GILGAMESH

3.5 stars really!!

One of the lesser known Canterbury Scene bands that churned out also a pair of albums before slowly fading away into the jazz scene, where most of the members originated from anyway. Lead by keyboardist Alan Gowen, the mostly-instrumental quartet also comprises guitarist Phil Lee, bassist Jeff Clyne and drummer Michael Travis, and also gets some vocal help from The Northette's very own Amanda Parsons (see Hatfield and National Health). This last addition is generally not a good news for me, because personally the trio's vocal prowess irritate my eardrums severely, and here, Mrs Parsons does the job all by herself. Produced by former Hatfield and Egg man Dave Stewart, the album was released in the summer of 75 and came with a fun but un-esthetical artwork featuring a "get-your-band-to-the-top" game that only makes sense on the vinyl size sleeve.

Musically, Gilgamesh is fairly close to the afore-mentioned Hatfield and MH bands, despite having less common musical members than those two. Gowen's wide array of then-current keyboards (fuzz organ and Rhodes mainly) is unsurprisingly the band's main feature, since he's the main composer (all but two tracks), but Phil Lee's guitar gives him some very powerful replies. As you'd easily guess with such a virtuoso band, Clyne and Travis are definitely holding their own in the rhythm section. Musically, the album is your typical JR/F with that no-less typical Canterbury twist, so the proghead should know exactly what to expect, although we're definitely sonically closer to the later-70's cooler and more aloof sounds, rather than the early-70's steaming hot sonic washes (ala Soft Machine), but a certain compositional twist, rather than improvisations. The track list includes three three-movement suites, but they are more like three normal compositions, voluntarily broken down to pieces for writing credit reasons, IMHO anyway. The A-side is somewhat more democratic in that regard, as Lee and Clyne manage to unweave Gowen's homogeneity, so present on the flipside, but the songwriting differences are not immediately striking.

This debut album had to wait 35 years (to my knowledge, anyway) before receiving a CD reissue (or any other kind for that matter), but Esoteric Records finally repaired this flaw, but didn't find any bonus, but provided solid liner notes (courtesy of the excellent Sid Smith, so Gilgamesh's debut is THE reference of the band, even if Cuneiform's Arriving Twice posthumous release is just as important to this writer's ears.

This was just a pleasure to listen to. I had heard and reviewed "Arriving Twice" which was a collection of songs recorded prior(1973- 1975) to this their debut album. It consisted mostly of songs that are on this album. Dave Stewart produced it, and we have the pleasure of having Amanda Parsons from HATFIELD AND THE NORTH singing on two tracks. She would go on to sing on NATIONAL HEALTH's debut. The late Alan Gowen who would later hook up with Dave Stewart in the band NATIONAL HEALTH is truly the star here. He incorporates mellotron, piano, synths and clavinet to these beautiful songs. GILGAMESH offer up a smorgasbord of tasty, intricte sounds to satisfy the listener. Jeff Clyne formerly from NUCLEUS plays bass. One look at the long song titles and one knows that this has to be Canterbury music.

"One End More / Phil's Little Dance-For Phil Miller's trousers / World's Of Zin" has some mellotron in the intro followed by those intricate sounds meshed together that are just a delight. Great interplay ! The guitar 3 minutes in is a highlight. There is a change 4 1/2 minutes in as we get to "World Of Zin" and it's so soothing and relaxing for 6 minutes ! The guitar leads the way tastefully as Phil Lee does such a tremendous job holding back, yet in the end letting go with some soaring melodies.The drumming is intricate, and we get some female vocal melodies from Amanda. The piano is sprinkled in. Amazing ! "Lady And Friend" is mellow with keys and bass for 3 minutes except for one startling outburst. It ends with a louder sound with drums joining in. "Notwithstanding" is jazzy with some excellent piano, drums, bass and guitar interplay. I just have to shake my head at how tight these guys are. Mellotron comes in early and can't be missed.

