CENTIPEDE (Keith Tippett) "Septober Energy" 2LP NM/VG+ w SC, 1974 Robert Fripp

$

26

AllMusic Review by Bruce Eder  [-]

The initial tendency is to dismiss this recording as one of those failed experiments from the progressive-rock era, and the opening band on Disc One definitely invites that treatment with what appears to be an almost deliberately provocative aimlessness. parts of Disc Two, which seem buried in noise and masses of sound that don't go anywhere over many minutes, have similar problems. In between, however, are sublimely beautiful virtuoso passages for various soloists and small units within the orchestra. Alan Skidmore, Elton Dean et. al. get some great moments on the core of the first disc, which evolves out of the annoying big-band noodling of the opening into a swinging, big-band progressive-rock sound with elements of bop as well. There are vocal passages on this record, mostly built around Julie Tippett's gloomy, doom-laden Crimson-like words, and they're pretty but they're not a major part of "Septober Energy." Unfortunately, there is also more meandering, and just as it looks like the finale has pulled it together, with a very pretty and understated acoustic piano section featuring Keith Tippett solo, the piece loses it in an extended and very repetitive part for the full orchestra that goes nowhere and takes forever to fade. In fairness, the sound on the CD is excellent, and the second half of Disc One in particular is worth hearing, but there's too much here that isn't -- and too much that also sounds like those crashing sax-based sound explosions that puntuate King Crimson albums like Islands -- for anyone except hardcore fans of Soft Machine et al.

Centipede (3) ?– Septober Energy

Label:

RCA Victor ?– CPL2-5042

Format:

2 × Vinyl, LP, Album 

Country:

US

Released:

1974

Genre:

Jazz, Rock

Style:

Free Jazz, Prog Rock, Avant-garde Jazz

Tracklist

A Septober Energy 21:40

B Septober Energy 23:35

C Septober Energy 21:15

D Septober Energy 18:45

Companies, etc.

Copyright (c) – RCA Records

Recorded At – Wessex Sound Studios

Produced For – Ronnie Scott Directions Ltd.

Designed At – Foster & Knowles Advertising

Credits

Alto Saxophone – Dudu Pukwana, Ian MacDonald*

Alto Saxophone, Flute – Jan Steel

Alto Saxophone, Saxello – Elton Dean

Baritone Saxophone, Clarinet – Dave White

Baritone Saxophone, Oboe – Karl Jenkins

Bass – Brian Belshaw, Dave Markee, Harry Miller, Jeff Clyne, Jill Lyons

Bass Saxophone, Soprano Saxophone – John Williams (9)

Bass, Bass Guitar – Roy Babbington

Cello – Catherine Finnis, John Rees-Jones, Katherine Thulborn, Michael Hurwitz*, Suki Towb, Timothy Kramer*

Cornet – Mark Charig*

Cornet [Pocket] – Mongezi Feza

Design [Album Design] – Dick Whitbread

Drums – Robert Wyatt, Tony Fennell

Drums, Percussion – John Marshall

Engineer – Mike Thompson (4)

Executive-Producer – Pete King

Guitar – Brian Godding

Illustration [Universal Man], Text By [Poem in Gatefold] – Julie Tippett*

Photography By [Cover] – Martin Adelman

Piano, Music Director [M.D.] – Keith Tippett

Producer – Robert Fripp

Sleeve Notes – Robert Wyatt

Tenor Saxophone – Alan Skidmore, Brian Smith, Gary Windo, Larry Stabbins

Trombone – Dave Amis, Dave Perrottet, Nick Evans, Paul Rutherford (2)

Trumpet – Mick Collins (2), Peter Parkes

Trumpet, Flugelhorn – Ian Carr

Violin – Carol Slater, Channa Salononson, Colin Kitching, Esther Burgi, Garth Morton, John Trussler*, Louise Jopling, Mica Gomberti*, Philip Saudek, Roddy Skeaping*, Steve Rowlandson, Wendy Treacher

Violin [Lead] – Wilf Gibson

Vocals – Boz*, Julie Tippett*, Maggie Nicholls*, Mike Patto (2), Zoot Money

Written-By – Julie Tippett*, Keith Tippett

Notes

Released in a gatefold cover with different design than Neon release.

Scheme AD BC

Recorded at Wessex Studios, London, June 1971.

(C) 1974 RCA Records, Printed in U.S.A.

Album Design by Nick Whitbread of Foster & Knowles

GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.