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	Hugh Hopper - Wikipedia, the free encyclopedia
		Hugh Hopper (born 1945, Canterbury, England) is a bass guitarist and composer.
		Hopper's role with Soft Machine was initially as the group's road manager, but in 1969 he was recruited to be the group's bassist for their second record, Volume Two.
		In the early 1980's Hopper gave up playing music for a couple years, but by the mid-1980's he was actively working with several bands, including Pip Pyle's Equipe Out and Phil Miller's In Cahoots.
	en.wikipedia.org /wiki/Hugh_Hopper (516 words)

	Hugh Hopper Band : Alive (Site not responding. Last check: 2007-10-09)
		dru hill, hugh hopper band %3A alive, love joys : reggae vibes, jim hall :...where would i be?.
		hugh hopper band : alive : various artists : big day out 2003.
		hugh hopper band %3A alive : chopin liszt bach : moiseiwitsch in recital 1954-60, elvin group bishop : feel it neal hellman : oktober county.
	www.cd-discounts.net /hugh-hopper-band-%3A-alive.html (1251 words)

	Hugh Hopper
		One of the central figures in the British jazz-rock scene of the 60s and 70s, Hugh Hopper got his start exploring electronic and tape music techniques with future Gong founder Daevid Allen while both were living in Paris.
		Initially, Hopper was just a roadie for the Softs, but by 1969 Ayers had opted to pursue a solo career, and after some internal shuffling-about Hopper took up the position of bassist.
		By the end of the decade, Hugh Hopper had temporarily put music behind him and was focusing instead on various forms of writing.
	www.nndb.com /people/664/000044532 (348 words)

	Cosmik Debris Magazine Presents: The 21st Century Be-Bop Of Soft Works; an interview of Hugh Hopper - May 2003
		Hopper, Dean, and Marshall are performing in Germany with another Brit jazzman, Keith Tippet, as "Software." A longtime friend of Elton's, Leonardo Pavkovic of MoonJune Records loves the music and asks if Elton would like to record with this band.
		Hopper: They were very tolerant and supportive after they realized I was never going to work in a bank or study to be a doctor.
		Hopper: Certainly is. They were playing together in a blues band in the 60's and Reg took Elton's first name and the bandleader's first name, Long John Baldry.
	www.cosmik.com /aa-may03/soft_works.html (1783 words)

	BBC - Jazz Review - Hugh Hopper, Jazzloops
		Hugh Hopper's best known as a member of the 'classic' lineup of Soft Machine, whose early 70s albums displayed a sometimes whimsical, very English mix of jazz, psychedelia and rock.
		Hopper's approach to the bass guitar lay somewhere between John Entwistle and Charlie Mingus, capable of sweetly melodic lines or vicious bursts of thick fuzz; it's still one of the most recognisable sounds in English music.
		Hugh Hopper was much influenced by this sort of thing.
	www.bbc.co.uk /music/jazz/reviews/hopper_jazzloops.shtml (836 words)

	hoppercds.html (Site not responding. Last check: 2007-10-09)
		Hugh Hopper was once the bass player for Brit prog heroes, The Soft Machine, the band that brought the beautiful tones of Robert Wyatt to the world.
		Hopper's informative sleevenotes explain his desire for a contrast between the "normal but decidedly bent and perverted music" and the "machine-state of Big Brother".
		Hopper's fuzzed bass still loiters with menacing intent; the title-track is the most texturally ambitious - muscular free improvisation leading to a thematic section quickening in tempo.
	www.btinternet.com /~rubberneck/hoppercds.html (1607 words)

	Hugh Hopper - Free Music Downloads, Videos, CDs, MP3s, Bio, Merchandise and Links
		Bassist/composer Hugh Hopper has worked on a variety of projects in his 40 years in music.
		Hopper was born and raised in Canterbury, Kent, England.
		In 1964, Hopper was a founder of the Wilde Flowers, a band that included Richard Sinclair, Pye..
	www.artistdirect.com /nad/music/artist/bio/0,,445393,00.html (306 words)

