HOPPER - DEAN - TIPPETT - GALLIVAN

Well if your into Avant Jazz this might be worth a listen. Avant Jazz mainly based on Dean's insane sax and saxello work but even Tippett at times. A four piece with three legends and sadly all three of them are gone including Hugh Hopper on bass, Elton Dean on sax and saxello and Keith Tippett on piano. Lastly we get Joe Gallivan on drums and synths. This was recorded at The Basement studios in Oslo, Norway surprisingly in October of 2006 the year Elton passed, Hugh in 2009.

Gallivan has never been a favourite drummer of mine by any stretch and unfortunately his electronics in my opinion take away from the music at times. He and Elton composed "Jannakota" and it's solely sax and synths. I know I sound like a complainer but I wish Tippett used the electric piano more. He sounds so good on my favourite track "Square Enough" after 4 1/2 minutes when the song changes. Sax just before 5 minutes and he gets quite dissonant at times as this plays out.

The closer "Soul Fate" has a catchy beat with piano and bass as the sax joins in. Elton is the wildcard here as he takes this tune into Avant territory. "Echoes" composed by Tippett doesn't do much for me. I'm surprised how sparse and mellow it is for the over 8 1/2 minute duration. "Seven Drones" composed by Hopper is the opener and my second favourite. Again Dean is fairly creative here on his instrument. So run for the hills! It's like the piano, drums and sax start out all playing a different song. That changes 4 minutes in as it settles and becomes melodic. Big bass lines from Hugh too. It's turning Avant again after 6 minutes but it's kind of mellow over the final minute.

So a good album but this is more about it not being my thing music-wise.

Even though this album is from many, many years ago, it's still beautiful, challenging and rewarding - and still ahead of its time. My goodness, this is avante / prog / rock - personified. The melodic nature of it, is what makes the dissonance and "free rock / jazz" so palatable to this aging proggers ears.

All members are of the highest caliber, and Keith Tippet continues to challenge me with his beautiful, dynamic playing. And what can be said, that hasn't been said about Hopper and Dean - gods of their times. Gallivan, less known, yet ever bit as creative and sold - a miracle in drummers.

I wish there would have been more of this creative group's efforts recorded. Live, this must have been magic.

This wonderful work from Hopper, Dean, Tippett, Gallivan is not for the uninitiated in avante rock. It is full of unbridled tone, note and rhythm. It appears disconnected. YET! for those who have crossed that line in "hearing" this music, it's quite, quite pleasant and accessible.

"Cruel But Fair" is the first outing for this quartet. This is just simply magnificent, a true masterwork. The tone pallet gets real tasty here, as Dean is just marvelous, sounding like a female voice at times, to the guttural passages that rip at your soul. Of course the percussion department is simply one of the best combination's one could hope for. Keith Tippett though is the real shine for my ears. His dynamic interpretation of the music is a wash of color and slight dissonance, and total control of the instrument "he owns."

For those that like this, this Canterbury gone slightly awry, this is the stuff that makes these learning, aging, thankful ears smile.

As always, thanks to these and all of the artists participating in this glorious miracle; Progressive Rock. And most of all, thanks to the continued ability to share and access information on this fabulous site: Progarchives.com.

3.56 stars really!!!

Of all the players that surrounded the Canterbury crowd, Hopper had yet to play with Keith tippet and by summer 75, this was done. Indeed if Elton had played with gallivant and Tippett and Hopper before, Hugh hadn't crossed Keith or Joe's path yet. So this first collaboration could be seen as an early attempt to form a Soft Heap, especially given that the quartet remains mainly accessible, not seeking dissonance unless necessary, the album came with an interesting artwork cover, illustrating rather well the music inside. .

So if Dean is his usual self, Hugh is definitely in an excellent shape, Gallivan is remarkable on drums, but toys with some synthesizers, it is mostly Tippett's playing that surpirise us, especially knowing that his other works of that era were Ovary Lodge and that was more in the free-jazz realm. Here Tippet plays a lot of electric piano (which is rather rare occurrence, AFAIK) and gives the album a bit of a Mwandishi-sound at times. At best, you'd swear that Tippett has gone back to his Dedicated To album and at worst,

The opening Hopper-penned Seven Drones is starting out with a semi-free jazz with dissonant sax and piano, but madness doesn'tr break loose, even if your sanity is being toyed with. But if you thought that was bad, wait until Jannakota and Dean's squeaky sax imitating birdsongs. The Tippett-penned Echoes is a slow-developing affair that drags on endlessly and is way too predictable. If the first side is made of three tracks more or less written apart and adapting their piece to the foursome, the flipside is definitely the four musicians working together as the credits point out. The album's best track is the superb Square Enough Fire, torrid jazz-rock that would easily finds its place on an early Nuclaus album. While Rocky Reclusive is borderline sane, Bjorn Free is a superb intro to the closing Soul Fate is starting out a bit dissonant, then veering Coltrane before going in an African ethnic beat drawing Elton slowly to meddle in.

While I wouldn't put this first album in everyone's hands, let alone reach everyone's ears, Cruel But Fair is a very worthy album that hovers between Canterbury-type jazz-rock and the wild works of Keith Tippett