Henry Cow:
Concerts
by Henry Cow
ReR MEGACORP, Thornton Heath, Surrey,
UK, 2006
2 Audio CDs, £18.75
ReR HC5, LC-02677
Distributors
website: http://www.rermegacorp.com/.
Reviewed by Stefaan Van Ryssen
Hogeschool Gent
Belgium
stefaan.vanryssen@hogent.be
If the names of Chris Cutler, Tim Hodgkinson,
Fred Frith and Lindsay Cooper mean anything
at all to you, you will not be surprised
that this is no ordinary rock concert
recording. The line-up of the band for
most of the concerts on this release included
John Greaves, Geoff Leigh, Dagmar Krause
and Robert Wyatt as well, which means
that most of the important artists who
ever joined the band during its turbulent
ten-year history are present.
The first disk has recordings from four
concerts from 1974-1975 in Italy, Holland
and the UK. The second disk contains material
from an Oxford concert in 1973 and a 1975
memorable gig at the Hovikodden Arts center
in Oslo, Norway.
The history of the band is too complicated
to tell in just a few words (look at Wikipedia
for a fine and extensive overview) but
its main concern has always been to keep
away from commercial rock and to spread
its message of anti-capitalist protest.
(They stood in close contact with the
Italian Communist Party and were regular
guests at the yearly Fête de lHumanité
in Paris). After all, Cutler, Frith and
Hodgkinson started working together in
the ominous year 1968, when The Soft Machine
had just started (with Robert Wyatt),
when the cobblestones of Paris were turned
over to show the sand below and when the
protest against the Viet Nam war was at
its height. Pop was hot, dresses flowery
and rock was a vehicle for the expression
of the anti-establishment feelings of
an angry generation. At the same time,
musicians with a classical training started
to become interested in the more experimental
margins of the rock scene, and they brought
with them all kinds of compositorial concepts
from the classical avant-garde. Song structure
(composed or improvised) became an issue,
as well as new timbres (recorders, hoboes,
bassoons!) and harmonic freedom.
Of course, after some years, the established
music industry was no longer interested
in distributing and promoting the experiments
of Henry Cow, and they organized their
tours themselvesthe band was
always more successful on the Continent
than at home. A Norwegian label started
promoting and distributing their records
instead of their former label Virgin.
So what about the music? Theres
nothing like at. At least, not if you
take into consideration that it was 1973-1975.
Henry Cows sound is a perfect mixture
of free jazz, classical instruments, rock
and pop with a touch of chanson to top
it off. Pure avant-garde. No concessions
to any tradition whatsoever, but always
aware of (western) musical heritage. It
is always surprising, emotional, expressive,
melancholy and aggressive, polished in
its roughness and very, very clever. Praise
ReR for re-releasing these recordings.