London Bossa

London Bossa | Mônica Vasconcelos & The London Bossa Collective from Mônica Vasconcelos on Vimeo.

"London Bossa" Mônica Vasconcelos & The London Bossa Collective (DVD 2014).

"London Bossa features 6 specially recorded performances where the band is seen playing original songs on a stage, 3 audio-only tracks, and the hour-long documentary '20 Years of Us'. What is this about? The attraction of Brazilian music to musicians all over the world. The model of togetherness that jazz offers the world. English humour meeting Brazilian. Stories behind the songs. Mônica’s family life and the eye condition which affects her and her brother. People they met along the way, this includes a guest appearance by rock and jazz legend Robert Wyatt."

Box 25/4 Lid

Here is a cover of "Box 25/4 Lid" (Ratledge/Hopper) from the first Soft Machine album (1968) by Beauty is in the distance. They are:

Federico Zenoni - drums
Dave Newhouse - electric piano and reeds
Luciano Margorani - bass

Found it on The Canterbury Scene´s Facebook site.

North Sea Radio Orchestra plays "Sea Song"

North Sea Radio Orchestra plays "Sea Song" by Robert Wyatt with John Greaves and Annie Barbazza

Info from YouTube:

"Performed by North Sea Radio Orchestra with John Greaves and Annie Barbazza.
Coming soon for Dark Companion Records.
(Audience recording from the gig at Conservatorio Nicolini in Piacenza for the "Musiche Nuove a Piacenza" festival. November 30, 2018)"

RIO 2019 : PRESENT, ROCK BOTTOM par THE NORTH SEA RADIO ORCHESTRA

RIO 2019 : PRESENT, ROCK BOTTOM par THE NORTH SEA RADIO ORCHESTRA

More info on the Rock In Opposition happening (11 May 2019) here

"This arrangement of Robert Wyatt’s masterpiece, Rock Bottom by Greg Fortman and his contemporary ensemble, as well as being critically acclaimed, will be the finale of this twelfth edition of the Rock In Opposition Festival. On this occasion, the group is enriched by the presence of the collaborator Wyatt, founder of Henry Cow: John Greaves on bass and vocals and a rising star: the singer Annie Barbazza".

The Future Eve featuring Robert Wyatt

The Future Eve featuring Robert Wyatt - KiTsuNe / Brian The Fox. This is a project we have mentioned a couple of times before (here and here), and if I understand this right, we can soon get it on CD and vinyl from Flau records (Japan).

Annette Peacock in The New Yorker

You might be interested in Damon Krukowsk´s piece "The Unclassifiable, Unstreamable Eighties Albums of Annette Peacock" in the New Yorker (5 December 2018), where she among other things talks about Alfie and Robert Wyatt.

"I was impressed with Alfie’s work, its innocence, the colors, her concept, and I asked her to do a portrait for the cover of “I Have No Feelings.” Alfie was apologetic for never having finished the hands. But all I saw was that glorious, blue, technicolor sky visible through my transparent eyes, and I didn’t care about the unfinished hands. Robert and Alfie are like Paris in the thirties, wonderful, and I fell in love with them both!"

Nicolas Roeg (RIP), Venice and Rock Bottom

Somebody (@MrPaulDuane) recently tweeted a link to a piece called "Two Intertwined Semi-Venetian Masterpieces" by Glenn Kenny (The Criterion Collection 2015).

I must have read it before but can´t see that I have posted it.

"Venice asserts itself as “a sinister presence” in Roeg’s film ((Don’t Look Now, 1973)) Robert Wyatt aptly notes in the liner notes to a 1998 reissue of his 1974 album Rock Bottom. Wyatt cites Don’t Look Now in his notes because the making of the film, particularly its six-week Venice shoot, is intimately intertwined with the genesis of his classic album—ranked alongside Bob Dylan’s Blood on the Tracks by NME in the year of its release, when it was also awarded an international Grand Prix du Disque in France, and, according to biographer Marcus O’Dair, “still widely considered one of the finest albums ever made.”

Late in 1972, Wyatt’s then girlfriend and future wife, the artist Alfreda Benge, was hired as second assistant editor for the just-beginning Roeg production. Benge had met Roeg while he was shooting the concert doc Glastonbury Fayre, and was close friends with the film’s female lead,Julie Christie. The picture began filming around Christmas in England, and in January of 1973 moved to Venice for location shooting."