GOWEN - MILLER - SINCLAIR - TOMKINS

In many ways England's Canterbury Scene was a membership club that included a small but dedicated group of musicians who primarily engaged in the unique psychedelically tinged progressive jazz-rock sounds that made this particular strain of fusion so utterly unique. All throughout the 70s the main players that included Soft Machine, Caravan, National Health, Hatfield & The North and Gilgamesh had seen members come and go with every Canterbury musician seemingly joining every other band at one time and rarely saw two albums in a row with the same lineup. It was like a rotating exhibit of Canterbury splendor during the golden era so a wellspring of new collaborative efforts was continuously spawning new sparks of creativity with the regenerative efforts of simply working with new musicians.

While the majority of newbie collaborative efforts adopted proper band monikers, every so often a group of similarly minded musician maestros released an album or two with each member receiving equal billing with no need for pesky band names to cloud the musical vision. Such is the case of ALAN GOWEN, PHIL MILLER, RICHARD SINCLAIR & TREVOR TOMKINS who for a brief moment in time had pooled their talents into a gathering of kindred spirits and relived some of the past glories that they had each contributed to in the previous decade. The quartet convened in the spring of 1981 and set forth to close some loose ends that weren't quite resolved in the members' past endeavors. The results were this album BEFORE A WORD IS SAID which was released in 1982.

These sessions would prove to be the very last for keyboardist ALAN GOWEN, the mastermind behind Gilgamesh as well as a key member of National Health, Soft Head and Soft Heap, who had succumbed to leukemia shortly after these recordings at the age of 33. Guitarist PHIL MILLER who reunited with bassist RICHARD SINCLAIR after the legendary Hatfield & The North project also had his share of expertise in Matching Mole, his own In Cahoots as well as a major player in the Canterbury pinnacle of National Health. Drummer TREVOR TOMKINS was somewhat of the odd man out having primary carved out a career in Ian Carr's Nucleus but honed his Canterbury creds along with GOWEN in Gilgamesh.

A decidedly jazzy affair, this quartet of seasoned veterans crafted eight tracks that captured the spirit of the multitude of Canterbury projects they had all contributed to throughout the 1970s. An overall relaxed dreamy mode of operandi with each member adding the proper Canterbury ingredients for the ultimate celebration of the unique style they had collectively forged the decade prior. Much of the material had been written by various members in the past and simply brought back to life in these sessions. While the tracks do showcase an adequate display of variety throughout with strange darkened processions like the rather gloomy title track, the majority of the material is more out of the Hatfield & The North playbook with GOWEN paying respect to the keyboard style of Dave Stewart's classic playing techniques while the closing "A Fleeting Glace" displays all the classic Hatfield traits only set to a more robust rock format with TOMKINS delivering one of the more energetic percussive moments.

While primarily an all-instrumental affair, "Umbrellas' also harkens back to the Hatfield & The North glory days with Sinclair contributing those classic wordless vocalizations that punctuated that band's two albums throughout. The album is almost like a greatest hits of the Canterbury 70s starting with the unique keyboard runs and time signature familiarities as delivered on the opening "Above And Below" and then followed by the more jazzy upbeat swing of "Reflexes In The Margin." The GOWAN contributions such as "Silver Star" and the title track exhibit a sense of melancholy which in retrospect reflected his worsening health issues. The MILLER contributions such as "Above And Below," "Fourfold" and "A Fleeting Glance" on the other hand deliver some of the most upbeat energetically delivered moments with a stronger emphasis on the guitar and groovy pulsating tempos.

When all is said and done the overall impression of BEFORE A WORD IS SAID is that of resolution as if the team was in collaborative observance of their past accomplishments and gathered lost moments and wayward concepts that hadn't successfully been incorporated into the Canterbury glory days. It's a beautifully competent album but rather than feeling like an innovative evolutionary leap that would bring the Canterbury Scene into the 1980s, rather feels more like a band reliving past glories with a sad reverence of a passing era and the melancholy of entering a new musical landscape of which the members felt like fish out of water. However despite not redesigning the Canterbury classics in 80s regalia, BEFORE A WORD SAID is still a compelling tribute to all those idiosyncrasies that created an entirely new genre of progressive rock. The album offers moments of comfort that reflect the past as well as offering a few twists and turns that aren't expected. An enjoyable album from beginning to end even if not one of the top specimens of the Canterbury sound. Personally i love this one.

