unknown or thought to be lost, reappear out of nowhere, adding new pieces to the puzzle with which we have been trying for years to reconstruct the glorious history of the Third Ear Band. Just when everything seems to have been “discovered”, brought to light and made known, new findings undermine our naive ambition to “know everything” and consider ourselves experts on something. Reality, as always, exceeds imagination...

After the recording of the group's third “appearance” on John Peel's "Top Gear" (8 June 1970), which appeared out of nowhere on YouTube, which I dealt with last time, now available to listen to is the “legendary” piece composed by Bernard Parmegiani (19-2013) and performed with the TEB in the “Sun Wheel Ceremony” concert at the Royal Festival Hall in London on 24 June 1970.


Included in the album "Mémoire Magnétiques vol. 2" (Magnetic Memory), subtitled: "A compilation of unrealised magnetic tapes (1968-1993), and released by Transversales Disques in 2021, this is a 4:14 instrumental track from 1970, presented here in a remixed and reduced version.

I.T. announced the concert by writing: “The Third Ear Band have been working with the top electronic musicians in France, Group de la Recherche Musicale de l'ORTF, to create a musical/phisic experience in the concert hall. EMI have developed the concept of periphonic sound and loaned equipment to create a total 'sound surround' within which you can experience the combined effects of the Third Ear and the electronic ideas of Bayle and Parmigiani" (from IT vol. 1 issue 81, June 18th, 1970)


                                                                I.T. ad

As I wrote in a previous article in this Archive (read here),  "That evening the band played with Bernard Parmegiani two traks, "Fire" and the unpublished 34'56" "Freak Dance" (other title: "Pop Secret", from the Parmegiani official Web site). 

On "Melody Maker" (July 4th, 1970), Chris Charlesworth wrote about the event: "The hall was barely half full. Accompained at times by electronic machines making weird sounds Third Ear Band droned through two lenghty pieces which were well accepted by their fans. Their music has no title and is 90 per cent improvisation. It just starts and finishes when the band feel like it. There's a vague anonymity about their music. However violinist Richard Coff, who hate make announcements, did mention that one piece was called "Freak Dance". This contained some haunting oboe work from Paul Minns, and I rather enjoied it. Their second piece was more ambitious and, I thought, less enjoyable. At one stage I actually saw Richard tapping his foot!".

Quite different Carolyn Looker's memories of the event (April 2012): "Parmegiani concert was at Festival Hall. It didn't work too well in my opinion. TEB's music was organic, the French were music concrete, it didn't got".

The Royal Festival Hall in 1964.

As for Paul Minns, in his memories about the Band (included in my books, "Parmegiani had come over previously to record some of our musical sounds so he could take them back, regurgitate and spew out something tasty.
The idea was to play along with this tape at concert. I remember no reharsal, although I can't believe we walked on cold, with a predictable result - a mess. The French tale themselves very seriously and must have been horrified by our laissez-faire approach. I think this had originally been set up by EMI but as usual nothing came of it. One novel feature at the time was the quadrophonic sound. Imagine trying to play to it."

Until proven otherwise, despite negative reviews of the experiment, unfortunately there is no recording of the concert, which was based on pre-recorded tapes on which the quartet (Sweeney, Minns, Smith and Coff) improvised. 
 
According to "The catalogue of Bernard Parmegiani's Works" edited by Evelyne Gayou (read here), "The dialogue between the tape and the instruments (rather unusual for a pop band: oboe, violin, cello, contrabongo, tumba and drums) was fixed for certain parts, leaving plenty of room for improvisation in others. The revised piece was performed at the Sigma 6 concert in Bordeaux in November 1970, with the same performers."
 
From 16 to 21 November 1970, Bordeaux hosted the sixth edition of the avant-garde Sigma festival, which featured performances by avant-garde musicians (Savouret, Clozier, Bayle...) and also the Third Ear Band with a revival of Parmegiani's electronic improvisations. On 18 November, most likely filmed by French television, the band took to the stage in its new line-up with Sweeney, Minns, Buckmaster and Bridges.
 
no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

September 27, 2025

The lost Third Ear Band's 1970 John Peel Session found!


