SUNSET WADING (1976)
1 I Wait My Friend (2:24)
2 How Goes The Night ? (0:15)
3 Devoke Water (4:51)
4 Birds And Small Furry Beasts (3:19)
5 As Clouds Gather (3:45)
6 Storm (2:59)
7 Ah Well, You Can Only Get Wet! (1:56)
8 Dawn (7:05)
9 Morning Song (3:09)
10 On The Moor(3:09)
11 Roundelay (0:51)
12 Etude (3:33)
13 A Rhythmic Stroll (1:12)
14 Sunset Wading (2:35)
Elio D'Anna - sax, flute
Michael Giles - drums
Rupert Hine - piano, electric piano, celeste, Moog, vocals
Simon Jeffes - koto, string quartet conductor
John G. Perry - bass, vocals, piano
Morris Pert - marimba, vibes, percussion
Geoffrey Richardson - viola, flute
Carrado Rusticci - guitar
1976/LP/Les Disques Motors/2933206/France
REVIEWS FROM VARIOUS SOURCES
The first and foremost band to which John G. Perry is mostly associated with would be Caravan, as he would play the bass guitar and contribute some vocals to their albums 'For Girls who Grow Plump in the Night' and the live 'Caravan and the New Symphonia'. If I recall correctly, I have read that sometime in the 80's (?) John was involved in the designing of Bass Guitars for the famous company WAL. After Caravan, he found himself in 'Curved Air', to which he was credited with bass for their mediocre 'Midnight Wire' album (which I don't own anymore, and haven't heard for a decade). Having learnt in recent years of a proper solo release, 'Sunset Wading', I managed to acquire a nice Japan pressed vinyl for my collection and the music presented here is mostly impressive, highly instrumental, kind of incidental, short jams with some 'proper' songs. The musician list is delight to read through - Michael Giles (drums), Rupert Hine (keys) Geoffrey Richardson (viola/flute) and Morris Pert (perc) with contributions from Elio D'Anna (saxes/flute) and Carrado Rusticci (guitar) from the fantastic Italian prog band OSANNA (or NOVA, whom I haven't heard), Roger Glover (barely noticeable ARP synth) Simon Jeffes (Koto/arranger) and a string quartet. Right from the start, flowing water can be heard, with some soft piano, drums and bass guitar to which guest Beryl Streeter beautifully sings a short poem. How goes the Night? is a very atmospheric song featuring some great bass playing and rhythm, with some fine vocals from Perry. The tune itself really captures the essence of the night. The next few tracks are brief instrumental pieces, containing subtle, funky, jammy and brooding textures, all flowing along perfectly in an almost suite-like fashion. Side 2 kicks off with 'Dawn', which blends into 'Morning Song' and 'On The Moor' - incorporating background sounds recorded in the Lake District, Perry also reads a short poem. At times, the Bass playing is free, busy and meandering, but never self-indulgent. Geoffrey R's performance is particularly impressive. Recurring themes appear throughout, giving the album cohesiveness, and a flowing, almost conceptual theme to the project. The last track 'Sunset Wading' is an absolute stunner - blissfully serene and profound. I have no reason to attribute anything less than 5 stars to this, simply essential, lost gem of the Prog world.
Tom Ozric 5/5 11.11.2006 (PROGARCHIVES)
A charming album that would deserve a better recognition. Helped by ex-KC Michael Giles, and two members of the Italian group "Nova", John G. Perry's unique album recalls the lyrical side of Canterbury school and develops an aerial (violin) and pastoral (gentle flute) mood. Some pieces are faded with nature's sound on this concept album dedicated to Mother nature. The music is not complex but sophisticated, elegant and features a rich instrumentation. Except the 7mn "Dawn", all the pieces remain short. Echoes of Gong Shamal's period can be heard. Gentle symphonic pastoral parts (in a Camelian mood) alternate with more muscular jazzrock flights and some very good spacey moments, such as the excellent "Morning song" or the more adventurous progressive experimental "Storm". "As Clouds Gather" strongly evokes Clearlight ("Symphony" period) by its ethereal space cosmic quality and features a thrilling flute. Very good production resulting in a satisfying sound quality with great sound imaging.
