Hearing Hopper's work rotating around fairly straightforward rhythms or sounds may be a bit surprising, given his musical interests over the years, but then again Hopper has never been one to ignore the power of a more pop-tinged approach. The dark mood of Jazzloops is more than a little unsettling, and at points the threat level is amped up pretty well - "Acloop" is a kissing cousin to Massive Attack's growling intensity circa Mezzanine, thanks to the combination of spindly and snarling guitars.
Hugh Hopper's best known as a member of the 'classic' lineup of Soft Machine, whose early 70s albumsdisplayed 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. Hopper's said that his primary concern has always been with texture and sure enough,Jazzloops drips with atmosphere. It appears to be an assemblage gathered from rehearsal tapes and studio jams, reconstructed and added to by Hopper's bass, guitar and samples (I presume it's a Jimmy Garrison sample underpinning "Garrisoi").
Hugh Colin Hopper (29 April 1945 – 7 June 2009) was a British progressive rock and jazz fusion bass guitarist. He was a prominent member of the Canterbury scene, as a member of Soft Machine and various other related bands. Starting in 1963 as bassist with The Daevid Allen Trio, alongside drummer Robert Wyatt, he alternated between free jazz and rhythm and blues.
Hugh Hopper – Jazzloops. Label: Burning Shed – none. Country: UK. Released: 2003. Packaged in a rubber stamped cardboard sleeve with card inlay.
Bass, Percussion, Mellophone, Loops – Hugh Hopper. Track 7 is a bonus track.
HUGH HOPPER is a Canterbury Scene, Progressive Rock artist from United Kingdom. Canterbury Scene, United Kingdom.
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This was Hugh Hopper's debut album released in 1973. It was inspired by George Orwell's novel of the same name. Hugh became interested in tape loops ten years before this album was created while living with Daevid Allen and Gilli Smythe in Paris. Daevid had already been exposed to the work of Terry Riley and was producing sound-pieces made up of repeated tape loops". Hugh was just 18 at this time and living outside of England for the first time. Hugh goes on to say: "For the next year or so I carried on assembling my own loop-pieces. As much I love Canterbury scene, jazz rock in general, psychedelic dissonant experimentation and - most of all - Hopper's buzz bass tone in Soft Machine, this is almost unlistenable. This album consists mostly of noodlings. While I guess every prog rock fan loves noodlings, because they're an essential ingridient of prog rock, this one doesn't contain anything else.
HIDDEN ERROR: Usage of "spouse" is not recognizedHIDDEN ERROR: Usage of "children" is not recognized. Hugh Colin Hopper (29 April 1945 – 7 June 2009) was a British progressive rock and jazz fusion bass guitarist. Hopper's role with Soft Machine was initially as the group's road manager, but he already composed for their first album The Soft Machine and played bass on one of its tracks. In 1969 he was recruited to be the group's bassist for their second album, Volume Two and, with Mike Ratledge and Robert Wyatt, he took part in a recording session for a solo album of Syd Barrett's (formerly of Pink Floyd, with whom the early Soft Machine had regularly gigged).