FOR IMMEDIATE RELEASE:

THE SOFT MACHINE LEGACY LIVE IN ZAANDAM
Limited edition live cd.
Available through MoonJune Records from 8/24/05.

Recorded on May 10, 2005 at De Kaade, Zaandam
(Holland)

For more info: <info@...>
http://moonjunerecords.com/
MP3s: http://moonjunerecords.com/liveinzaandam.html

Promotional copies available to qualified repliers.

SOFT MACHINE is a legend and an institution of British
music, a band who included Robert Wyatt, Daevid Allen,
Mike Ratledge, Kevin Ayers, Andy Summers (later of The
Police), Hugh Hopper, Elton Dean, Roy Babbington, John
Marshall, Karl Jenkins, Allan Holdsworth, John
Etheridge, Percy Jones, Rick Sanders, Dave McRae and
Jack Bruce among others (Jimi Hendrix briefly jammed
with the band in 1968!). Since its creation in 1966,
this band pioneered Progressive Rock, led the
'Canterbury' trend, pioneered jazz-rock, and then
guitar-led fusion (launching the guitar god Allan
Holdsworth in 1974), influenced generations of
musicians. Disbanded in 1978, recreated in few
occasions in 1981 and 1984, the band resurfaces in
1999 under the name of SOFT WARE (Dean, Hopper,
Marshall, Tippett), having the brief blast under the
name of SOFT WORKS (Hopper, Dean, Holdsworth,
Marshall) between 2002 and early 2004, and assuming
the final shape in the Fall of 2004 under the name of
THE SOFT MACHINE LEGACY (Dean, Etheridge, Hopper,
Marshall).

ÒGetting in and out of sight, the way SOFT MACHINE
roll on seems unstoppable, not least because the
band's many line-ups allow former members come
together in any combination and still sound canonical.
Or not so canonical, as the band that visited Zaandam
on May 10th, 2005 lean more towards highly charged
jazz fusion rather than progressive experimentation -
judging by this limited edition concert recording
which is only a part of what was played on that night.
It starts elegiac, with John Etheridge and Elton Dean
popping interplay of guitar and sax on "Ash", gains
momentum when Hugh Hopper's bass and John Marshall's
drums hit the bottom and clicks into Coltrane-esque
groove on a new Hopper's tune, "1212". Yet the groove
and the momentum are emotional, while the rhythmic
extravaganza is mostly withdrawn from here. Still,
exotic ebbing and quirky patterns are retained in
classic "Kings And Queens" and let loose on "Big
Creese" where the instrument jolt as if to get back to
the time the legacy of which this MACHINE fully live
up to. Simply a must."
Ð DMITRI EPSTEIN, LET IT ROCK (Israel)