(A photo would be great here. Contact me if you have one)

 

In this recording of the second night of the run, there is a break between tracks 4 and 5 of the second set that I can’t explain (you will hear a stutter at the start of ‘The Island’) because this was one of a number of gigs that were transferred to disc in 2004 and any notes disappeared with the original tapes. There may have been a change of tape at this point during recording, or there may have been a break between sets as the total running time of what is presented here as a complete set is almost an hour and a half. There are also some brief moments of mis-tracking that occur in tracks 3 and 4 of this set. If listening to the complete set files, which contain announcement audio between the more tightly edited clips, you will notice that Dale talks into a mic at the end that is audible in the PA but which wasn’t feeding the recording mix, so there may have been something else programmed on these nights – or again, there is an explanation that I can’t recall.

With all my tech notices conveyed, Lloyd continues:

…”the three nights at The Basement are sandblasted in my memory. The club was packed every night and the band just ROARED. Four lads in their mid twenties just bursting with extraordinary energy and precision and clarity. (OK, three, and me.)

Sadly, due to differences of opinion, the band didn’t carry on at all, but in the end, perhaps it was better that way.

I gave it my everything at the time and we went a helluva long way with it, attracting acclaim from well outside the confines of the jazz scene, but we all had other roads to tread. I can’t speak for the others but my mind was already racing with ideas that only a year later led to the first experimental sessions that became The Necks. Heck, on these recordings, you can hear my composition “The Wheel” (please do turn a deaf ear to the excruciating arco intonation – had I really just spent 10 months studying classical bass in London? Let’s just assume I couldn’t hear my stage monitor very well) which only two and half years later became The Necks’ album “Sex”. And we all know where that led.

Listen to Andrew Gander – what an absolutely phenomenal drummer! I consider myself so lucky to have cut my teeth as a jazz musician working with Andrew. Dale Barlow – consummate mastery of his instrument, and the entire post-bop idiom. And Chris Abrahams. Well, I know that, grammatically, there are not degrees of uniqueness, but he is simply one of the most unique jazz pianists anywhere. You don’t get to hear Chris playing jazz much since The Benders, so these recordings are extra special for that alone, and his performances here are breathtaking. (As another bonus, these may be the only quality recordings containing instances of Chris utilising a couple of the implements I made for him for his birthday – The Plank, which allowed him to play all 88 notes of the piano at once, and the Wheel (no relation to my tune), which is – ah, I think you’ll figure it out.

Enjoy!”


Set. 1 – play complete set

Set. 2 – play complete set

 

 


Play individual clips