"Arriving Twice" is a short 1 1/2 minute tune that is light and beautiful. "Island Of Rhodes / Paper Boat-For Doris / As If Your Eyes Were Open" is lighter to begin with but there is so much going on. The second part is similar but louder. Keys, bass and drums lead the way. The final section is where Phil breaks out some aggressive guitar melodies. Nice. "For Absent Friends" is a short acoustic guitar piece. "We Are All / Someone Else's Food / Jamo And Other Boating Disasters-From The Holiday Of The Same Name" features some angular guitar melodies in the first part. Liquid sounding keys and light drums as bass throbs. The guitar starts to get more upfront and passionate, as do the other instruments. The next section is almost funky before the final part 5 1/2 minutes in where Amanda is back singing those lovely melodies. "Just C" is a short piano piece.

The album cover had an actual game on it like "Snakes and Ladders" with numbered spaces, and comments on some of them telling you to go forward or backwards and why. Statements like "Payment after gig in cash ! Go forward 2 spaces".Or "Drummer late for gig. Go back 1 space". "Mobbed by groupies. Go forward 4 spaces". "Guitar player drinks 10 Carlsbergs. Disqualified from game". I could see people playing this back in the day. As for the music, i'm a big fan if you couldn't tell already. 4 solid stars.

This would normally not be something I would like. My preferred taste doesn´t include jazzy canterbury rock tunes ( I like the Canterbury bands that are more rock than jazz like Caravan), but I must admit that Gilgamesh is pretty convincing. There are lots of fine moments on this album, and I am greatly entertained throughout the lenght of the album.

This is more jazz than rock though and the mood is pretty mellow and nice. Alan Gowen who plays various keyboards and piano on the album is the most outstanding musician in my opinion. He plays very subtle and intelligent notes. The other musicians are also outstanding. There are no vocals on the album, but it is one of those rare albums where I don´t miss them.

The sound quality is very good IMO and it helps to emphazise the outstanding musicianship.

To me this is a 4 star album, even though this is not my preferred style, I guess sometimes you find something in genres you normally wouldn´t like much that just stands out from the rest. Gilgamesh is very accesible and to me that is a plus. I would recommend this to people who like me are a little reluctant trying out the jazzy side of Canterbury.

Great album.

If Gilgamesh fixes the position in Canterbury Scene, the flow might be very located closely to Hatfields. And, the existence of Alan Gowen is needed at the same time if talking about the music character of this band of course. Time when they had been formed was 1972. The history in the music of Gowen starts from the item of Jazz. And, Gowen participated in Sunship with Jamie Muir that belonged to Assagai. The flow develops into this Gilgamesh after passing twist and turn.

Gowen has received the audition of Hatfields at this time. To our regret, Gowen receives the sentence of failing in the audition. And, Dave Stewart passed the keyboard player of Hatfields. However, Stewart that joins the band evaluates the talent of Gowen high. Stewart might have been influenced from the ability in the composition of Gowen, too. Hatfields and Gilgamesh might have mutually had consideration. And, each other gave the listener the impression like the brother for the counterplan at that time.

The impression of the entire tune might be indeed light and be near the flow of Hatfields and National Health. The element of the suite like "We Are All~" receives the impression that Stewart took to Hatfields oppositely. The usage etc. of the chorus of Amanda Persons are indeed common to both. I think how for the fact that Stewart is related to the production of the album to have enhanced Canterbury Scene of this time. Gilgamesh is guessed that Canterbury Scene doesn't increase the thickness if this band doesn't exist naturally with fact Hatfields though integrates and flows to National Health.

While Gilgamesh was never one of the central bands in the Canterbury scene it was perhaps most noteworthy because of its leader, the late Alan Gowen. He went on to form National Health, along with Dave Stewart of Hatfield And The North, as well as Soft Heap. Gilgamesh was also revived in the middle of these other projects, the first manifestation of the band having split shortly after the release of their self-titled debut album in 1975. This album is first and foremost a vehicle for Gowen's compositions, with his wide array of keyboards forming the bedrock of most of the tracks.

In effect, it's an instrumental work although guest Amanda Parsons adds some intermittent wordless vocals on a couple of tracks. While the standard of musicianship is top-notch throughout, with some members of the band having been mainstays of the London jazz scene, it's Gowen's keyboard skills that are the main focus of attention here. Nonetheless, extensive use is also made of Phil Lee's guitars with ''Worlds Of Zin'' providing one of his most significant contributions.

