HUGH HOPPER

Existing at the harder end of the Canterbury-ish fusion spectrum, Hopper Tunity Box is an album which makes the case for Hugh Hopper, along with Robert Wyatt, being one of the key personalities in Soft Machine. Though he wasn't a founder member of the group, he was in the predecessor band The Wilde Flowers and joined the Softs very early on, and arguably his raw and dirty bass sound was a key element in Volume 2 and Third. High-quality Hopper solo albums like this one underscore the point that it was his bass work which gave classic-period Soft Machine its crucial edge - an edge which I feel was sidelined a little in the albums leading up to Hopper's departure and entirely absent from the group's sound after Hopper jumped ship, a process remarkably reminiscent of the silencing of Robert Wyatt's vocals.

So, if you're a Soft Machine fan who felt that the Softs lost a little something each time they jettisoned one of their key members, it'll be of interest - and fans of the less twee and more jagged sort of Canterbury may find themselves charmed by this one too. Guest spots from fellow Softie Elton Dean and from National Health's Dave Stewart are also notable.

HUMI were a "short-lived" (very sadly for all fans ... the reason is well-known though) two-piece experimental music project, formed by Hugh HOPPER (bass, loops, electronics; ex-Soft Machine) and Yumi HARA CAWKWELL (voices, keyboards, percussion) in 2007. They released one (and only) album "Dune" in 2008 via Moonjune Records, that could be crystallized with two tremendous talents for uncivilized strange experimental music scene. They could have gone on a tour all around the world along with this fascinating album, but very sadly this (dreamy dream) tour could not complete because of Hugh's illness (leukemia), and this "Dune" had got to be his last studio creation. We can feel his magnificent scale via this work obviously.

Amazingly, this is HUMI's creation, not Hugh & Yumi's one. That is, in all songs of this album, not that one player plays with supporting another, but with stimulating another like an actress / actor upon a theatre stage or in a movie screen, let me say. Yumi's terrific keyboard play and mysterious, unexampled voices, Hugh's deep bass and refined electronic sounds throughout the whole production can be approved by almost all reviewers, and furthermore, this album notifies me how important an actress / actor can show and tell her / his play depending on the situation or atmosphere.

Taking the second track "Shiranui" for example ... Shiranui is a Japanese monster or illusory phenomenon (Sea Fire ... the subtitle of this song) that may be brought by the monster everyone says, and we can easily feel such an eerie air via Hugh's weird synthesizer shots and Yumi's scattered but graceful piano touches. But at least for me, in this song Yumi's piano sounds like a pretty girl playing with pleasure upon an extensive and ruined dune produced by Hugh's magnificence. Extremely more obvious in the three-piece "Dune" suite - Hugh's heavy, deep bass kicks can be compared to the huge desert, his weird elektronika to sand stirred up by a wind, and Yumi's keyboard sounds to stardust, and her voices to hot, dry, but mysteriously comfortable air over the dune ... in my mind.

Let me emphasize, Yumi's play is very eclectic and colourful ... wearing a sensual expression in "Hopeful Impressions Of Happiness", a serious and solemn one like a shrine maiden in "Seki No Gohonmatsu" (in Izumo, Japan ... anyway), dark green wind-blowing (very tough and painful) in "Scattered Forest", large drops of snow falling onto Hugh's eccentric rocky tract "Awayuki". And yeah, I love especially the last track "Futa", where all (both Hugh's and Yumi's plays) should be well-broken and scattered into piece ... addictive psychedelia beyond expression. Always stimulating each other aggressively ... this is the most important and impressive point on HUMI.

Kudos for them, and the late Hugh.

— First review of this album —

The third and final instalment of productions released by multinational project Humi, consisting of bassist Hugh Hopper and keyboardist/vocalist Yumi Hara Cawkwell, was a limited edition live DVD-R, presumably planned sold at a tour in Japan that never came to be due to Hopper's health failing him in 2008. It is now available through Yumi Hara Cawkwell's website.