	HUGH HOPPER/MATT HOWARTH : The Stolen Hour (Burning Shed. bshed 0204) :: eJazzNews.com : The Number One Jazz News ...
		Hopper can always be relied upon to produce interesting collaborative work, previous cds, like ‘Jazzloops’ on Burning Shed, being good examples, as well as his transatlantic recording with the power trio Bone.
		Whatever the effect on the general populace, it has produced a humorously eccentric comic for which Hopper has composed a sort of soundtrack that is, in itself, suitably idiosyncratic.
		Hopper takes the bass and guitar duties as well as some rhythmic looping and constructs a diverse set of soundscapes that explore the possibilities of both rhythm and melody.
	www.ejazznews.com /modules.php?op=modload&name=News&file=article&sid=3614 (591 words)

	HUGH HOPPER / CUNEIFORM RECORDS
		This combines Hugh's unique fuzz bass and compostions with tapework, multiple overdubs, and a very avant esthetic and then contrasts those works with short, weirdly devolved James Brown-inspired pieces.
		As a bonus there is 20' of extra live material and excellent liner notes by Hugh, which tell the story of this disc.
		Featuring his great FrangloDutch band (Patrice Meyer-guitar, Dionys Breukers-keyboards, Frank Van Der Kooij-saxes, Pieter Bast-drums + Hugh on bass), this was recorded live in 1987 and 1989 and was the beginning of his career back in the musical arena, after laying out for a good number of years.
	www.cuneiformrecords.com /bandshtml/hopper.html (423 words)

	Jeremiah Dial Descendants - pafg23.htm - Generated by Personal Ancestral File
		Mary Kathleen Hopper was born on 8 Sep 1891 and died in Mar 1954.
		Robert Hugh Hopper (John D.M. Hopper, William Hopper, Sally Dial, Jeremiah) was born on 9 Feb 1873.
		Sally George Hopper was born in 1896 and died in 1930.
	meltingpot.fortunecity.com /nigeria/809/pafg23.htm (671 words)

	Hugh Hopper
		Ceux qui n'apprécient en Hugh HOPPER que le jazz-rockeux continueront à trouver cet opus hermétique, insondable et inécoutable, selon les formules consacrées.
		Hugh HOPPER a voulu que cet album soit tellement " different " qu’il a d’ailleurs utilisé un équipement aussi " minimaliste " que ses compositions, à savoir un petit clavier tout simple et, si le disque a du succès (!), il envisage d’en acheter un autre.
		En attendant cette acquisition importante pour sa carrière, Hugh HOPPER a déjà repris ses vieilles basses et rejoint le groupe HUGHSCORE, qu’il a fondé en 1995 déjà, avec des musiciens de Seattle (Fred CHALENOR à la guitare et à la basse, et Elaine DI FALCO au chant, à l’accordéon, aux orgues et synthés).
	www.traversesmag.org /chroniques/hopper.htm (1044 words)

	Moonjune Global Media - Records (Site not responding. Last check: 2007-10-09)
		With Ayers unavailable, Hugh Hopper was asked to join (he was about to sell his bass!), and after a month of rehearsal, the new line-up made its live debut at the Royal Albert Hall in February, a few days before entering Olympic Studios to record the second album.
		Hugh Hopper's angular "Facelift" was a collage of live performances made in January, and is the only track featuring Lyn Dobson, who had left by the time the studio sessions for the other four sides had begun.
		In May 1973, Hugh Hopper decided that four years in Soft Machine was enough and that it was time to move on to pastures new.
	moonjunerecords.com /liveinzaandam.html (2165 words)

	[No title]
		Hugh Hopper est un personnage ultra important de la scène Canterbury.
		Fred et Hugh quant à eux s'adonnent à de subtils duo de basse tout en rondeurs...
		Tout comme dans Hughscore, Hugh Hopper se trouve être extremenent habile quant à composer des chansons subtiles et émouvantes, et dont la sensibilité à fleur de peau est admirablement interprétée par Lisa S Klossner.
	membres.lycos.fr /sleeprev/hopper.html (1021 words)

	The History of Rock Music. Hugh Hopper: biography, discography, reviews, links
		Soft Machine's bassist Hugh Hopper debuted solo with 1984 (CBS, 1973), one of the most futuristic albums of the Canterbury school (fuzz bass, loops, overdub).
		Hugh Hopper and rock multi-instrumentalist Kramer came up with a more original project, Remark Hugh Made (Shimmy Disc, 1994), a collection of short instrumental rock tunes featuring saxophonist Gary Windo.
		At the same time Hopper was beginning a collaboration with Caveman Shoestore, which yielded the moniker Caveman Hughscore and the album Caveman Hughscore (T/K, 1995).
	www.scaruffi.com /vol3/hopper.html (1064 words)