I don't think that we can separate the reason why this album was conceived from what it contains. Any art is made of messages and know what the artists has in mind when making his work surely helps in receiving and interpreting the messages.

For this reason "Before A Word Is Said" can be disclosed with two different keys.

First of all it's an amazing collection of Canterbury music from some of the most representative artists of the genre, but it's also the musical testament of a dying artist who called three firends at his home to help him writing this testament before passing away for a severe leukemia. I have to say that the only one track on which this can be caught, the one containing a message of death is the title track. There are no lyrics, and without knowing the story it could be intended just as a dark track on which is not clear why it's opened and closed by children's voices.

The impression that I have is that Gowen may have wanted to make a "real" testament, leaving the description of his tragic situation to one track only, and using the rest of the album to show down some of his actual musical ideas, maybe to have them exploited more by somebody else.

The other tracks apparently don't contain so tragic "messages".

"Above and Below" gives room to Sinclair's bass and it's a clear example of that jazzy music that was named with its city of origin. "Reflexes in Margin" sees bass and drums swinging on chords that are more common in bop and free-jazz. "Nowadays A Silhouette" starts lead by fretless bass and is closer to fusion, specially when keyboard first, then guitar become the leading instrument. A very great track, this one. "Silver Star" is a short piece that reminds a bit to Soft Machine but is also one of the easiest tracks with an impressive keyboard solo. Some space to guitar on "Fourfold" that's funky-fusion oriented (another great track). "Umbrella" is a relaxing moment with just a hint of darkness and "A Fleeting Glance" is not too different but features a fantastic keyboard riff in its 7 minutes of length.

The excellent musicianship makes this album highly enjoyable and adds more regret for the missing keyboardist and what he could have had created if he wasn't passed away so early.

4 fully deserved stars, not to be missed.

I've enjoyed listening to this album so much all of this past week and again one more time this morning. It's a positive and relaxing album for the most part which is surprising given the circumstances. I just love listening to these guys play. They're all legends as far as i'm concerned. Richard Sinclair the great CARAVAN vocalist and bass player who would go on to play with HATFIELD AND THE NORTH. Phil Miller the guitarist who's played in so many projects over the years including MATCHING MOLE, NATIONAL HEALTH and HATFIELD AND THE NORTH. Trevor Tomkins on drums also played with GILGAMESH, NUCLEUS and many others. Then there's the man of the hour in Alan Gowen. It's difficult for me not to get emotional when you consider this was his last recording before he died of leukemia only weeks after this at 33 years of age. He was in his prime. He was very ill during these sessions that were held in his South London flat that he shared with his wife. Playing in Alan's flat wasn't something new as various lineups of NATIONAL HEALTH and GILGAMESH had rehearsed there many times over the years. For this project the band played in the back bedroom while the engineer set up his equipment in Alan's music room. Words from Phil Miller : "It is a testament to his stoicism, and to his love of music that he could even contemplate embarking on a recording project, let alone embue it with a combination of relaxed enjoyment and steely eyed detemination. Implicit in the title is the idea that here was a man composing his own musical epitaph, a sad thought, but Alan would have been quick to discourage such sadness." And it's true that listening to this album does not bring sadness, only joy. Now contemplating the circumstances of this recording as I am now is a different story.

"Above & Below" is intricate and laid back then the guitar starts to lead in a relaxed manner. Love this stuff. Keyboards and cymbals lead after 2 1/2 minutes. There's some vocal melodies from Richard in this one too. A gorgeous track.

"Reflexes In The Margin" is a more dynamic track with throbbing bass and prominant drums and keyboards.The guitar leads briefly after 3 minutes.

"Nowadays A Silhouette" is a mellow tune with bass out front then keyboards.The bass returns to the fore as the keys and cymbals continue.