The whole Canterbury kit and caboodle is represented by the album's moments of whimsy and psychedelia and it's extensive instrumental excursions. I've seen this described as one of the more difficult Canterbury albums, although I'm not sure if I agree completely with that assessment. ''Notwithstanding'' and ''We Are All...'' are the most challenging jazz orientated tracks but in the main the album is fairly approachable with a mellow, calming vibe running through most of the tracks.

While you can download this album for the equivalent of a British fiver, until now if like me you wanted a CD version you'd have to pay through the nose for the Japanese import. However it's being released by Esoteric at the end of January and can now be pre-ordered at Amazon for a fraction of the cost of that import.

Gilgamesh were never on the front of the Canterbury scene, even if their leader keyboardist Alan Gowen collaborated an some first class projects (as National Health, Hatfiled and The North and short-lived Soft Heap). And this band's debut is (in all the band could be described as Alan Gowen's solo project between or besides of his participation in other bands) good answer why.

Gowen is very competent keyboardist and he showed it on his collaborative recordings, but there he demonstrates his strong and weak point in whole. First of all, musically this album could be placed somewhere on very border of quite diverse Canterbury scene, while music there is quite lite and strait ahead jazz fusion, characteristic for some US-bands, or later Soft Machine's period. Gowen adds some melodic elements, but far not enough to fill the music with some content - too often pleasant sound starts in the middle of nowhere and goes to the same point in eternity.

Albums is easy for listening, but you will hardly remember even single composition or just memorable tune. It's rare example when the music, formally related with Canterbury sound, is so teeth-less and face-less. Even later Return To Forever so heavily criticized albums have more memorable songs (being much more pop-oriented). It possibly doesn't sound attractive, but possibly this album sounds a bit like Canterbury version of elevators music.

Possibly, Gowen needed in help of stronger composer, or just more personalized collaborators' work (most possibly -both). But as a result album, which starts as quite interesting release, very soon becomes just another average polished fusion collection.

Gowen's work almost in all other (non-solo) projects are much more successful. He will return to this project again later, but band's releases will never will reach high standard of leading Canterbury bands.

Still competent and pleasant listening for fans of Soft Machine's music from mid 70s.

keyboard whiz Alan GOWEN's own project in the 70s, Gilgamesh is an obvious attempt to make a late stab at the Canterbury sound though none of the players are from any of the original bands from the Sixties. This album is produced, however, by none other than Dave Stewart--late of Hatfield and the North--whose sound this quite resembles.

1. "One End More / Phil's Little Dance - For Phil Miller's Trousers / Worlds Of Zin" (10:20) collects several sounds and styles being used in the then current jazz world including the clavinet, Eric Gale/John Tropea-like guitar play (think Deodato's "Also Sprach Zarathustra") and some more laid back drumming with tight, quiet fills and lots of quirky accessory (cymbals, etc.) play. The finale, "Worlds Of Zin," is the suite's shining moment in which a bluesy Santana-like guitar solos over some absolutely gorgeous support from the rest of the band--keyboards, bass, and drums. This one gets a (9/10) from me for its memorable melodic hooks and nice compositional organization--though the final section is a full 10/10. 2. "Lady and Friend" (3:44) opens with an acoustic guitar and Fender Rhodes playing off their gentle play to establish a melody. Then a rather dynamic section interrupts for a few seconds before we return to a very nice, gentle keyboard and bass interplay--which is later joined by gentle jazz electric guitar in a kind of Jan AKKERMAN style. The final 45 seconds shifts into a definite FOCUS sound and structure. Nice piece! (10/10)

3. "Notwithstanding" (4:45) is a bit more Herbie Hancock-like in its keyboard sounds and with some rather weak drumming and an Eric GALE-like guitar sound and style feeling as if it is detracting from the high caliber of skill required of the composition. (8/10)

4. "Arriving Twice" (1:36) revives the melodic theme from the album's opening song only in a slightly different arrangement and with a variation in the instruments used. (9/10)

