JOHN G. PERRY
Canterbury Scene • United Kingdom
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John Gerald Perry - Born 19 January 1947 in Auburn, New York, US
JOHN G. PERRY is best known for his session work, most notably in CARAVAN on "For Girls Who Go Plump in the Night" and "Caravan and the New Symphonia," but he has performed with many other Prog and non-Prog artists. PERRY was actually born in the United States, but both of his parents were of British descent and only there because his father was involved in military training. Soon, his family moved back to the UK, and as PERRY grew up, he became more interested in music.
His first "career" in music was as a member of various UK garage bands (GRINGO, UTOPIA (Not the Rundgren project of course!), etc...). GRINGO actually toured alongside CARAVAN, as an opening act on the "In the Land of Grey and Pink" tour. Thus, the two bands got to know each other quite well. They also opened for BARCLAY JAMES HARVEST, around the same time. One day, Pye HASTINGS gave PERRY a call, asking if he would like to become a part of CARAVAN. The rest is history as we know it. After leaving CARAVAN, PERRY went on to form QUANTUM LEAP, while working as a session artist (he even was a member of CURVED AIR for a short while). PERRY released his first solo album, "Sunset Wading" (with Rupert Hine and a slew of guests), in 1976. Canterbury new age is the best way I can describe it, with some jazz fusiony textures. It's very impressive and introspective! After releasing "Sunset Wading," PERRY continued to do session work, along with recording some library music for television and movies.
Another album, "Seabird," was released by Voiceprint in the 1990's, which I have not heard. I think it was recorded in the 70's, but not released until the 90's.
PERRY's work is recommended to Canterbury officiandos and those searching for hidden Prog obscurities.
See also: Calyx
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JOHN G. PERRY discography
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JOHN G. PERRY Reviews
Showing last 10 reviews only
John G. Perry Canterbury Scene
Review by
Guldbamsen
Special Collaborator Retired Admin

Sometimes I find it unbelievably baffling to hear some of the albums that were rejected back in the day. I guess I can see what may have driven the record companies to refrain from putting prog rock albums out during the height of punk and disco, even more so if the record had clear connotations with the abstract and unfathomable part of the progressive universe, - BUT if the album itself was a combination of fantastic song-writing beautifully backed up by some fantastic musical acrobatics, I fail to see the logic. Cue John G. Perry´s second outing Seabird. This album was recorded in 1977, but remained unreleased and kept in the dark for nearly 2 decades. What a waste I say!!! This Canterbury bear has had its fill of sleep, and you may want to greet it welcome coming out of its long and fruitless Sleeping Beauty stint. While Perry may have been considered a second fiddle to many at the time, such as some unfairly look upon John Wesley who backs up Porcupine Tree in their live setting, he proved his remarkable talent for writing pensive and to the point songs with his first solo record called Sunset Wading. On this one, he elaborates on the musical ideas and though many of the tracks here are simple in structure and almost naive in expression, they wield an uncanny power to seduce you. In fact I feel Seabird has a lot of similarities with the song writing of Caravan, which come to think of it isn´t that big of a surprise, seeing as Perry played on their For GIrls who grow plump in the Night album.
On Seabird Perry is helped out in the studio by such magnificent musical enforcers, that anyone in to the Canterbury sound or indeed the melodic side of fusion, should immediately start sponsoring an erected tent pole in their trouser department. I mean, Michael Giles, Rupert Hine, Morris Pert, Geoff Richardson and an enthusiastic Simon Jeffes behind the arrangements. Like the aforementioned Caravan album, this album also plays around with a meaty and funky sound. Together with the arrangements that sweeten the flavours slightly, though without becoming overripe and sticky like jam,- the balance of raw reeling funked up Canterbury with small touches of the whimsical - the high reaching tender sensibilities of the orchestral arrangement coming from the back, - is a true winner here.
About the instrumentation here, there is no surprise - everyone involved sound very much into the thing, and furthermore employ a spirit of togetherness as if they all were a band, which is a bit far fetched as each of these musicians were famous for not being famous band members. They were the session men of the Canterbury scene. This is perhaps why the album never amounted to anything - let alone a release, and as I stated earlier, that is truly a shame.
The fretless bass playing of Perry is inspiring, gentle and booming like a singing rubber band of exuberance. Michael Giles adds his original way of bouncy off kilter rhythm enhancements, whilst still being enormously tight and with it. Geoff Richardson, as always, is just wonderful on both the viola and flute - and helps generate some of the same atmospheres as he did on Caravan´s Girls getting chubby overnight album. Morris Pert conjures up mysticism and spice with his percussive talents and breaks the otherwise smooth surface of the music. Elio D'Anna off the band Nova sports the occasional saxophone tweets, which are tastefully used in accordance with the wide scope of what the specific track is on about. Another guy from Nova perfects this Italian duo: Corrado Rusticci, and boy does this dude shine on the guitar. With a blistering solo that sounds like wobbling star-shine fire on the first cut, -people should get ready for a terrific ride with Corrado under the bonnet, although as all the other instruments here, he is only put to real use when most effective and apt, which rather reflects the subtle splish splashes of piano playing and slowly emanating keyboard work from Rupert Hine.
I´d recommend this album to anyone into the melodic aspirations of Caravan, and if you thought the albums of said band were unnecessary and flat sounding from around the same time - then Seabird should come as a brilliant surprise to you. Furthermore, if you haven´t veered into the somewhat sneaky and on occasion mad bizarro world of Canterbury, this album should serve as a welcoming and embracing start to what hopefully will be a successfully guided tour into English eccentricity and music with a sense of humour.
John G. Perry Canterbury Scene
Review by
Warthur
Prog Reviewer