It is a relatively brief affair, clocking in at 53 minutes, covering material issued on the studio album "Dune" and the live CD-R "Parallel Dune". As such one doesn't get to hear any additional material from this duo if purchasing one of the 99 copies that were made of this DVD. What you get is footage from two concerts, one from 2007 and one from 2008, the two sets rather different in quality.

The older footage suffers from poor video quality, with grainy picture quality, relatively poor resolution and low quality colour reproduction. Captured by a decent quality video recorder presumably, but without the bells and whistles that enables high quality footage from challenging surroundings. Some simple effects have been applied for variety, superimposed images and black and white effects most notably. Hopper and Cawkwell both gets a fair amount of standalone footage, and I would guess some will find the most interesting parts of the material the shots that focus on Hopper's instrument skills.

The footage from 2008 is better in general quality, and while sharpness is still somewhat of an issue visible grains in the images are non-existent and colour reproduction as well as sharpness is of a fairly decent quality. Some form of collage effects is used extensively, especially on the first of the two tracks from this concert, presumably due to several cameras being in action. Most of the shots taken from different angles are of relatively poor quality however, the main camera heaps and bounds better in quality.

Audio quality is of generally good quality from both concerts, and if it is due to the lower quality speakers in my TV-set or due to the images enhancing the audio experience, my experience with the audio footage was that it was sharper and less dampened in nature than on the live CD issued at the same time.

The music as such is better described by me and others elsewhere, for me that part of a live DVD is actually of lesser importance when describing it to others. I presume that any buyer of a live DVD will be familiar with the music on it already, but in the case of this being otherwise my brief summary of these excursions are that they are of a minimalistic nature, performed with an improvisational and avantgarde approach, residing somewhere within the jazz universe. Bass and piano or bass and vocals are the main ingredients, and the performances explore the dynamics between these in a minimalistic and often repetitive manner.

But it is the image and audio quality combined I emphasize on when summarizing towards a recommendation for this production, and my overall one is that this is a DVD for the specially interested. Existing fans of this duo who know and love their music have this as their sole opportunity to see them performing live, and as long as that is a matter of interest this DVD is the proverbial it. Some bassists may have an interest in seeing Hooper perform too I gather, but other than that I suspect most others will have a stronger interest in assessing Humi's CD's before contemplating purchasing this DVD.

— First review of this album —

HUMI was a collaboration between the late bassist Hugh Hopper and Japanese vocalist and keyboardist Yumi Hara Cawkwell, who in one year recorded and released one official studio album, a limited edition live album and a live DVD also issued for a select audience only. "Parallel Dune" is the limited edition live album, and was released in June 2008.

And 2008 was probably planned to be some year for this creative duo. I surmise that this limited edition CD-R had been planned in conjunction with the Japanese tour Humi had planned, a tour that was cancelled due to Hopper's medical condition. It is still available however, but now from Yumi Hara Cawkwell's website.

Musically we're dealing with a sister production of the studio album "Dune", rather unsurprisingly. The CD consist of three unedited studio takes, two from a live performance held in London in 2007 and four excerpts from Humi's MySpace page. The latter actually the most intriguing for me, as the shortened length means that the ideas explored on these excerpts never becomes repetitive.

And the latter word is one that very much describes this disc, alongside words like minimalistic, avantgarde and jazz. Hopper's bass guitar accompanied by Cawkwell's powerful vocals, the piano and on some instances an organ. With a few effects and percussion details thrown in for good measure.

All of it excellently performed as far as I can tell, their skills as instrumentalists and vocalist never one to be questioned by me nor others presumably. But the context and compositional framework they utilize does end up with a final result that is for the specially interested.

Innovative bass lines and piano wanderings, improvisational in nature with free form tendencies, and music that relies on the simple contrast between bass and piano, bass and vocals or bass and organ. All along dampened in intensity, even when they hit off on the occasional pacier filled run. Dissonant more than melodic, emphasizing mood and atmospheres throughout.

In the same manner as I concluded with "Dune": Opinions will be divided on this production. If ambient, freeform tinged music of a jazz orientation sounds like an enticing description to you, this is a CD you probably should investigate further. If not, this is a production that most likely won't make a grand impression.

