Robert Wyatt - End Of An Ear S 64189 UK LP 1st Press 70

	£		55
	$		73

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Album Information

Artist Robert Wyatt       Title End Of An Ear Record Label CBS Cat. number S 64189 Mono/Stereo? S

Country

UK  Sleeve Shorewood If blank, no sleeve manufactured credits present Recorded 1970

Matrix number

Side A S 64189 A1 Side B S 64189 B1  

Album Condition

Disc

Paper Scuffs

Side 1

EX   Side 2 EX  

Surface Marks

Side 1

EX   Side 2 EX

Scratches

Side 1

EX Light surface hairline on Tk 1 - not audible  Side 2 EX   Other Info. Disc looks hardly played

Sound

Surface Noise

Side 1

EX

Side 2 EX

Pops/Clicks

Side 1

EX   Side 2 EX  

Scratches

Side 1

EX   Side 2 EX Other Info.

Cover

Ring / Surface Wear

Front

EX Sticker residue at top right  Back EX   Inner  

Card Creases

Front

EX Back EX   Inner    

Shelf Wear

Edge

EX Light storage wear  Spine EX Light storage wear  Corner EX Other Info.    

Guide to grades used

M Cover Looks virtually New - no marks, wear or damage Disc Looks unplayed - no marks visible Sound I don't use this grade for sound - as all records (even brand new) produce some noise Ex Cover Slight signs of wear on edges/spine, corners or ring wear. Minor creases. No damage caused by sticker removal/residue. Light sleeves may show slight discolouration due to age or handling Disc May have minor paper scuffs caused by moving record in & out of paper sleeve. Sound May be occasional pops/clicks and minimal surface noise Vg Cover Moderate edge/spine or ring wear. Corners may be a little blunt. Opening edge may show feathering caused by removal of record. Visible creases or laminate lift. Localised sticker removal damage. Disc Some surface marks &/or hairline scratches. Moderate paper scuffs. Sound May be pops/clicks caused by marks/scratches. Moderate background surface noise and crackles. G Cover Heavy ring or edge/spine wear. Corners noticable bashed. Heavy creases. Considerable laminate/surface damage. Disc Looks very well played. A lot of surface marks/scratches Sound Considerable surface noise. Audible scratches.

Background Information

  Click on the link to find the original source of this information: - The End of an Ear Of all the projects Robert Wyatt created apart from his tenure with Soft Machine and Matching Mole, The End of an Ear has to be the strangest, and among the most beautiful and misunderstood recordings of his career. Recorded near the end of his membership in Soft Machine, End of an Ear finds Wyatt experimenting far more with jazz and avant-garde material than in the jazz-rock-structured environment of his band. The Wyatt on The End of an Ear (a play on words for the end of the SM era, and another session called "Ear of the Beholder") is still very much the fiery drummer and percussionist who is interested in electronic effects and out jazz and not the composer and interpretive singer of his post-accident years. 

Influenced by Miles Davis' electric bands and the fledgling Weather Report who did their first gigs in the U.K., Wyatt opens and closes the album with two readings of Gil Evans' "Las Vegas Tango, Pt. 1." These are the most structured pieces on the recording, and the only ones not dedicated in some way: "To Mark Everywhere," "To Caravan and Brother Jim," "To Nick Everyone," "To the Old World (Thank You for the Use of Your Body, Goodbye)," "To Carla, Marsha, and Caroline (For Making Everything Beautifuller)," and others. The titles reveal how personal the nature of these sound experiments can be. Wyatt, because of his association with many in the Canterbury scene, not the least of which is SM mate Elton Dean who prominently appears here, was learning alternate structures and syntax for harmony, as well as the myriad ways rhythm could play counterpoint to them in their own language. 

The interplay between Wyatt, bassist Neville Whitehead, cornet player Marc Charig, and alto man Dean on "To Nick Everyone" is astonishing. Wyatt creates time from the horn lines and then alters it according to Whitehead's counterpoint both to the formal line and the improvisations. Toward the end of the track, Wyatt's piano is dubbed in and he reveals just how expansive he views this new harmonic approach. The piano becomes a percussion instrument purely, a timekeeper in accordance with the bass, and the drums become counterpoint — in quadruple time — to everyone else in the band. When David Sinclair's organ enters the fray and another piano courtesy of Mark Ellidge, as well as assorted percussion by Cyril Ayers, the entire thing becomes a strange kind of rondo in free jazz syntax. Elsewhere, on "To Caravan and Brother Jim," a 2/4 time signature opens the track and the organ plays almost a lounge-jazz-type line with drums rumbling in the back of the mix, almost an afterthought, and Ellidge's piano stumbling in with dissonant trills and riffs until he creates a microtonal line against the organ's now carnival chords until certain drums fall out, then back in, and the piano plays an augmented chord solidly in glissandi until the piece just sort of falls apart and ends. 

If you are Robert Wyatt, this is the way you find something new, you "play" at it. And that's what is so beautiful about The End of an Ear — the entire record, unlike the "seriousness" of Soft Machine Third, is that this is being played with tonalities, harmony, language, and utterance that are all up for grabs in an investigation of freedom both in "music" and "sound." The End of an Ear is the warm and humorous melding of free jazz amplification and musicians' playtime. 


Track Listing: -

1 Las Vegas Tango, Pt. 1 Evans 8:13 
2 To Mark Everywhere Wyatt 2:26 
3 To Saintly Bridget Wyatt 2:21 
4 To Oz Alien Daevyd and Gilly Wyatt 2:09 
5 To Nick Everyone Wyatt 9:12 
6 To Caravan and Brother Jim Wyatt 5:20 
7 To the Old World (Thank You for the Use of Your Body, Goodbye) Wyatt 3:17 
8 To Carla, Marsha and Caroline (For Making Everything Beautifuller) Wyatt 2:47 
9 Las Vegas Tango, Pt. 1 Evans 11:13 

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