oliverstoned 4/5 19.02.2007 (PROGARCHIVES)
Finally, justice , in its proggiest form (better late than never) is rightfully served with the well-deserved entrance of this charming artist and his 2 solo albums, to the prog community. One of Prog's main attributes is the multiple usages and techniques displayed by some outright virtuoso bass players (Squire, Levin, Rutherford, Hopper, Tony Reeves, Mick Karn, Percy Jones, Pastorius etc...) who also stretch the boudaries of creativity and coalesce brilliantly with their fellow instrumentalists. John G.Perry is not a household name but he is scattered among Curved Air, Quantum Jump, Caravan and Anthony Phillips recordings and should be remembered mostly for this very original, dare I say, uniquely personal disc. In every progfan's collection that possess all the usual suspects, there are always a couple of "faves"that have seared the mind , for no obvious reason. Like Fireballet or Greenslade or Il Volo. I have Nova's Wings of Love and this vinyl jewel (both recently purchased on CD after years of searching) to venerate. I have no idea why these musical testimonies have so deeply impacted my soul. For "Sunset Wading" , it was the sheer calm and beauty emanating from the speakers, pushed gently along by the unmistakable wobbly fretless sounds of the WAL bass , the very English melodies provided by the genius of Rupert Hine's keyboards and Geoff Richardson's stellar string work. The sizzling guitars of Nova's (no surprise there) Corrado Rustici are simply spellbinding when in unison with bandmate Elio d"Anna's tasty flute and oboe. But let's get to the core: Michael Giles is rightly immortalized for his KC Mark I work , as well as a few sessions here and there but on Perry's solo albums , he just shines! The rhythmic content displayed here is astonishing, with the WAL expertly navigating the brushes, the taps, the rolls and the tingle ! I strongly suggest to listen to this gorgeously produced album , focusing just on the bass-drum interplay and you will see exactly what I mean. From "How Goes the Night"'s intoxicating brew (similar to weather Report's classic "Boogie Woogie Waltz" to the final Title Track, the audiophile-fan is trekking through the English musical countryside, marveling at its verdant pastoral luxuriance. Don't miss out on this masterpiece. 5 wisps of the moor
tszirmay 5/5 14.03.2007 (PROGARCHIVES)
There seemed to be a connection between the bands BRAND X and NOVA in the past and we get members from both bands helping out John on his solo album here. Surprised to see Roger Glover add some synths on one track as well. Geoffrey Richardson adds viola and flute, Richard played with John when they were both part of CARAVAN's "For Girls Who Grow Plump In The Night" lineup. By the way the music here sounds nothing like any of the bands i've mentioned. Haha. This is mature Canterbury music. How's that ? A lot of these tracks blend together and we hear water sounds quite often like we're by the lake. Oh ! Giles formerly of KING CRIMSON is on the kit. "I Wait My Friend" opens with birds singing as the piano joins in and then some light percussion. Female vocals melodies join in before John's vocals take over before 2 minutes. "How Goes The Night ?" is a short intro of piano and drums for "Devoke Water" which is a cool track with a dark atmosphere. It ends with the sound of water and blends into "Birds And Small Furry Beasts". Piano, drums and flute join the water sounds. Check out the eerie violin before 2 minutes. "As Clouds Gather" opens with piano and bass as guitar comes in, flute follows. "Storm" opens with sounds that come and go. It's building and the drums are really prominant. Just an incredible piece of music here. It turns spacey to end it. "Ah Well, You Can Only Get Wet" is uptempo with guitar leading the way early. "Dawn" opens with nature sounds. Violin before a minute. The tempo starts to pick up before 3 minutes with drums and a fuller sound. Piano joins in and there's so much going on. Great tune ! "Morning Song" has some good violin followed by spoken words and water sounds. "On The Moon" is a smooth sounding track. I like when the rain comes pouring down before 2 minutes. It blends into "Roundelay" as piano joins the rain. "Etude" has a good beat with fat bass lines. Violin joins in. The guitar / violin team rips it up before 2 minutes.Water sounds end it as it blends into "A Rhythmic Stroll" where piano joins the water. Synths, drums and violin on this one as well. "Sunset Wading" features some vocals and a beautiful soundscape. A perfect way to end it. A charming record that is very well done.