Last June, the excellent YouTube channel FoundTapesLost (https://www.youtube.com/@FoundTapesFound) released this rare find, which had been hidden away in the folds of time and destined for oblivion. It is the third live session that TEB played on John Peel's famous radio programme Top Gear.




When I had the opportunity to collaborate with Esoteric on the compilation of "Elements 1970-1971", the 3CDs box that collected “all” the recordings related to the band's second album, this radio session was unavailable because, I was assured, it had been deleted. Indeed, judging by the comments on the YouTube video, it's an off-air recording contained on a reel and “cleaned up” for the occasion:


“Third Ear Band's lost 3rd Peel Session from 1970. Recorded 8th June 1970. This off-air recording comes from a recently unearthed reel to reel tape of the broadcast on 20 June 1970.
Digitised by Tim on the Peel Group
Recorded at The Playhouse Theatre, Northumberland Avenue, London
Produced by John Walters

00:00 Downbone Raga
04:08 Feel Your Head
11:06 Hyde Park Raga

Glen Sweeney: Drums
Richard Coff: Violin
Paul Minns: Oboe
Ursula Smith: Cello & Violin”
 

In 2012 I did some research for this Archive to find out which Third Ear Band radio sessions were still in the BBC vaults. I asked archive manager Simon Gurney, who said that "the man in charge of the Transcription Discs here had checked and can confirm that none exist with the Third Ear Band. You can safely say you have exhausted your search in this regard".

From a historiographical point of view, the band here is in a state of grace, shortly before the "Sun Wheel Ceremony" at the Royal Festival Hall (24 June) and the recording of "Abelard & Heloise" soundtrack (2 and 3 July). The quartet has been playing together for months and has recently recorded its second album that will be published in those days, despite the fact at the beginning of July Ursula Smith and Richard Coff will leave the group to try their luck in a short-lived duo.


Anyone with sensitivity and a minimum of listening experience will have no doubt in establishing that we are dealing with an exceptional document in terms of quality of execution, intensity (the authenticity, the truth of the performance), repertoire (two previously unreleased tracks, which for us TEB fans are legendary!).

But...

"Downbone Raga", which sees Minns' opening oboe part reprise the theme of traditional "Oh Susannah" (!) almost verbatim, is an unusual short instrumental, with a predominantly country style (because of Coff's violin).

Even more unusual is the following track, “Feel Your Head”, a ballad in the style of pop psychedelic Donovan (“Season of the Witch”...?) with acoustic guitar and flute...! Who is singing, actually? Al Stewart, Donovan...? The voice cannot be Glen's or Ursula's. Paul wouldn't have sung even at his own wedding... Coff? Almost certainly, he's the only suspect!

But who wrote the lyrics? Why did Glen never mention it in our many conversations?

Honestly, if it weren't for the beautiful following track, one of the most played ragas in those months ("Hyde Park Raga"), this radio performance would be rather frustrating.

In my opinion, it's fortunate that the band's management, which would soon record the "lost third album" and the "Macbeth" soundtrack, did not embrace the country or psychedelic pop impulses of the two rarities. What if one of the reasons for Smith and Coff's split was precisely their disagreement over the musical direction to take?

All in all, an intriguing find, but controversial to say the least.
 
no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

September 10, 2025

What kind of amplification is used by the Third Ear Band?

Reader Jack Bancroft from Ealing (UK), asked Melody Maker expert Chris Hayes on 7th February, 1970 issue. 

Here below the reply: 

 
no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

May 26, 2025

Violinist Simon House passed away yesterday at 76.

Bad news for all of us!

Great violin and keyboard player Simon House, a true giant of the underground, old collaborator of the Third Ear Band (1971-1974), passed away yesterday at 76 (the bad news HERE and HERE or HERE).

A founder with guitarist Tony Hill and bass player Peter Pavli of the seminal band High Tide at the end of Sixties, he was a permanent member of the Hawkwind, between 1974 and 1978, playing with David Bowie on his albums "Stage" (1978) and "Lodger" (1979). 

Apart two solo albums (1994 and 2000), one with Rod Goodway (2002), and two with Spiral Realms (2004 and 2005), he worked with a lot of musicians including  Robert Calvert, Japan, David Sylvian, Thomas Dolby, Mike Olfield, Judy Dyble, Nik Turner, Adrian Shaw, Nektar, Spirits Burning, Magic Muscle...