John G. Perry Canterbury Scene
Review by
apps79
Special Collaborator Honorary Collaborator

STYLE: The title says it all.A very smooth album with an impressive lounge feeling and influences from Jazz Rock,Canterbury Prog,Psych-, Classical- and even World Music.Hard to be compared the album features some hypnotic arrangements based on the combination of steady rhythms and various solos,coming from guitars,violins,flutes and keys.Some ethereal male and female vocals here and there make it even more atmospheric.The addition of ethnic instruments like marimbas and percussions is one of the most interesting stuff in here,while string arrangements are almost everywhere,yet they are so distinctive.I find myself often labeling ''Sunset wedding'' as a tribute to the prog sounds of the 70's,it is such an eclectic mix of styles.14 mainly short tracks scanning the variety of music in general.
SOUNDS LIKE/INFLUENCES: JOHN G. PERRY tried something so different than his work on his previous and current bands.The best way to describe this is like MIKE OLDFIELD joining the Canterbury scene from his early years in a less guitar-oriented style.File next to similar experimental artists like JEAN PIERRE ALARCEN or JOEL DUGRENOT.
PLUS: The best proof that a bassist is not just 1/2 of the rhythm section.This is definitely a great ''wedding'' (to play a little with the album's title') of prog music with a variety of different styles.Unique and very personal album.Very balanced work overall with nicely executed string,flute and keys arrangements.A lounge jazzy atmosphere of amazing beauty to be met.
MINUS: Some gears like a fine dose of interplays or a couple of guitar hooks wouldn't hurt...and this because the album is very smooth and cannot be listened at any time.It requires a specific relaxing mood.
CONCLUSION/RATING: I have listened to this album over a dozen times.Sometimes I find it quite soft,especially when I nedd something more dynamic...but again it happens that I get lost in its very original atmosphere for good.So,when needing something trully compelling yet quite calm at the same time,''Sunset wedding'' is your thing...3 stars,as an average of 2 and 4 depending on my mood.
John G. Perry Canterbury Scene
Review by tmay102436

I won't go into the description, as tszirmay has already done a beautiful history, outline, and playful commentary on this master work. I will say, that if you like English, Caravanish, pastoral (but with guts) settings, this is the album for you. Perfectly recorded, produced and arranged. The instrumentation is quaint and exquisitely played. The vocals are those that make English bands so personal and yet professional. The small amount of spoken word is done with the beautiful/playfull English signature.
A note must be said here - anything Rupert Hine touches is wonderful. He is the finest of producers and musians one could ask for. Mix that with a true writer and dreamer in Mr. Perry and you get this absolutely essential record.
Hopefully Voiceprint, or one of the new companies doing remasters, will release this again so that others can enjoy this beautiful work.
The English continue to inspire after all of these years - it must be The Real Ale!
John G. Perry Canterbury Scene
Review by
Mellotron Storm
Prog Reviewer