"Silver Star" is more passionate with the drums and guitar leading as the bass throbs. The keys join in and we get some fuzz too. Nice.

"Fourfold" has so much going on with all these intricate sounds. "Before A Word Is Said" is different with the dark soundscape while children can be heard in the background to start and end the song. A very meaningful number.

"Umbrellas" is light with vocal melodies. "A Fleeting Glance" has some excellent guitar before 3 minutes that starts to solo as keys, bass and drums support. Cool section.The keyboards then lead before 4 minutes.

For me this is a 4 star album on it's own. No sympathy stars here because the music is amazing.

The only album of this Canterbury Scene project, and the one with sad story around it. Alan Gowan, ex-Gilgamesh and ex - National Health keyboard player recorded this album with his friends and known British jazz musicians at his home just some weeks before his death (he died at age of 33 of leukemia).

And this sad ,nostalgic atmosphere is presented on this album in full. Not usual complex and slightly psychedelic jazz fusion, known under "Canterbury sound"name, but more melodic, not so complex, very jazzy, full of sadness nand melancholy music.

I believe the story about Gowan last release and his death has it's influence, but even if don't know nothing about it, from very first sounds you feel this very special album's atmosphere. And I believe that this release is that rare case, when you FEEL music much stronger than you HEAR it.

Thinking about separate musical components, I can't say why this quite simple jazz rock has such emotional power. But I listen this album again and again, and it looks that music just hypnotises you!

Sound quality is not bad, but mix could really be better. Some songs sound unfinished. But - you don't pay attention when the music plays. What a magical release!

My rating is 3,5, rounded to 4!

Alan Gowen was involved in some of my favorite albums. He more or less made them to what they are. He is most known for his decisive influence on the likes of National Health and Gilgamesh. Alan Gowen was diagnosed with leukemia back in 1980. His illness was fatal. But before he passed away, he invited his friends Phil Miller, Richard Sinclair and Trevor Tomkins to a recording session in his own flat. The result was his epitaph and final farewell to a music scene he had served so well. Alan Gowen passed away only weeks after this recording, later released as this album after his death.

The making of this album makes this a very poignant album. Those of us into the Canterbury Scene owes Alan Gowen a huge debt of gratitude. It is therefore not easy to write a 100 % objective review. Well, this review is a failure in that respect. But I am only a human being and it is my right to, in my own way, mourn the passing of a man who died in 1981. People still mourn the passing of Ludwig Van Bethoven when they listen to the symphony which he wrote as his own epitaph. Noone of his mourners attended his funeral of obvious biological reasons. So please forgive my tears......

This album is pretty much dominated by Alan Gowen's keyboards and his playing is flawless. The rest of the musicians do a brilliant job too and this album is a credit to their superb musicianship too. This album was recorded in a flat where a man was dying. So the sound is therefore surprisingly flawless. I cannot find anything wrong with it. But if you have a $ 10 000 sound system, you may find some flaws. I suspect the tapes was heavy doctored in a proper studio.

The music is in the Gilgamesh vein. That means laidback jazz with a quirky Canterbury slant. Some influences from National Health can be detected too. The best song here is the title track and it is a funeral dirge. A very haunting, dark funeral dirge too with some children voices at the end. The symbolism is obvious. Overall, the album does have a dark, sad feeling over it. This is not a happy album. It is what it was meant to be; an epitaph.

Quality wise, this album is very strong at times. The title track has been mentioned and it is among the best songs Alan Gowen ever did. Songs like Umbrellas and Above & Below is very strong too. I have difficulties finding any flaws with this album. It has become one of my favorite Canterbury Scene albums during the last weeks. That is not due to sentimentalism. It is due to the music here makes my heart strings sings. Yes, the music is sad and somber. But this album has it's own identity which I feel the two proper studio albums from Gilgamesh was sadly lacking. The label "dark Canterbury Scene jazz" may apply to this album.

This is an excellent album from the Canterbury Scene. I do not think I am overly sentimental or too influenced by the tears in my eyes when I give it four stars. I honestly think this is a great album. Alan Gowen got his fitting epitaph and we can only be grateful with his decission to invite his three friends into his flat during the final weeks of his life. R.I.P.