Through Glen Sweeney, I met him two times in London, where he lived, and he seemed to me a shy and reserved person, interested only in playing music and refractory to any self-indulgence and protagonism typical of the rock environment. 

We later did an interview by phone, but he was very tight-lipped and not very willing to recall the past.... You can read it here:

https://ghettoraga.blogspot.com/2010/01/brief-phone-conversation-with-simon.html

 

Other files in this Archive related to Simon House:

https://ghettoraga.blogspot.com/2012/03/italians-like-weird-stuff-old-interview.html

https://ghettoraga.blogspot.com/2020/09/extraordinarly-amazing-teb-tv.html

https://ghettoraga.blogspot.com/2024/11/four-rare-1972-photos-of-simon-house-on.html

https://ghettoraga.blogspot.com/2019/10/peter-pavli-interviewed-on-its.html

 

   Simon House performing live with DanMingo at DAYUM Club, London, December 2005.

 no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

April 25, 2025

Some memories about Anacondas Skiffle Group by Steve Pank.

Steve Pank, Third Ear Band's former manager and driver, close friend of Glen Sweeney, Carolyn Looker, and Dave Tomlin, Ursula Smith's husband as well, kindly sent me these memories about the Anacondas Skiffle Group era...

 "Putting ‘Anacondas skiffle’  into google, I came across an amazing collection of press cuttings about the Anacondas skiffle group, and about the skiffle craze triggered by Lonnie Donegan. Glen Sweeney was a member of Anacondas and he was seen as the ace washboard player of the Croydon area, his first experience of stardom.  I remember when I took Glen to see his mother,  and he was telling her about the success of the Third Ear Band, and she replied  ‘Is this like when you won the Tommy Steele Cup?' I knew that he had played in a skiffle group,  the name ‘Anacondas’ was chosen to match the ‘Vipers’ group  who had a hit single  with  ‘Freight Train’.     

Skiffle was originally a traditional music that was played in Louisiana and along the Mississippi,  using domestic instruments like washboards and jugs.  When Trumpet player Ken Colyer returned  from New Orleans, and joined the Chris Barber jazz band, he brought the idea of skiffle with him. On Barber’s first LP,  guitar player Lonnie Donegan recorded  the  Leadbelly song ‘Rock Island Line’, backed jazz singer Beryl Bryden playing washboard and Chris Barber on double bass. The washboard was a corrugated plate of metal that was played wearing thimbles on the fingers. When issued as a single, Rock Island Line became big success in Britain and America and it launched the skiffle craze.  Sales of acoustic guitars skyrocketed, and tea chests,  rectangular plywood boxes, that were used for importing tea and were only used once, could be utilised as bass instruments. All of those in the later British Rock movement of the ‘60s had been influenced in some way or another by skiffle.

When Lonnie Donegan played three nights in Liverpool, George Harrison went there every night. Paul MaCartney first met John Lennon at a fete/garden party at Peter’s Church in Woolton Liverpool  where John was playing with his skiffle group, The Quarrymen. Ringo Starr also played in a skiffle group. He said his first experience of playing music on a snare drum was with a friend on a tea chest bass. Newspaper research showed  that at its peak, there were 5000 skiffle groups in Britain. Between 1956 and 1963 Lonnie Donegan had 31 top 30 singles and three were number ones.

On June22nd 1957 in Croydon Civic Hall, in front of 800 fans, and out of  12 contesting groups, The Anacondas won the skiffle contest and were awarded the Tommy Steel Cup.  In order to choose the winner, the organisers use a  ‘clapometer’ to measure the level of applause! The Anacondas also played in jazz clubs alongside bands like Mike Daniels Delta Jazzmen. They were a large group, with eight members.  I remember Glen telling me that he had an influence in the group because he was that bit older than the other members.
I still meet people who tell me that their first experience of playing music was with a skiffle group. The first record I ever bought was ‘The Rock Island line’."