"I Wait My Friend" opens with birds singing as the piano joins in and then some light percussion. Female vocals melodies join in before John's vocals take over before 2 minutes. "How Goes The Night ?" is a short intro of piano and drums for "Devoke Water" which is a cool track with a dark atmosphere. It ends with the sound of water and blends into "Birds And Small Furry Beasts". Piano, drums and flute join the water sounds. Check out the eerie violin before 2 minutes. "As Clouds Gather" opens with piano and bass as guitar comes in, flute follows. "Storm" opens with sounds that come and go. It's building and the drums are really prominant. Just an incredible piece of music here. It turns spacey to end it. "Ah Well, You Can Only Get Wet" is uptempo with guitar leading the way early.
"Dawn" opens with nature sounds. Violin before a minute. The tempo starts to pick up before 3 minutes with drums and a fuller sound. Piano joins in and there's so much going on. Great tune ! "Morning Song" has some good violin followed by spoken words and water sounds. "On The Moon" is a smooth sounding track. I like when the rain comes pouring down before 2 minutes. It blends into "Roundelay" as piano joins the rain. "Etude" has a good beat with fat bass lines. Violin joins in. The guitar / violin team rips it up before 2 minutes.Water sounds end it as it blends into "A Rhythmic Stroll" where piano joins the water. Synths, drums and violin on this one as well. "Sunset Wading" features some vocals and a beautiful soundscape. A perfect way to end it.
A charming record that is very well done.
John G. Perry Canterbury Scene
Review by
tszirmay
Special Collaborator Honorary Collaborator

The whimsical introduction "Uncle Sea Bird; His Nibs" is a rousing little flute/oboe/viola ditty, playful and true to that unpretentiously precious Canterbury style, the percussion work in particular simply bedeviling.The 9 minute epic "The Art of Boeing" (what, the aircraft ?) is a disjointed collage that is maliciously held together by the massive string arrangements and the rhythm section , as the inventive piano scours the horizons while Perry's rather pleasant voice spins a tale. Again, the sheer textural quality of the musicianship here is spell binding, with the spot lit WAL creating a fair amount of havoc; wow, my kind of bass player! The next two joined pieces offer a tone that gets a tad experimental with some dissonant sonics, weaving a shimmering expanse, enough teasing foreplay until the gloomy bass and drums gets cooking, seductively searching for that funky jazz furrow. That zipping groove suddenly appears out of the blue with the joyously brief "Uncle Seabird's Finest Hour", with monstrous Hohner clavinet work (another classic 70's prog keyboard sound) and an all around splendid touch. Hey, let's have another aviation innuendo with splendid "The Lockheed Lizard" a tune that illuminates a hypnotic percussive-vocal jungle theme, a lush runway supplying the takeoff for a magical Corrado Rustici guitar sortie, full of rustling jazz chords. Humor, you ask? How about this fine example! A tune titled "Obsoletely True", a flute-laden spoken-vocal oddity that suddenly explodes into this immense joyride full of whimsy and spirit, the walls of strings giving it an even more British sound, all with truly remarkable ease. The nearly 7 minute two-part finale possesses some very clever innuendo-laced lyrics ("Alice in autumn.clothes of air , Blue bird adventures..what to where, Oboeing over..flutes away, Sorrowful penguins..Sad café. There was nothing to do but jive, But by Jove, I jove!") and the most playfully confident music you will ever hear anywhere.
Simply timeless and original
5 windswept droppings.
John G. Perry Canterbury Scene
Review by
tszirmay
Special Collaborator Honorary Collaborator

From "How Goes the Night"'s intoxicating brew (similar to weather Report's classic "Boogie Woogie Waltz" to the final Title Track, the audiophile-fan is trekking through the English musical countryside, marveling at its verdant pastoral luxuriance. Don't miss out on this masterpiece.
5 wisps of the moor
John G. Perry Canterbury Scene
Review by
oliverstoned
Special Collaborator Honorary Collaborator

John G. Perry Canterbury Scene
Review by
Tom Ozric
Prog Reviewer