HUMI was a collaboration between the late bassist Hugh Hopper and Japanese vocalist and keyboardist Yumi Hara Cawkwell, who in one year recorded and released one official studio album, a limited edition live album and a live DVD also issued for a select audience only. "Dune" is the first of these collaborative efforts, and was released by US label Moonjune Records in 2008.

And it is an album that quite clearly will have a limited appeal to a niche audience, despite Hopper's involvement and that this is one of the latest recordings he appeared on prior to his illness and subsequent passing away. This due to the nature of the music explored, which combines several stylistic expressions that each on their own generally appeals to a limited audience.

The foundation for these proceedings may arguably be described as jazz. Hopper's bass, loops and electronics and Cawkwell's vocals, keyboards and percussion tend to be improvisational in nature, and while subtle and careful we're dealing with a free form variety of this style here. Not that any of these compositions ever comes across as traditional jazz in any manner whatsoever, but in terms of style and expression the 10 pieces explored have a closer relationship to jazz than to any other genre I'm currently aware of.

But rather than being dramatic, flamboyant instrument performances Hopper and Cawkwell both opts for a dampened, careful approach. If there is anything such as new age or ambient freeform jazz, this CD is a very good example of just that. The performances emphasize moods and atmospheres, and the developments are careful and frequently in slowly developing circulating patterns. And as an additional flavour is the use of electronic sounds and effects, more often than not in the shape of dissonant sounds, noises and drones. Adding a distinct experimental electronic tinge to the proceedings, and in transporting the totality of this production into some sort of avantgarde musical universe. Albeit one of a minimalistic rather than truly challenging nature.

What strikes me most when getting familiar with this production is that many of these pieces would work fairly well as soundtracks. Haunting, ghostly sounds are frequently employed, in particular in the sequences featuring bass and piano alone. But there's some kind of otherworldly, alien atmosphere throughout. Not of a kind and character that will interest any audience to speak of I suspect, but for a select few this production will undoubtedly be regarded as an effort bordering the brilliant. Personally I'll readily admit to not being that charmed by this disc as a standalone musical experience. Circular Dune is a strong atmospheric creation however, and Long Dune another effort that works fairly well, but the remaining tracks is, in my opinion, much better suited to be atmospheric background music in a movie of some kind. With an old fashioned ghost movie or a dystopian exploration as the type of film production I believe this material would be best suited for.

Opinions will be divided on this production, of that there is no doubt. If ambient, freeform noisescape flavoured music of a jazz orientation sounds like an enticing description to you, this is a CD you probably should investigate further. If not, this is a production that most likely won't make a grand impression.

Two rainbows daily released in June 1980 gather together two of the best musicians in canterbury realm - Hugh Hopper and Alan Gowen. They are well known muscicians from bands that made history in this field like Soft Machine, Soft Heap, National Health or Gilgamesh. Well this album is quite diffrent, musicaly speaking from what I've heared on bands mentioned above, this is only bass and keyboards and has a very mellow atmosphere overall. Is definetly a grower, and only after more then 4-5 listnings I become to appreciate this release. Definetly is a complex work where the bass of Hopper is in places excellent and is very well combined with that specific 70s feel of the keyboards of Gowen. Is not a typicaly prog album for the listner, but some pieces are truly great like the opening track Seen through a door, Every silver lining or Soon to fly. For me was a great discover this release, because I was abale to listen to something diffrent in canterbury style and in prog in genersl, with all that I can't say that this is a groundbreaking realse maybe due to the fact that is to mellow for my taste. Anyway I can respect the potential of the musicians involved here and the ideas gathered for this album, still remains a little classic in this field. 3 stars from me, intresting in parts but aswell boring in others, maybe I still didn't grow up enough to really understands this.

A Classic

I find it absolutely baffling that this little jewel only has received 3 reviews here on PA. For my money, it is a clear-cut classic, and one which spawns all the right Canterbury flavours and then some - exploding in all kinds of silhouettes and shapes through eclectic tunes that span from the quirky and playful to the experimental and all out marmalade oozing larval symphonies.