5. "Island Of Rhodes / Paper Boat - For Doris / As If Your Eyes Were Open" (6:39) The opening section, "Island Of Rhodes," uses a repeated bass line as its rather simple foundation, but then the second section, "Paper Boat - For Doris" builds over this with the drums mixed quite a bit behind the dominant multiple keyboards and bass. The final section, "As If Your Eyes Were Open," allows the guitarist to so his chops (not bad!) over a bouncy clavinet and fast-paced drum play. Nice development and composition! (Especially considering its rather weak start.) (9/10)

6. "For Absent Friends" (1:11) is a pleasant acoustic guitar solo of the pseudo-classical vein.

7. "We Are All / Someone Else's Food / Jamo And Other Boating Disasters - From The Holiday Of The Same Name" (7:48) opens with the electric guitar establishing the melody and tempo in the first section, "We Are All." I really enjoy the jazz rhythm guitar play beneath the Fender Rhodes electric piano solo toward the end of the movement. The bass play is a little simplistic but it does a nice job of holding the song together in terms of pace. And I LOVE the drum and guitar play at the end of the fourth minute--just before the transition into the brief countrified second section, "Someone Else's Food." The third section, "Jamo And Other Boating Disasters - From The Holiday Of The Same Name," is an odd piece in which the keyboard goes from clavinet to piano and then Aarp-like synth while in this last part, being accompanied by layers of vocals as done by future 'Northette' Amanda Parsons. Overall, this is probably the piece in which the band shines most instrumentally and compositionally--when they are at their most original and most technically proficient as well as tightest as a band. This is a song well worth repeated listens. (9/10)

8. "Just C (0:45) is a brief piano solo to close out the album.

This is a very nice album full-on representative of the quirky jazz being produced in the style of the Canterbury masters at this point (1975) in the evolution of the music of the Scene. A 3.5 star album rated up for its consistency and its compositional maturity. Alan Gowan can play keyboards! Many!

In 1972, a keyboardist Alan Gowen, previously of the afro-beat band Assagai, Sunship (with King Crimson's Jamie Muir and Allan Holdsworth) and (one year later of) Hatfield And The North teamed up with a guitarist Rick Morcombe, saxophonist Alan Wakeman (the cousin of Rick Wakeman), bassist Jeff Clyne of Nucleus and Isotope and drummer Mike Travis to create Gilgamesh. After various personel changes, Wakeman left and Morcombe was replaced by a guitarist Phil Lee. In 1975, the quartet signed a record contract with Caroline to record their self-titled debut album.

Gilgamesh always remained fairly obscure, breaking up after recording two albums. Their sound is clearly shaped by their contemporaries, mainly Hatfield And The North. The band's sound however does not have the goofiness and the English sense of humor. As much as we could debate whether Hatfield And The North or National Health are fusion of progressive rock, Gilgamesh is a bit like Soft Machine - it's pretty much just straight-up jazz fusion. Unlike Soft Machine though, the quartet does not use jazz instrumentation like saxophones, but rather typical prog rock instrumentation of keyboards, a guitar, a bass and drums. The musicians are definitely very good at their craft. Alan Gowen's sound is dominated by an electric piano and a clavinet as well as a Chick Corea-like synthesizer. His style is inspired by previously mentioned Chick Corea as well as Dave Stewart and Mike Ratledge. Phil Lee's guitar work reminds of that of Phil Miller with pastel-like fuzz guitar. Mike Travis is a very decent drummer, capable of pulling off fantastic grooves, while Jeff Clyne's style is inspired by upright bass.

The album consists of eight tunes, three of which could be called "mini-epics" and two one minute-long piece. All the other tracks are kept between three and six minutes. Despite having a great dynamic variety between them and drawing dreamy soundscapes, they are very forgettable. And so is the whole album for that matter. The dry improvisation-based fusion style is quite boring, monotonous, ho-hum, and "too consistent". Despite the great instrumentalist abilities, every track (maybe with an exception of "Notwithstanding" and "We Are All / Someone Else's Food / Jamo And Other Boating Disasters - From The Holiday Of The Same Name") ask to get skipped. And it's a shame, because the band definitely could do much better than that! Just listen to the follow-up of this one!