Mellotron Storm 4/5 08.06.2009 (PROGARCHIVES)
JOHN G. PERRY can be characterized as a nomad musician, playing bass for a great number of bands through the 70's. He began his professional career with Gringo being a member among those who recorded their only LP in 1971.After Gringo gave it up,he played bass for Spreadeagle on their 1972 work ''The Piece of Paper'' before joining Caravan as a session bassist both on "For Girls Who Go Plump in the Night" and "Caravan and the New Symphonia'' (notice that Gringo toured with Caravan in their early years).Perry was also a member of the Canterbury progsters Quantum Jump.At the same time while working with QJ, Perry found time to record his first solo work ''Sunset wedding'',joined by a number of great musicians like Rupert Hine,Michael Giles,Elio D'Anna,Roger Glover among others,while Perry himself handled the bass,piano and some vocals. STYLE: The title says it all.A very smooth album with an impressive lounge feeling and influences from Jazz Rock,Canterbury Prog,Psych-, Classical- and even World Music. Hard to be compared the album features some hypnotic arrangements based on the combination of steady rhythms and various solos,coming from guitars,violins,flutes and keys.Some ethereal male and female vocals here and there make it even more atmospheric.The addition of ethnic instruments like marimbas and percussions is one of the most interesting stuff in here,while string arrangements are almost everywhere,yet they are so distinctive.I find myself often labeling ''Sunset wedding'' as a tribute to the prog sounds of the 70's,it is such an eclectic mix of styles.14 mainly short tracks scanning the variety of music in general. SOUNDS LIKE/INFLUENCES: JOHN G. PERRY tried something so different than his work on his previous and current bands.The best way to describe this is like MIKE OLDFIELD joining the Canterbury scene from his early years in a less guitar-oriented style.File next to similar experimental artists like JEAN PIERRE ALARCEN or JOEL DUGRENOT. PLUS: The best proof that a bassist is not just 1/2 of the rhythm section. This is definitely a great ''wedding'' (to play a little with the album's title') of prog music with a variety of different styles.Unique and very personal album.Very balanced work overall with nicely executed string,flute and keys arrangements.A lounge jazzy atmosphere of amazing beauty to be met. MINUS: Some gears like a fine dose of interplays or a couple of guitar hooks wouldn't hurt...and this because the album is very smooth and cannot be listened at any time. It requires a specific relaxing mood. CONCLUSION/RATING: I have listened to this album over a dozen times. Sometimes I find it quite soft,especially when I need something more dynamic...but again it happens that I get lost in its very original atmosphere for good.So,when needing something trully compelling yet quite calm at the same time,''Sunset wedding'' is your thing...3 stars,as an average of 2 and 4 depending on my mood.
apps79 3/5 23.11.2010 (PROGARCHIVES)
A tranquil Canterbury album thrown together by John G. Perry after his brief tenure as bassist for Caravan. Thematically speaking, Sunset Wading indulges a little heavy-handedly in the sort of romanticisation of the countryside Mike Oldfield was also guilty of at the time, and I find myself agreeing with psarros that there seems to be a mild Oldfield influence at work here. I don't detect much Caravan in the compositions this time around - the mood seems a bit more melancholic, serious and thoughtful than Caravan's usual playful mode - but the album is nonetheless a great addition to the less musically frenetic and more laid-back and tranquil end of the subgenre.
Warthur 4/5 11.10.2011 (PROGARCHIVES)
An undiscoverd classic of the 70's Canterbury Prog rock scene.
