Wipe Out //

Album label: 
Release date: 
Recording location: 
All tracks live recordings recorded in Sheffield, Leeds, Kendal, Hebden Bridge
Recording date: 
Wednesday, September 5, 1979
Mixing engineer: 
y David Lord at Crescent Studios, Bath
Amalgam/Paul AcottStephens/Kenneth Ansell
Trevor Taylor for FMR
  • 1. Wipe Out (15:08)
  • 2. Ongoing Situation (35:17)
  • 3. The Golden Salamander (09:11)
  • 4. Roller Coaster (28:35)
  • 5. Children (08:38)
  • 6. Homecoming (17:33)
  • 7. Tribute To Mingus (38:35)
  • 8. Monk's House (04:13)
  • 9. War Dance (13:15)

Trevor Watts - saxophones
Keith Rowe - guitars
Liam Genockey - drums
Colin McKenzie - bass except "Homecoming" where George Lyle - bass

Without question one of the most important releases for Trevor Watts’ Amalgam, this excellent set was originally released on Impetus in the early eighties. Featured here are live recordings of twelve original Amalgam performances which originally consisted of six LPs. Featuring excellent guitar improvisor Keith Rowe and regular drummer Liam Genockey, plus the bass work of Colin MacKenzie and George Lyle. This is an unmissable part of Amalgam’s output, one of the most creative periods for the band and of British jazz itself! Liner notes by Trevor Watts:

“The AMALGAM group that is represented on this FMR re issue was probably the most creative period for that band in my opinion. The group approximately lasted in this form for a period between 1978 and 1980. We used to practice and work hard at the music every week, in spite of there being very few concerts in each a year. The relationship of practice to gigs was very imbalanced in the favour of rehearsal sessions to the extent that some musician friends of Liam who lived nearby our rehearsal space made a “cup” and presented it to us. On it it said for “One Million Rehearsals”. That’s more or less what it seemed to them. I can only marvel at and appreciate the involvement and commitment of Colin, Liam & Keith at that time. I too had the same attitude of course, considering the lack of employment (but what’s new?). Sometime it is important to go through this to bring something into the World that belongs to that particular group of people that they felt positive about, and so that was the spur, plus the cameraderie between us. I am not saying everything was perfect, but more or less as good as it gets for quite a while. So I am grateful to Trevor for wanting to re issue what originally was a boxed set on Impetus of a tour we did in 1979. I recorded this tour on a 4 track to grab the opportunity of at least capturing something of what we did for future generations to check out. At least it was a short intense period of work, and so therefore an opportunity not to be missed. So I dragged all the gear around and set it up every night. The group was important from the point of view of my philosophy about music at that time, which was primarily “anyone can play with anyone else if they were open enough and willing enough to put the time in and do it”. It was interesting to me to see what we could make of this situation coming from such diverse backgrounds.”