This was my first venture into Hugh Hopper's discography, and it still remains a personal fave. Just like a good deal of other Canterbury releases, on Hopper Tunity Box you'll encounter that special humorous and quirky charm that helps sweeten the punch of what can only be described as looney bin fusion. It is really. If you remove the "Canterbury" from the sound of Egg, Matching Mole, Soft Machine etc etc - then all you are left with is the kind of fusion you'd hear rolling across the western world throughout the 70s - a music with lots of flex and muscles though lacking any real identity and zing. This album however is like meeting a genuine personality - a real funny guy that shakes hands with his belt and eats seagull tacos with a pair of pliers.

Just listening to the 2 opening cuts here will better explain how special and warm this album is. They both wield a somewhat funny melodic style, that bends and writhes with big booming bass lines and funky rhythms - lead on by various wind instruments which sound remarkably twisted and provocative. They've got a childlike energy to them as well - commencing Hopper Tunity Box with a thrilling and slightly naive roller-coaster ride, that will have grown ups turned into flying Peter Pans in the blink of an eye.

Funny thing about Hugh Hopper is, that he has always stood in the shadow of others - always backed others up with his charismatic belching bass, but what some people fail to realise, is just how wonderful of an orchestrator he truly was. This man was pure genius and madness emulsified into one big bearded musician that sadly now has played his last tune. For some reason, I often think of him as the British version of Holger Czukay, and whilst that may sound strange to some of you, then hear me out for a moment. First of all, back when Hopper first started playing with Daevid Allen and Robert Wyatt in 1963 - all of them were beatniks and very much into exploring new things. Already back then Hopper learned how to manipulate sound and fiddle around with tape-loops and such. A thing he would go on to implement in his music with great success, in fact a lot of this album intertwines these small snippets of loops and fiddling - reverberating, mirroring, jolting, cascading sound back and forth to whatever effect needed. Just like Czukay studied under Stockhausen and later on transcribed those teachings onto solo albums such as Canaxis and later on with Can - Czukay and Hopper remain kindred spirits in my mind for some of the same reasons, even if these men never crossed paths in their lives. There is a sense of exploration about both of them. I can vividly imagine these music nerds deeply engulfed in old radios - playing around with signals and noises, gluing sporadic segments of sound together to form something out of this world - something wondrous.

This thought is perhaps a bit out there, I'll admit to that, but once you put this album on, I promise you'll come around - especially when you hit a number like Mobile Mobile, that sounds uncannily like a piece of Krautrock with its waving gimmickry and psychedelic undertones. This is Hopper experimenting, and even if this album still retains its melodic and naive approach throughout its playing time, the ghost of his debut 1984 still hovers over it - occasionally lending a helping hand to the proceedings - just like on this specific track.

If you are one of those who fancies name-dropping instead of silly masquerades and nebulous banter, then here are some names for ya: Mark Charig, Elton Dean, Nigel Morris, Dave Stewart, Gary Windo - all of which appear on this outing adding organs, saxophones, drums, guitars, cornets, clarinet, piano and pianet. Everything is played with great enthusiasm and the opening energetic naiveness of this album luckily carries on to the following tracks. There is not a bummer in sight, and once you get accustomed to the quirky feel of the thing - the loops, the fiddling around with tape speed and all these other playful characteristics of Hopper Tunity Box, maybe then you'll see this record as I do: like a fantastic polaroid of the Canterbury scene Hugh Hopper style.