A one time member of Caravan, albeit briefly, John G Perry produced this album of fairly short works full of melodic invention and creative endeavour. A shame that it didn't sell at all and the next I heard of him he was guesting with his mate, Rupert Hine in the equally creative Quantum Jump. Don't seem to have heard anything of him since. But good to see this available again
Armitage Shanks 4/5 23.03.2009
John G. Perry ist in Progkreisen hauptsächlich als der dritte Bassist von Caravan bekannt (als Nachfolger von Richard Sinclair und Stuart Evans). Mit Caravan spielte er die Alben "For Girls Who Grow Plump in the Night" und "Caravan and the New Symphonia" ein, ehe er die Band verließ, um sich 1974 Rupert Hines Quantum Jump anzuschliessen. Auch für Curved Air bezupfte er kurzzeitig die Saaiten seines Basses (siehe "Midnight wire"). Mitte der 70er Jahre spielte Perry auch sein einziges Soloalbum ein (ein zweites Album wurde zwar begonnen, doch nicht vollendet - die Rohversionen der Stücke erschienen erst 1995 als "Seabird" auf dem Voiceprint-Label). "Sunset Wading", produziert von Hine, erschien 1976. Eine ganze Reihe von Bekannten und Freunden lud sich Perry in das Decca-Studio in West Hampstead, darunter den ersten King-Crimson-Schlagzeuger Michael Giles, Perrys ehemaligen Caravan-Kollegen Geoff Richardson, den auf unzähligen Aufnahmen aus dem Canterbury-Umfeld zu hörenden Morris Pert und Corrado Rustici und Elio D'Anna von Nova(vormals Cervello bzw. Osanna). Zudem bedient kein Geringerer als Roger Glover auf einem Stück einen ARP 2600 Synthesizer. Einen sehr delikaten, canterburesken Jazzrock setzt Perry hier seinen Zuhörern vor, der ausgesprochen interessant instrumentiert ist und sehr locker, farbig und abwechslungsreich aus den Boxen geplätschert kommt. Das Album ist um diverse Aufnahmen von Naturklängen (vornehmlich Wassergeräusche und Vogelgezwitscher, die Perry und Hine zu verschiedenen Tageszeiten in einem Naturschutzgebiet aufgenommen haben) herum konstruiert, die die einzelnen Nummern voneinander trennen. Bass, Tasten und die Perkussion bestimmen das Geschehen, dazu kommen kürzere Einwürfe und Soli von Viola, Sax oder E-Gitarre. Von sehr elegischen Klanggemälden bis hin zu schwungvolleren Jazzrockern reicht die Palette der Musik, die zudem ab und an durch ein Streichquartett unkitschig bereichert wird. Selten (zu selten) lässt Perry auch seine durchaus angenehme Stimme erklingen. "Sunset Wading" - 2008 von Esoteric Recordings auf CD wieder aufgelegt - ist ein rundum gelungenes, wunderschönes, fast sanftes Album mit einer gehaltvollen Mischung aus anspruchsvollem "Softprog" und Jazzrock, die nie seicht oder belanglos wird, sich manchmal in leicht angeschrägte Gefilde vorwagt und die jedem Canterbury-Liebhaber sehr zusagen sollte. Es gibt auch in jenem Genre immer noch Neues zu entdecken!
Achim Brieling 10/15 10.03.2011 (BABYLAUEN)
With a pedigree that includes playing with Caravan, Quantum Jump and Curved Air as well session work on albums by highly regarded artists such as Anthony Phillips and Gordan Giltrap, the name of bassistJohn G Perrywill be familiar to many. What may not be so well known is that Perry recorded a solo album way back in 1976 that was somewhat lost in the musical climate of the time. The various bands he had played in and the musicians he had met during sessions allowed him to assemble an impressive cast of friends to perform on the album, among which were Caravan bandmate Geoffrey Richardson, producer and multi-instrumentalist Rupert Hine, arranger, conductor and future founder of The Penguin Cafe Orchestra Simon Jeffes, percussionist extraordinaire Morris Pert, original King Crimson drummer Michael Giles plus two members of Italian progressive band Nova, saxophonist Elio D'Anna and guitarist Carrado (or Corrado) Rusticci. Competing in the market place against debut albums by The Sex Pistols, The Clash and The Damned, the rural airs and graces of the largely instrumentalSunset Wadingnever really stood a chance. The four vocal numbers are all very brief:I Wait My Friendfeatures Beryle Streeter who does a remarkable impression of a theremin on this plaintive opening number. Confusingly, the words toHow Goes The Night?feature in the songDevoke Waterand the spoken poemOn The Mooris recited inMorning Song! Thankfully the words toSunset Wadingare sung during the song of the same name and form a quite mellow end to the album with a track that is charmingly beautiful and serene. The rest of the album is a mixture of various textures, from the piano and flute ofBirds And Small Furry Beasts, the