ARRIVING TWICE

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.

Wow, man, this is a trippy album, but something is missing and I can't put my finger on it. Maybe Arriving Twice is not this Canterbury band's best collection. Perhaps the Fender Rhodes-drenched compositions, heavy on bass, jazzy meanderings and stoned atmosphere, painfully date the music here. Or maybe the boys were just having a series of slow session as evidenced by the lazy afternoon feeling that exudes from this posthumous release. Whatever the cause of the sloth pace and somewhat muddy sound, it is also a quite decent collection of English jazz-rock featuring some of the best of their ilk; the sweet and subtle keys of Alan Gowen, Phil Lee with some pretty kickin guitar, and Neil Murray's warm bass. Also included on several tracks are keyboardist Peter Lemer, and bassists Steve Cook and Jeff Clyne.

Fortunately, this Cuneiform release picks-up a bit by the third cut, 'Island of Rhodes', with hot boppin and semi-symphonic rhythms that generate some sparks. Things slow again for the improvisational 'Extract' but are revived by the upbeat symphonic jazz of 'One End More'. It is followed by the excellent 'Notwithstanding', the album's highlight and best representation of this group's accomplishments. I wouldn't suggest this be your first taste of Gilgamesh but if it's all you can find, they were a fun and significant band in the Canterbury milieu, and played some good music.

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.