	SONIC CURIOSITY 010
		HUGH HOPPER: Generally, I've got to say that all sounds, musics, noises since conception are bound to have influenced me...
		HUGH HOPPER: John Gribbin's suggestion that the answer to the wave/particle dilemma is that we're not asking the right question.
		Joining Hopper for the music on this 48 minute release are: Lol Coxhill and Gary Windo on saxophones, Pye Hastings (from Caravan) on guitar, John Marshall on percussion, and Malcolm Griffiths and Nick Evans on trombones.
	www.soniccuriosity.com /sc010.htm (1024 words)

	Rock in the Name of Progress (Part V -A Snapshot of Hopperiana: An Interview with legendary bassist Hugh Hopper)
		Bassist Hugh Hopper says that "ninety percent of his time is not spent playing music".
		Hopper’s main Canterbury vehicle was Soft Machine who played a combination of jazz, psychedelic and rock and roll.
		Hugh Hopper seems to be always popping up with new and exciting music.
	www.members.tripod.com /vermontreview/essays/progressif5.htm (4039 words)

	SONIC CURIOSITY 010a
		Most Hugh Hopper Band releases tend to be live, reveling in the attitude of concert energy and the acceptance of any flaws as part of the actualization.
		Here we have the sonic union of two monster bassists: Hopper and Sinclair (from Hatfield and the North, and Caravan) Expanding their instrumental repertoire to include guitar, piano and percussives, they recorded this 35 minute release in 1996.
		As indicated in the liner notes, cognac and red wine were integral elements employed by Hopper and Sinclair to achieve the appropriate state of mind to realize this project (whose roots stretch back a full decade of desiring to record together).
	www.soniccuriosity.com /sc010a.htm (1456 words)

	Untitled
		Hugh: The Daevid Allen Trio (with Robert Wyatt and Daevid Allen) in 1963.
		Hugh: I had been doing a sort of avant garde jazz for a couple of years and then suddenly realised that bands like the Beatles weren't rubbish and banal.
		Hugh: Mike Ratledge, the organist of Soft Machine, was writing pieces that required me to play bass lines of equal strength to the organ lines, not just boomdy-boom accompaniments, so I used fuzz to get the bass out of the basement while still keeping the foundation sound of the instrument.
	melosprogbazaar.com /close_to_the_edge/articles/Feb-Mar_Articles/Hooploops.htm (1572 words)

	VH1.com : Hugh Hopper : Biography
		In 1964, Hopper was a founder of the Wilde Flowers, a band that included Richard Sinclair, Pye Hastings, Richard Coughlan, Robert Wyatt, and Kevin Ayers.
		Although a fairly typical beat group, the Wilde Flowers would split into two legendary bands: Caravan, with Sinclair, Hastings, and Coughlan; and Soft Machine, with Wyatt and Ayers, who was replaced by Hopper late in 1968.
		Hopper left Soft Machine in 1974 and worked on numerous projects before forming the Hugh Hopper Band in 1985.
	www.vh1.com /artists/az/hopper_hugh/bio.jhtml (215 words)

	DMG Search (Site not responding. Last check: 2007-10-09)
		Hugh's thick, throbbing bass is at the center while the guitars and drums swirl around.
		Hugh piles on his cosmic fuzz bass thick with various mutating lines, while Daevid's glissando guitar drones and hovers like ghosts floating in a haunted house.
		As Brian Hopper says "it is probable that a great deal of the development that enabled what is popularly known as The Canterbury Sound to emerge would not have occured without the underlying and largely unsung support of these two gracious ladies".
	search2.downtownmusicgallery.com /Searching/WWW_DMG_Search.cgi?s3.hugh%20hopper (4687 words)

	Cryptids: Reviews, Discography, Audio Clips, and more \|\|\| Music.com
		Hopper's warped sense of the pop song form fits perfectly with Klossner's dark and somewhat sad voice.
		Shortly after the release of Different came the second volume from the collaboration between Hugh Hopper [+] and Lisa S. Klossner, this one entitled Cryptics.
		Hopper's programming has become warmer, his bass is more prominent, and the input from other musicians (flutist Chrystelle Blanc-Lanaute [+], trumpeter Christine Janet, drummer Pip Pyle [+], trombonist Robert Jarvis [+], guitarist Gary Smith [+], and saxophonist Elton Dean [+]) brings diversity to the mix.
	www.music.com /release/cryptids/1 (361 words)