musical storm of, erStorm, the rockyAh Well, You Can Only Get Wet!and the jazz fusion ofEtude, there are certainly enough styles to keep one's interest alight. Throughout, the playing is exceptional, with hats off in particular to Simon Jeffes whose arrangements for the string quartet are entirely sympathetic to the music performed by the rest of the band. Perry himself contributes some fine bass playing in a variety of styles creating rhythms that are often funky and always great. The second side of the album, starting withDawn, is a musical concept undoubtedly inspired by the Rupert Hine poemThe Land Of The Lakes. Based around a day in the Lake District, and featuring unedited sound backdrops recorded on location and revealing "the first cock-crow at Down-in-the-Dale to the last breakfast hungry farm hound". Much of the music has a feel of being improvised or jammed, but with musicians of such calibre that is not a criticism, but a bonus, particularly as there maintains a cohesion between tracks, despite the different styles. That has a lot to do with the work of Richardson who, I feel, has always been immensely undervalued as a musician. Sunset Wadingis an album that fits in neatly with the music of Perry's most famous previous band mates, that ofCaravan. Although not some great long lost classic album, it does provide 40 minutes of largely unchallenging, familiarly rural and interesting music. Had it been released a few years earlier then it would have undoubtedly made a bigger impact, but as is the case for a large number of albums that were out of their time, it has largely laid unnoticed for many years. Now's the time for rectification!
Mark Hughes 6/10 2008 (DRDP)
Perry's sparkling Summer daze.
1976 was never going to be a good year to release an album of contemplative, introspective songs and instrumentals, especially if you were an ex-member of Canterbury scene stalwarts Caravan. Having spent 18 months as bassist during their For Girls Who Grow Plump In The Night renaissance, Perry had the misfortune to release his first solo album just as punk rock was firing its first salvos. Produced by Rupert Hine (Perry's partner in ace electro-rock hybrid Quantum Leap), it boasts an impressive cast of players that includes King Crimson co-founder, drummer Michael Giles, Penguin Café supremo Simon Jeffes and even a brief cameo appearance by Purple's Roger Glover, heard fleetingly on synthesiser. With an overall pace equivalent to a sedate stroll, guitarist Carrado Rusticicci, from Italian band Nova, adds some welcome John McLaughlin-inspired fireworks on the more up-tempo fusion-based jam Ah Well You Can Only Get Wet, as well as Morning Song and Etude. Adding a lively counterpoint to the prettily pastoral but somewhat snoozy air pervading the record, it's a shame such energetic interludes aren't more substantial. Nevertheless, thoughtful arrangements, Perry's agreeably melodic bass work and reliable performances throughout offer a pleasant stopping-off point.
Sid Smith 3/5 04.05.2008
A minor figure in the mid-'70s U.K. progressive scene (his highest-profile gig was as a bassist inCaravanfor a couple of years), John G. Perry only released one album in that decade, 1976's slight but charming Sunset Wading. The album's primary gimmick is that throughout the background of its entire 40-minutes runs an ambient field recording of a rural sunrise, beginning with the first rooster crow of the day. (Why an album with an early-morning theme like this has the word "Sunset" in its title is never adequately explained.) Over this pleasantly unobtrusive environmental sound, Perry and a small group of friends featuring producer Rupert Hine, former Robert Fripp associate Michael Giles, and two members of the cult-heroes Italian progressive group Nova play a largely instrumental song cycle highlighted by some delicate musical passages (as on the absolutely lovely "Birds and Small Furry Beasts") that recall both the more lyrical side of the jazz-influenced Canterbury progressive scene and the poppier Italian progressive rock scene. The seven-minute centerpiece track, "Dawn," is the standout, slowly building from an almost Brian Eno-like ambient introduction to a resounding climax. Other, more rhythmic tracks recall the mid-'70s work of Gong and the post-Robert Wyatt, fusion-oriented Soft Machine. Unfortunately, as this parade of name-dropping shows, Perry never quite manages to put it together enough to sound like a new and inventive artist, himself. Although Sunset Wading is an enjoyable and often very good listen, there's not much new here.