4 stars

The listening of this album always leaves me with the wanting more syndrome. I admit to the other reviewers saying that the overall quality has a bit, and I mean an ever so tiny bit, of a demoish feel to it.

But who cares! How lucky we are to have this final statement from the genius of Alan Gowen! In fact, it's down right eerie, the playing is still brightly executed, and the writing is hauntingly beautiful. I just love Mr. Gowen's body of work, and am moved every time I listen to this final musical summation.

Long live Alan Gowen, and thanks Alan for your kindly musical taste and exectution - lost in our times I'm afraid!

As always, thanks for listening fellow prog music searchers!

3.5 stars

Recorded at Alan Gowen's flat in South London just weeks before his untimely death, this album is a fine piece of work from the sometime Gilgamesh and National Health keyboards player and composer and is a real treat for Canterbury fans. On these recordings he was accompanied by Phil Miller, Richard Sinclair and drummer Trevor Tomkins, and the sound is like a lighter, breezier version of National Health.

The sound quality is good but not brilliant; it sounds more like a collection of high quality demos rather than a fully produced studio album. If you accept that, however, it's a splendid slice of the very English version of jazz rock fusion that emanated from the Canterbury scene. All of the musicians are in fine form and the general vibe is relaxed and good natured, with Phil Miller turning in some particularly good performances on guitar. Richard Sinclair's bass anchors the arrangements and he adds some of his trademark (wordless) vocals here and there, notably on the opening track and Umbrellas. Former Gilgamesh member Trevor Tomkins plays with the light touch of a seasoned jazz drummer (he remains a key player on the UK jazz scene to this day) but lays down a solid beat when the music demands it. Above all there is the keyboard work of Alan Gowen; anybody who enjoyed his Minimoog contributions to National Health will love this album. The words 'jazz' and 'synthesiser' rarely sound credible when joined together in the same sentence, but Gowen's synth solos have the fluidity and lyricism of Elton Dean's alto sax or Didier Malherbe's flute, and crucially he knew when to stop playing and share the spotlight - one of the many delights of this album is his interplay with Phil Miller and Richard Sinclair, all being equally happy to play in the background or to take a searing solo. The standard of composition and musicianship is excellent throughout but the highlight of the album is probably the title track, a downbeat piece with the sound of children playing outside in the background. It comes across as more elegiac than mournful, but it has an added poignancy given the circumstances under which it was recorded.

This was Alan Gowen's final musical statement and is a fitting musical epitaph for a strangely overlooked musician and composer. Round it up to 4 stars if you're into Canterbury and especially if you're a National Health fan, but if you're a newcomer start with National Health's debut.

BEFORE A WORD IS SAID was recorded in Alan Gowen's London flat, just weeks before Gowen died of leukemia at the age of 33.

Any review that's disrespectful of music recorded under such circumstances may come across as bad taste. The wonder isn't just that this album was recorded, but that Gowen's keyboard playing is one of the sprightliest things on it! National Health fans will love Gowen for all the music he wrote, and especially for his gorgeous minimoog playing. BEFORE A WORD IS SAID proves that, even in the last days of his life, Gowen's musical gift was undiminished. As always, his splendid solos sound like nobody else's.

BEFORE A WORD IS SAID will also be of interest to admirers of Richard Sinclair, who plays some marvellous fretless bass on "Nowadays a silhouette" and "Umbrellas". And Phil Miller fans won't be disappointed, since Phil does some superb (very Hatfield-like) things on "Fourfold" and "A Fleeting glance". The latter starts out disconsolately but is lifted out of the mire by what must be one of Phil's best ever solos. If you really like the musicians involved in this project, I'd definitely recommend you to get a copy of this album.

When all is said and done, I must admit some of the tracks (e.g. "Reflexes in the Margin" and "Silver Star") have an unfinished air about them and seem little more than demos. As for the chime-like title track - that just sounds immensely sad. Thank you, Alan, for all the lovely music you gave us.