That number on side four [of Septober Energy] that takes 18 minutes to go from solo piano to full-band collective improv must've taken over the room nicely, as it does *my* room if I *turn it up* (along with nice solo from Elton Dean over dual drumming from Robert Wyatt and John Stevens) ... I think this thing's kinda "important" as a demonstration of the common ground between the nascent "free improv" scene and the "Canterbury scene" that drum duo indicates ... and the "big band = collective action" thing was pretty convincing at the time (cf Mtume's Umoja Ensemble on Strata-East, Charlie Haden's Liberation Music Orchestra, etc.). [JF]

I recently unearthed an excellent contender-for-A-list record called Cruel But Fair, credited to Hopper/Dean/Tippett/Gallivan.  That's Hugh/Elton/Keith/Joe, incidentally. "Seven Drones" opens w/some jittery free-blurt pulsage, which phases into a Coltrane-damaged free spiritual feel in its calmer moments.  "Jannakota" pairs Dean's quizzical horn bleats with Gallivan's synthbleats & -blurs (here sounding surprisingly Gleasonesque).  "Echoes" has a slow-floating 70's spiritjazz vibe, with lovely horn & Rhodes melody lines being lifted heavenwards by percussion & analog washes.  "Square Enough Fire" features more extreme analog modularity & spaceplay, a la "Jannakota", before kicking in about 1/2 way w/a nice heavy groove & some fierce alto work that coulda come off a Tribe Records release.  "Rocky Recluse" is another short meditation for Hopper's heavily treated bass, piano, & Gallivan's machines. "Bjorn Free" sets a darker mood, languishing heavily in atmosphere, before the final cut "Soul Fate", grooves us on our way w/heavy tom-tom action, Tippett's minimalist-inspired staccatto pianowork, & fiery alto. [JW]

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