Stewart Mason (ALT MUSIC)
Lost Canterbury star recording
This is a gem - in nothing else, it marks the first appearance of the Penguin Cafe Orchestra, who appear throughout in their finest form (as per Hugebaby or Chartered Flight on MFTPC). Perry was the bass player for Caravan in the "For girls" and "New Symphonia" recordings, and Jeffes orchestrated pieces for them. Geoff Richardson (also of Caravan and Penguin Cafe) play, while luminaries like Roger Glover (whom Perry knew from the road) and Rupert Hine and Morris Pert (co-members with Perry Quantum Jump) make their presence felt on occasion. Wonderful ambient recordings, anf spectacular sax and guitar from Italian Jazz-Rockers d'Anna and Rustici (Nova). This makes it sound like a jumble, but it isn't. It stays away from self-indulgence holds together better than most concept albums. I was thrilled when it was released on CD, as someone "borrowed" my LP copy 20 years ago.
D.J. Pigott 5/5 19.02.2005)
This is a most unusual album.
Although some of the melodies are repetitive, there's an amazing freshness and tranquility to this album as a whole that makes it one of my favorite recordings of the last thirty years or so. I didn't even know it was available on CD until today, and ordered it immediately. Sound quality is excellent throughout. As the other reviewer has noted, buy this one before it disappears.
S. Baird 5/5 18.04.2002
Canterbury getränkter Prog auf hohem Niveau
Ja ja der liebe Charly mit seinen CD Höraktion. Wie schon so oft hat er genau in` s Schwarze getroffen und mir mit diesem Werk meine Sammlung um ein weiteres Juwel bereichert. Der Mann war mir nicht geläufig und erst jetzt weiß ich das es sich um den Bassisten von Caravan handelt. Weiß man es, so erkenne ich ihn durchaus. Die Canterbury Einflüsse sind klar erkennbar, auch wenn ich die Musik eher dem Prog mit Jazzanleihen zuweisen würde. Egal, nicht jedes Kind braucht einen Namen, bzw. Musik ein festes Genre. Nun kurz zur Musik. Der Hörer kann sich auf ein wunderbares Werk freuen, das bei jedem Hördurchgang mehr zu überzeugen weiß. Seine Mitstreiter sind keine geringeren als Roger Glover, Rupert Hine, Crimson Drummer Micheal Giles und und und. Vermutlich sind es Musiker aus dem Umfeld des Decca Labels, so meine ich es zumindest gelesen zu haben. Die Musik ist eine Prog, Jazz und Canterbury Mixture die höchsten Ansprüchen genügt. Man kann viele interessante Klangwelten erhören. Naturgeräusche kombiniert mit satten Bassläufen, Tasten und Percussions Ausflügen und wunderbar eingestreuten Violinen, Flöten und einigen anderen ungewöhnlichen Instrumenten machen die CD zu einem Höchstgenuss. Dazu eine angenehme Sangesstimme, die mich persönlich an Jack Bruce erinnert. Was mir sehr gut gefällt, ist die Abwechslung in den Kompositionen. Ob Dramaturgie, Melancholie oder Ausflüge in den Jazz, alles passt einfach und erinnert mich bei den Gitarrenpassagen auch ein wenig an Tubular Bells.
Egal wie man das Album musikalisch einordnet, es bleibt ein überaus interessantes Stück Musik, dass sicherlich oft den Weg in meinen CD Spieler finden wird. Wer Lust hat, sollte sich einen Roten im abgedunkelten Hör raum gönnen, er wird nicht enttäuscht werden.
Aber Vorsicht, Caravan gibt es hier nicht, sondern nur Anleihen.
HMC 4/5 22.11.2011
A very smooth album with an impressive lounge feeling and influences from jazz rock,Canterbury prog,psych-, classical- and even world music. Hard to be compared the album features some hypnotic arrangements based on the combination of steady rhythms and various solos,coming from guitars,violins,flutes and keys.So,when needing something trully compelling yet quite calm at the same time,''Sunset wedding'' is your thing...3 stars,as an average of 2 and 4 depending on my mood.
