Soft Machine

Soft Machine - Esther's Nose Job

Soft Machine - Mousetrap Noisette Backwards Mousetrap Reprise

Soft Machine were one of the greatest UK avant/jazz-rock bands of all time and their work continues to be name-checked by today's hip experimentalists. 

Released for the very first time here is the Soft Machine's television broadcast, recorded for Germany's famous "NDR Jazz Workshop" on May 17, 1973. This performance was one of the earliest shows by the quartet of Roy Babbington (electric bass), Karl Jenkins (oboe, baritone sax, soprano sax, electric piano), John Marshall (drums) and Mike Ratledge (electric piano, organ). This was a very high profile appearance by the group and for this performance Soft Machine made it a special show. They performed a set of their repertoire in their quartet format and then for the second set they were augmented by two guests: guitarist Gary Boyle (who had just started Isotope) and saxist Art Themen. This addition brings an exciting & different sound to the repertoire and make this more than 'just another live release'. Additionally, Hugh Hopper had just left the group, but he makes an guest appearance performing 1983; the only known live version of this composition. This long sought-after performance has never been seen since its original broadcast over 35 years ago.

Soft Machine, "Stanley Stamp's Gibbon Album" from NDR Jazz Workshop: Hamburg, Germany, May 17, 1973

Soft Machine were one of the greatest UK avant/jazz-rock bands of all time and their work, whether their earliest performances as a psychedelic band, who were contemporaries of, and shared stages with Syd Barrett's Pink Floyd and the Jimi Hendrix Experience, all the way to being one of Europe's best known 'fusion' bands, their work continues to be name-checked by today's hip experimentalists.

By mid 1973, Soft Machine had gone through a tremendous amount of personnel turnover and a shifting in their sound over the previous year. The band now consisted of founding member Mike Ratledge (electric piano, synthesizer), Karls Jenkins (electric piano, piano, sax, oboe), Roy Babbington (electric bass) and John Marshall (drums and percussion). Having already collaborated with a guitarist, Gary Boyle (as documented on NDR Jazz Workshop), upon meeting guitarist Allan Holdsworth, then in the early stages of his professional career, in November, the group invited him to join the band, which he did, becoming the first guitarist to join the band in over 5 years!

With the addition of a musician of Holdsworth's prowess,  Soft Machine decided to take a fresh start and develop material that would feature their virtuosic new addition in a fitting manner. Jenkins and Ratledge composed a whole new repertoire which was road-tested on extensive tours of North America and continental Europe in the first half of 1974 and which would ultimately make up the Bundles album, widely acknowledged as a jazz-fusion classic alongside the best exponents of the genre worldwide.

On July 4, 1974, Soft Machine were invited to perform at the prestigious Montreux Jazz Festival in Switzerland, sharing the spotlight with such headliners as Billy Cobham’s Spectrum, Larry Coryell’s Eleventh House and the Mahavishnu Orchestra. This alone was evidence of the band being a dominant presence on the now widely popular jazz-rock scene, which had evolved out of the unique and edgy sound that the band had pioneered a few years before. Switzerland 1974 is this performance, captured just a couple of weeks before the studio sessions for Bundles. The hour-long set is the only available visual document of the Ratledge-Marshall-Jenkins-Babbington-Holdsworth  line-up, and it includes live versions of the entire album, most notably the classic “Hazard Profile” suite, augmented with individual showcases for each member as well as a collective improvisation and brief snippets from Six and Seven. As well as retracing Soft Machine’s transformation into one of the leading exponents of jazz-fusion, it provides a rare chance to witness the genesis of Allan Holdsworth’s unique, innovative and unbelievably fluid and dexterous playing, before he went on to universal acclaim with Tony Williams’ New Lifetime, the prog-rock ‘supergroup’ U.K., Jean-Luc Ponty, Bill Bruford and ultimately his own electric fusion groups.

Caveat: Due to the age of these tapes and how they had been previously mixed, edited, used, and stored, there were multiple visual and audio sources of this show in varying lengths, each with their own flaws. While significant flaws could not be completely eliminated, very special thanks are due to our engineers Doug Moon and Udi Koomran, who worked from these multiple copies in order to make the final result as good as it can possibly be. This was deemed the best available option in light of this document’s archival/historical importance.

Soft Machine, "Hazard Profile" (excerpt) from 'Switzerland 1974' (Cuneiform Records)

Spaced is previously unreleased studio recordings recorded in early/mid 1969 by the "classic" Soft Machine trio line-up of Hugh Hopper [bass], Mike Ratledge [electric piano/organ] and Robert Wyatt [drums]. These heavily manipulated/ looped/etc. recordings were originally presented as the backdrop to a multi-media work entitled Spaced. After it's week-long performance, the tapes were forgotten for over two decades until rediscovered by Mike King. These recordings feature the band at their most radical, and while they would never again use the studio in such an extreme fashion, the work done here definitely influenced later works such as Third and Hugh's 1984.

Soft Machine, "Spaced Two" from 'Spaced' (Cuneiform Records)

Live Recordings over the years by SI. Song written by Soft Machine (1970) performed in 2007 by Satisfaction Injection.

Soft Machine - Slightly All The Time - Live version by SI

Soft Machine - 10 - The Moon In June

Le morceau commence comme un appel aux âmes qui résident alentour, porté par le vent qui passe
dans le feuillage nocturne de milliers d'arbres, charriant avec lui les échos d'une steppe lointaine, une steppe arborée et sourde. 

Dès les premiers instants un chant tentaculaire émerge, les claviers, 
et les cordages retenant Ulysse à son mat seront les premiers à se délier et à plonger dans l'eau invisible, laissant leur homme à genoux, abasourdi par l'étendue de sa mer intérieure et par les créatures qui en habite les profondeurs,
verticalement. Et si le chant des sirènes n'était que le cordage qui retient Ulysse 
et non cette irrésistible et mythologique attraction qui le mènerait hors de son bateau.

La voix de Wyatt, seul asile audible, n'est pas empêchée d'être rare, d'invectiver, solitaire d'abord, instrumentale ensuite, 
et soudain ce n'est plus une voix rassurante, c'est un écho de plus qui vient s'ajouter à la tempête 
en cours, vague souvenir, comme un avertissement pour ce qui va suivre.

Et le chant, claviers à l'étrier, emporte avec lui le cœur 
vibrant et lointain de la basse et de la batterie, se déverser dans chaque coin de l'univers.
N'ayant besoin que de peu de principes pour se tisser, ce morceaux est taillé à l'image de l'univers. 
"Nous sommes faits de l’étoffe dont sont fait les rêves" a écrit Shakespeare, we are such stuff as dreams are made on and our little life is rounded with a sleep.
Et comme un rêve, comme l'univers peut être, le morceau n'a pas de fin, il se termine mais n'a pas de fin.

C'est un costume pour aller nager.

Soft Machine

user380727243