	Review - The Soft Machine: BBC Radio 1967-1971 (Site not responding. Last check: 2007-10-09)
		Hugh's brother Brian is featured on one cut, "Facelift" from 1969, providing some transition to the period when Elton Dean is on horns.
		Prominent on the later sessions are Hugh Hopper's magnificent fuzz bass work, which most ears will mistake for a guitar, and Mike Ratledge's trademark electric piano and Lowry organ, plus of course Robert Wyatt's drumming and vocals.
		Appreciation of the earliest cuts may benefit from the application of some aerosolized cannabinol, but there's no denying the artistry in the later extended pieces when their hippie roots are totally submerged in improvisational jazz.
	www.cosmik.com /aa-april03/reviews/review_soft_machine2.html (478 words)

	Hugh Hopper: Jazzloops - review
		The announcement that a new Hugh Hopper CD was to be released made me curious.
		But this time Hopper appears to have fun in confounding at least some of the listener's expectations.
		His fuzz bass and those unmistakable melodic progressions immediately reveal the identity of the composer of Afrik and Acloop, while in other instances it's a bit more difficult to guess who we are listening to (and that's not necessarily a bad thing).
	www.cloudsandclocks.net /CD_reviews/hopper_jl_E.html (294 words)

	Burning Shed: Specialist online music label and shop
		Gloriously atmospheric, jagged and intense, 'The Stolen Hour' is a superb extension of Hugh Hopper's 'Jazzloops' series of explorations written to accompany the distinctive imagery of American comic book artist, Matt Howarth.
		Assisted by, amongst others, Robert Wyatt (cornet, voice), John Marshall and Didier Malherbe, Hopper updates the Jazz-tinged Minimalist looping he initially developed in the 1960s, evoking the innovative spirit of early Soft Machine, while simultaneously suggesting new possibilities for the genre.
		hugh hopper / julian whitfield - in a dubious manner (cdr)
	www.burningshed.com /index.asp?page=artist&collection=37 (366 words)

	NDIO / CUNEIFORM RECORDS
		NDIO was formed from the ashes of the Holland-based Hugh Hopper Band.
		Some time after the Hopper Band disbanded, saxophonist Frank van der Kooij, a key member from the start, asked Hopper to join a project under his leadership.
		Of course one of these musicians was Hugh and the cooperation with him resulted again in a fascinating new sound.
	cuneiformrecords.com /bandshtml/ndio.html (330 words)

	Browse by Artist: HOPPER, HUGH
		A label focusing on reissues of older Hugh Hopper releases [these titles have been deleted as of 5/98, and we only have a small remaining stock].
		Like the groundbreaking novel after which it was named, Hopper's record was truly ahead of its time when it was created.
		A collection of legendary bassist Hopper's work with various musicians including Lisa S. Klossner, Richard Sinclair, Rick Biddulph and Robert Wyatt." Four of the 12 tracks are previously unissued.
	www.forcedexposure.com /artists/hopper.hugh.html (339 words)

	1984 by Hugh Hopper CD
		Hopper's work with Soft Machine had already revealed him as a strong and inventive writer.
		With his solo projects, Hopper was finally able to bring together his various musical interests--to stunning effect.
		Hopper was exposed to this form of composition in the mid-'60s, via (Soft Machine alumnus) Daevid Allen's interest in Terry Riley.
	www.cduniverse.com /search/xx/music/pid/1060439/a/1984.htm (196 words)

	hugh hopper homepage (Site not responding. Last check: 2007-10-09)
		"Hi Hugh, Just like to let you know that I've been listening to Facelift for 35 years now and still think that it is a remarkable piece of work, both in terms of composition and the vituosity of the playing.
		I wanted to join the Hugh Hopper fan club at the beginning of the Drury Lane recording(is that Brian?) and cheer the shamefully belated release of that Robert Wyatt show.
		Theinteresting thing about Hugh Hopper in contrast to Mike Ratledge and Karl Jenkins is that he can write serious contempory compositions as well as fine pop songs.
	www.burningshed.com /bands/bandpage.asp?id=4&page=guestbook (3067 words)

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