God bless Estoteric records for running a reissue series on some of the Canterbury Scene artists. They have done a careful job of remastering and that shows. 'Sunset Wading' is an album I have been looking for for quite some time and I am pleased to say it lives up to its reputation as a lost classic of pastoral, jazzy prog-rock. Perry's bass-playing shines throughout but does not dominate the proceedings and the whole is a tasteful and relaxing experience that gives you the choice to either sink into it or to allow it to drift along as abackground. A balance that few albums can achieve. The incomparable Mike Giles is also masterfully active on the drums and Geoff Richardson's viola brings the Caravan sound back in places. John Perry was a major contributor to my favourite Caravan LP 'For Girls Who Grow Plump in the Night' and here his talents as a writer and leader are evident.
I'm sorry I have to disagree with Reeves about the "careful remastering" : though the original artwork is restored compared to previous reissues, the sequencing of the tracks has been very badly done and does NOT respect the original lp (which I own), and that's a real shame....
Stunning impressionistic soundscape from the former Caravan/Quantum Jump bassist/vocalist. There's bursts of fusion here (unsurprising, as members of Brand X and Nova played on it), and Perry sings a bit, but it remains quite low-key and unassuming (and instrumental) for most of its length. Lovely album!
Before starting to review the release, I would like to express my gratitude to the British company Esoteric Recordings, a subsidiary of Cherry Red Records, for the reissue (2008) of this wonderful disc. Remastered from master tapes, restored to its original artwork, the "Sunset Wading" CD is an excellent gift for true music lovers. My dream of hearing it in excellent quality has finally come true, for which many thanks again to the guys with Esoteric. And now to the topic. John G. Perry is a legendary figure in the Canterbury art rock scene. During the 1970s, he was one of the most sought-after session bass players in England. The maestro has collaborated with Anthony Phillips, Curved Air, and a host of other artists. Since 1978 - a member of the Aviator collective founded by Mick Rogers (Manfred Mann's Earth Band). However, John showed himself best of all in the magnificent art-funky ensemble Quantum Jump, with which he recorded two worthy albums. Perry's solo work (at least the debut release) is different from everything he did "on the side". Maximum originality, minimum comparisons with anyone else. "Sunset Wading" cannot be described in one or two terms. This is a kind of watershed of genres, a sound field woven from various elements according to the laws known only to its creator. John attracted old friends and colleagues to work on the record: drummer Michael Giles (ex-King Crimson), organist Rupert Hine (Quantum Jump, solo), percussionist Morris Peart (Brand X), violist / flutist Jeffrey Richardson, brass player Elio D'Ann , guitarist Carrado Rusticci, and the chamber art-rock quintet Penguine Cafe Orchestra conducted by Simon Jeffs. The distinguished Roger Glover (Deep Purple, Rainbow), who played in the composition "A Rhythmic Stroll" on the synthesizer A.R.P. 2600. About the music. It doesn't sound like a bass player's solo, it doesn't sound like anything at all. Transparent natural-philosophical sketches, many sound effects, trills of strings, airy layers of keyboards, delicate guitar, low-key atmospheric psychedelia, a couple of fast tracks in the manner of playing progressive rock . A kind of mix of motivational moods of the late 1960s-first half of the 1970s, which forms a complete, charming in its depth and unobtrusiveness picture. An example of amazing perspicacity, because John G. Perry, simultaneously with Jade Warrior (I do not accidentally call this name in the context of this opus; "Sunset Wading" causes a certain resonance with the creations of the aforementioned experimenters), in some way managed to predict the features of the still emerging style age. A very nice album full of figurative nuances, recommended to everyone without exception
One of the first New Age albums as made by a former member of a Beatles associated group called Grapefruit. Its a series of instrumentals with spoken passages and Sounds Of Nature recorded in the Lake District. The tape edition gives sparse info you have to get the vinyl for more details but among the musicians on here are the late Simon Jeffes (Penguin Cafe Orchestra),Gavin Wright and Roger Glover of Deep Purple plus prog rockers from Caravan and Nova.