I'd like to start by saying how I found this LP in a 'World Music' section at a record fair in the late 90's. I'm sure the guy behind the table didn't have a clue about it !! Initially, the cover caught my eye, then the name, Hugh Hopper, Canterbury bassist extraodinaire. Originally released in 1979 on a private label 'Atmosphere', the recordings contained herein come from 1973 and 1974. Side 1 features 5 tracks, all performed by Hugh himself. Four of them being shorter tracks - 'Golden Section', 'Sliding Dogs', 'Lily Kong' and '12-8 Theme', have Hopper toying around with his bass, multi-tracking his distinctive Fuzz-bass, clean-bass and high-speed bass (acting as lead) with occasional use of a rhythm box. These tracks are more melodic in nature, with 'Sliding Dogs' entering quite dark territory, showing the Canterbury styling was not always about tea and scones. The remaining piece, the lengthy 'Churchy', has Hopper experimenting with 'sounds' much in the same way as he created on his debut album '1984'. At times, the repetitive drones are almost ambient and captivating, nevertheless, eccentric. Side two was recorded live in Bordeaux, France 1974 and features his buddies ELTON DEAN (Saxello), MIKE TRAVIS (drums) and two lesser known folks , Jean-Pierre Carolfi (Keyboards) and a back-up bassist in Jean-Pierre Weiller. The downside to this part is that it sounds like it has been recorded in a tin-can. Quite murky with little bottom-end, making it difficult to discern the basses, though from what I can tell, Weiller obviously acts as a rhythm anchor whilst Hopper plays the lead melodies, but not only are they fuzzed, he also had plenty of fun with a wah-wah pedal. We have variations on 'Sliding Dogs' and 'Lily Kong' from the first side, and 2 more lengthier work-outs with 'Nozzles Tecalemit' and 'Get Together' - the former being a bizarre composition full of tri-tones and again very dark, and the latter being a more down-to- earth sounding bluesy/jazzy jam. It is worthy of 3 stars, as many proggers would be more satisfied with some of his material recorded after this venture, such as Hoppertunity Box and his collaboration with keyboarder Alan Gowen ; the beautiful 'Two Rainbows Daily'.

This is possibly my favorite Canterbury album. It avoids my two major gripes with the genre: first, that the Canterbury sound can tend to come off as trivial and "loungy" once the initial charm has worn off, and second, that the formula doesn't change much from album to album. This record is something of a musical island - not only does it have the "duende" and freshness that the rest of the Canterbury releases often lack, but much of it seems to spring from nothing and no one other than Mr. Hopper and Mr. Gowen themselves.

The sound is relaxed, but not "chill," as we're often so fond of calling slow music - its dreamlike quality and tendency to elicit bizarre emotions is well-portrayed by the swirl of melting colors that is the album cover (painted by Mr. Hopper himself). It is a bit otherworldly, despite being played on instruments and by musicians so familiar to the prog fan; I have never heard a Mini- Moog played quite the way Alan Gowen plays it here, and I have to say it's probably my favorite use of the instrument ever recorded. The pop and prog elements of the Canterbury sound have been largely abandoned, and the album is predominately a tasteful fusion affair that dips into pure jazz and new age (I was afraid to make the comparison, but I'm glad to see that two other reviewers before me agree). The keyboard material is developed with a slow yearning feel, and the bass is played very meticulously - Hopper avoids the free, conversational approach of typical jazz, instead carefully articulating the attack of each note (slowly, purposefully) as if it were a self-sufficient entity. This makes for a strange listen at first, but it will grow on you over time until you're hanging onto each note he plays, I promise. :)

This is beautiful music played by two extraordinary musicians. My favorite is the closer, "Waltz for Nobby," which affects me so powerfully that sometimes I have difficulty listening to it. R.I.P. Alan Gowen, and everyone else: enjoy.

(A note on the CD release of this album: the final 5 tracks are not part of the original, but are more typical Canterbury fare recorded live. The sound quality is not spectacular and frankly the improvisations(?) themselves are nothing special at all compared to the album proper. I have not factored tracks 8-12 into the rating, because I do feel that the album itself deserves no less than 5 stars.)

Recorded in the space of a few days, this collaboration from the Gilgamesh bandmates finds both in a quiet and contemplative mood. By and large, the raunchy, fuzzy bass sound Hopper brought to classic Soft Machine albums of years gone by is absent (but for a riotous outbreak on the opening track), and Hopper devotes himself to providing tuneful backing for Gowen's keyboard whimsies, which often stray into sparse New Age territory before skipping back to fusion. An intriguing piece, though I'd say it would be overhyping it to call it a classic of either artist's back catalogue (especially if their band work with the likes of National Health or Soft Machine are taken into account).

The rerelease includes a brace of live tracks at the end which, whilst interesting, have a fairly muddy sound quality and don't really fit the rest of the album; I haven't taken them into account (because I never let bonus tracks affect my rating of albums), but I generally skip them.