Before a word is said

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.

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.

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!

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.

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.