 

Read my researches on the Anacondas here:

https://ghettoraga.blogspot.com/2023/10/the-anacondas-skiffle-group-stone-age.html (part 1) 

https://ghettoraga.blogspot.com/2023/10/the-anacondas-skiffle-group-story-some.html (part 2)

https://ghettoraga.blogspot.com/2023/11/the-anacondas-skiffle-group-story-end.html (part 3)

no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

February 22, 2025

Italian singer and musician Jenny Sorrenti quotes the Third Ear Band in an interview on Rolling Stones Italian edition.


Jenny Sorrenti, photo by Francesco Desmaele


Titled "Voice is consciousness", in the last issue of Rolling Stone Italian edition, is a long and interesting interview by Fabio Zuffanti with Italian singer and musician JENNY SORRENTI where she quotes the Third Ear Band as one of her first source of inspiration.

"First woman in Italy to do prog at a certain level with Saint Just, the only female voice of Neapolitan Power and yes, also Alan's sister. She was part of the RCA tour, but the discography was too narrow for her. An interview with a cult musician who came to electronic music with the project Néos Saint Just."

You can read the interview here: https://www.rollingstone.it/musica/interviste-musica/jenny-sorrenti-la-voce-e-consapevolezza/967362/



Jenny Sorrenti in this Archive:


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February 14, 2025

Dave Tomlin' son sent to The Guardian an obituary about his great dad.

Tom Hennessey, one of the three children of Dave Tomlin, sent to the Guardian a obituary about his great dad. You can read the original Web page at this link: https://www.theguardian.com/theguardian/2025/feb/13/dave-tomlin-obituary


Dave Tomlin obituary

"My dad, Dave Tomlin, who has died aged 90, was a musician, writer and figure of the British counterculture underground from the 1960s.

In 1976, he was one of those who took over the unoccupied former Cambodian embassy in London and established a community of artists, musicians, poets, artisans and radical metaphysicians who called themselves the Guild of Transcultural Studies.

Over the years, the guild became established as an opulent venue for musical and cultural events, hosting refugees from as far afield as Chile and China and holding concerts by musicians from Morocco and India, with attenders often having no idea that their elegant surroundings were a squat. A long-running court case finally forced the guild to close its doors after 15 years in 1991, ending Dave’s dream of handing the building back to a new Cambodian government.

Born in Plaistow, east London (then in Essex), to Stan Tomlin, a packing-case maker, and Louisa (nee Goodsell), Dave escaped a future in factory work by joining the King’s Guard, where he learned the bugle to accompany the changing of the guard at Buckingham Palace. This was the beginning of a life of music. He became a jazz musician in the 1950s, playing clarinet and saxophone in Bob Wallis’s Storyville Jazz Band and touring with Sister Rosetta Tharpe.

In the late 1960s he joined the hippy movement, travelling nomadically around the countryside in a horse and cart, playing in experimental folk groups, including the Third Ear Band, and performing at the UFO Club in London, where he would go on at 4am: “Only when the dancers are completely exhausted will they be in a fit state to hear what we have for them."

He became part of the London Free School in Notting Hill, a centre of radical adult education, where he taught free-form jazz. While there, Dave led annual musical processions down Portobello Road that would develop with other events into the Notting Hill carnival.

Other adventures included becoming stranded, penniless, on the island of Fernando Po (now Bioko) in Equatorial Guinea and gaining passage back by pretending, unconvincingly, to be an experienced cook and deckhand. He supported his frugal lifestyle with gardening and working as a handyman.

In his later years, Dave spent his time writing about his experiences (Tales From the Embassy was published in 2017), practising Chinese brush painting and learning to recite the alphabet backwards.

He is survived by three children from different relationships – Lee, Maya and me – and by his brother, Tony."

Very kindly, Tom wrote me: "I could not hope to do justice to him in the limited space available but I think it gives a good flavour of who he was.
I am very grateful to you for your friendship with Dave, it was greatly appreciated by him. He mentioned you to me a number of times. Also for your tributes to him on your blog (which was helpful to me in writing this obituary!).

We are hoping to have an event in London to remember him and we will let you know in case you are able to make the journey.

Best wishes,

Tom"

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January 30, 2025

"Druid One" album review by Italian musician and writer Alessandro Monti.