In conclusion, the self-titled debut album of Gilgamesh presents phenomenal musicianship. However, it is overshaded by rather repetitive compositions, that lead to nowhere. This album is well suited for Canterbury fans and collectors, but not recommended for newcomers and those trying to get a taste of Canterbury scene. Much better things were to come from Gilgamesh. I am struggling between rating this album for two or three stars. Composition would get two stars, while playing would get four. So, the most adequate rating would be three stars!

Alan Gowen's Canterbury crowd form the other half of the puzzle which came together with Hatfield and the North to form National Health. This is the sole album they put out before National Health (their second album would emerge after Gowen dropped out of National Health), and it's a rather mellow affair, showcasing where the gentler side of National Health's sound came from. Never quite getting into the sort of madcap soundscapes that, say, Hatfield and the North, Caravan, or early Soft Machine would sometimes visit, this is Canterbury for a gentle afternoon snoozing on the sofa. Some may find it a bit too sedate, polite, and overpolished, but in the right mood I find this an interesting different side of the late 1970s Canterbury house style.

One of the band's that emerged after the Canterbury's heyday nevertheless responsible for tethering together two prominent acts in the Scene, namely the extraordinarily larger-than-life supergroup Hatfield and the North and the also late to the scene but equally relevant National Health. GILGAMESH, named after a historical Sumerian king of the city-state, Uruk, was formed in 1972 by Alan Gowen, who entered the music world through the Afrobeat fusion band Assagai in 1971 before joining the ranks of the Canterbury jazz club.

After three years of various lineups including such Canterbury stalwarts as Richard Sinclair and a veritable who's who cast in the Canterbury world, a self-titled debut finally emerged in the final year of first run with the lineup of Gowen (piano, synthesizers, mellotrons), MikeTravis (drums), Jeff Clyne (bass) and Phil Lee (guitars). There are a few brief appearances by Amanda Parsons whose angelic ethereal siren effects clearly bring the Hatfield and the North connections to the forefront.

What comes off as a more straight forward jazz-fusion album than contemporary Canterbury music of the early 70s with a more orchestral sort of flow to the album, GILGAMESH still contains an ample dosage of angular harmonic complexities laced with subtle self-deprecating humorous effects most obvious in the track titles as well as on the album cover that depicts the game Chutes And Ladders depicted in a life on the road, the musician's guide approach.

Musically this debut is more airy with a floaty feather in the clouds sort of feel with the harshness emerging in the free-for-all compositional twists and turns that are presented in the three tracks that contain mini-suites however even tracks like "Notwithstanding" present some challenging jazz workouts that implement that indescribable Canterbury warmth that separates it from the rest of the jazz-rock world.

While clearly derived from the Hatfield and the North projects with Dave Stewart even joining in for vocal arrangements and co- production, GILGAMESH not only eschews the pure copy and paste approach by adding different stylistic meanderings but in retrospect provides the bridge between H&theN to the more dynamic complexities that Gowen would fully come to master on the National Health albums.

While tracks like the lengthy cumbersomely titled "One End More / Phil's Little Dance - For Phil Miller's Trousers / Worlds Of Zin" are quite exciting with all the unexpected twists and turns through dynamic, tempos and angular jitteriness the Canterbury Scene presupposes, there are lazy lackluster tracks such as the piano ballad "Lady And Friend," which sort of lollygag in a linear direction and provide nothing more than nice dinner music for an ear sensitive date.

GILGAMESH may not have released the most memorable slice of Canterbury with their eponymous debut but there is still a lot to love here with unexpected frenetic outbursts of creativity emerging between longer bouts of placidity. This album is also an important bridge between the two more important supergroups that rank amongst the best the Scene offered. The band would break up after this debut only to scatter and rejoin other groups but Gowen would reform the band with yet another lineup for the 1979 followup "Another Fine Tune You've Got Me Into." In short, not the best Canterbury album but well worth the time.

3.5 but rounded up for the excellent musicianship on board