Here's a brilliant review on "Druid One - Live at Essen Pop and Blues Festival 1970" by my friend Italian musician and music writer ALESSANDRO MONTI (https://unfolkam.wordpress.com/) a very big fan and expert of Our Holy Band.




"Where do we come from? 
All we know is that we are born on this planet, we live, we walk, we play, we work and then we leave leaving traces of our passage without knowing what will happen to those traces, and without paying the slightest attention to who will follow or collect them.

I have often asked myself these questions while listening to magnificent recordings like this one, in which half the members of the group are now elsewhere, entities of pure spirit beyond this material world without knowing that their improvised music was so intense as to take root in the planet and be rediscovered at unthinkable moments... or maybe they knew? 

Curious to think that the other half of the group continues to make music: a classical cellist and a violin teacher disinterested in his past: that's life. But to many of us this music still communicates a unique and unrepeatable emotion, a ritual that is renewed with every listen as if it did not belong to any era... perhaps because it belongs to ALL eras? 

The answer blows in the wind with this music taken from a concert in 1970, recorded impeccably by German radio at the time of the second album based on the four elements, it is no coincidence that two of them appear: water at the beginning and at the end, after an alchemical sonic journey, the dance of the earth. 

There was a time when we literally had to work miracles to find live recordings of our favorite bands, then the doors of the cosmic archives opened and we listened to all sorts of things. Today the release of a new TEB album seems almost normal, in reality all this is miraculous, especially if we think about the time spent on the dusty shelves of some archives. The music speaks for itself and no comment (let alone "critical") could add something sensible... just a few technical aspects to note: 

side A of this album starts in fade in, certainly after the performance has already begun, while side B ends with a fade out while the group seems to be able to continue endlessly, this makes me think (like Luca wrote) that perhaps it is not a complete tape, but the unrepeatable magic fully justifies its publication with the rare quote from Abelard & Heloise to seal the set: a surprise too good to be true."

Recording: ️ ️ ️ [5/5]
Vinyl dynamics: ️ [3/5]
Performance: ️ ️ [5/5]
Magic: ️ ️[5/5]

 
no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

January 15, 2025

Third Ear Band music on Italian national radio.

Just yesterday night, on the third channel of Italian national radio RAI (the programme was called "6 Gradi", six grades) Third Ear Band's "Mosaic" was played.

You can listen to the programme here:

https://www.raiplaysound.it/audio/2025/01/Sei-gradi-del-14012025-d96e76c3-7cc7-4888-a679-fcec93ead389.html

 no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

January 01, 2025

A book by Steve Pank available in Amazon.

A book written by STEVE PANK titled "Hole in the Moon" is available on Amazon in paperback and Kindle Edition formats (go here). Presenting it, Steve wrote: "The United States is planning to land astronauts on the moon again in the next five years. What will happen when they do? Is it possible that they will find something unexpected?
In this book, Hole in the Moon, they do. They find that extraterrestrials are already living there. So were this to happen, how should this be coped with this in real life? This story gives one possible answer.

Anyone who is interested in whether space people exist, and if they do, how the human race could best cope with this; should read this book."

Steve was the former manager and driver man of the Third Ear Band in 1969-1970; a Glen Sweeney, Carolyn Looker, and Dave Tomlin's close friend; an expert of alternative sciences, and a eyewitness to the Sixties underground scene in London.

Steve Pank in this archive (selection):

https://ghettoraga.blogspot.com/2011/01/new-letter-from-steve-pank-original.html

https://ghettoraga.blogspot.com/2011/04/new-letter-from-steve-pank.html

https://ghettoraga.blogspot.com/2010/06/steve-pank-about-origins-of-third-ear.html

https://ghettoraga.blogspot.com/2019/02/steve-pank-about-alchemy-days.html

https://ghettoraga.blogspot.com/2022/12/steve-pank-tells-glen-sweeneys.html

https://ghettoraga.blogspot.com/2017/09/steve-panks-electric-universe-theory.html

https://ghettoraga.blogspot.com/2018/05/ursula-smith-concert-at-bourgh-house.html

https://ghettoraga.blogspot.com/2024/08/remembering-glen-sweeney-19-years-ago.html

 no©2025 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)