Mr. Geoffrey Richardson Interview in April, 2021

※「Das-Association vol.2」に掲載したGeoffrey Richardson氏のインタビュー英語ver.です．海外のファンに向けて英語で公開します．

※ This is the interview article of Mr. Geoffrey Richardson for my Japanese fanzine about Canterbury Scene.  I open this article to the public in English for fans in other countries. This interview was done in April this year by ZOOM. 

Thank you to Geoffrey for your kindness!! 

Please enjoy!!

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―I heard that you covered Caravan’s song in Red Acid when you were a college student. How did you feel when you joined Caravan in 1972? How did you plan to get involved in Caravan’s music at that time?　

   It was a great surprise. As you said, when I was in college I was in a band called Red Acid. We covered songs from Caravan and King Crimson. They were our favorite. So I knew some of Caravan’s riffs. So when I met Pye in Canterbury in 1972, I was invited to jam with him. Luckily, I knew Caravan's riffs and it all went well. So, it was really an accident. Pye wasn't looking for a viola player, and I didn’t intend to join Caravan. I was invited to join Caravan. At that time I was a poor student in Canterbury and didn’t know what I was doing in the future. I knew I just wanted to do music, but I didn't have a group to join. Then, Caravan suddenly appeared. So, I think……"Yes! Thank you!“ Then, I went on a European tour with Caravan. It was a very happy accident. And it seemed to work, and I've been playing with Caravan for nearly 50 years since then.

―Until you joined Caravan, there were no viola players in the band. I think your joining Caravan had a big influence to Caravan’s music．

　I hope it didn’t change too much. I love the original Caravan with Richard Sinclair and Dave Sinclair. I did what I could do, playing the viola, and subsequently,  flute and guitar. It seemed to work. But some fans still look back to the original Caravan, including myself! So I hope I haven't changed Caravan's music too much. I think I've contributed to Caravan for decades (laughs)!

―What is the most favorite album in Caravan？

　Well, maybe it's a live album ... "Caravan & The New Symphonia". I'm proud of that album. I also like "Better By Far" produced by Tony Visconti. But of course ... It’s ultimately "For Girls Who Grow Plump In The Night". It was my first album in Caravan and also the first album for me. Until then, I was a student. Then, I was in the studio suddenly!

　There was a talk event “For Girls Who Grow Plump In The Night” at the University of Canterbury last year before locked down because of coronavirus. Everyone gathered at the venue listened to the album through a very good Hi-Fi system. I, Pye, and producer David Hitchcock participated. It was brilliant. It was so nostalgic.

　Well, I told my wife this morning that I’ve got  Japanese copies of "For Girls Who Grow Plump In The Night". As you know, the packaging in Japan is so fantastic that they are all in very beautiful condition. I just found the Japanese version of my solo album on eBay ... It's my own album, but I think I'll have to buy it (laughs)!

ーThat’s good, thank you (laughs). So, what is your favorite Caravan’s song?

　It’s difficult, but I think it’s probably "For Richard". I love the original version, but we have played it for many years and have created a nice version. I enjoy playing it, too. It has really good ingredients. Solos, quiet and beautiful moments,  powerful moments, loud endings, it has everything. So "For Richard" is my answer.

ーHow do you feel about Pye’s songs？

　He is great. Pye’s songs contain strange and unusual ways, unusual chords, and time signatures. It's "Quirky". I love Pye's songs and he's my favorite songwriter.

―How much are you involved in arrangements?

　The main songwriter is Pye. During the rehearsal, we play what we want to do and add arrangements. When we are learning the songs, we throw ideas, then we’ll contribute. Songwriter is usually Pye. We say "Oh, that's good" or "I think it doesn't work" ... well, it's a democratic process. Song arrangements will evolve over the years. Because things are changing, getting better. In other words, the song arrangement is done by all of us as we go.

ーI feel the music of Caravan has been increasing the elements of rock and pop, especially after ‘90s.

　I think Pye wanted to make a song that was more like a rock song. I myself ... personally ... The early Caravan albums were gentler. And they were "Quirky". “Quirky” is a good word. It means something strange, a bit strange, or a bit eccentric. But Pye's songs are now a bit more like rock songs. As you say, "The Battle Of Hastings" and subsequent albums have many songs with a rock taste. It would be nice to have a more wistful, unusual, and gentle approach.

ーI think the emotional element of Caravan’s music is supported by you the most now.

　That’s very kind. I’m proud of that. I’m an emotional player. I don't want to lose that. I'm not just a mechanical player. When playing, emotions and feelings are very important. I get emotions from music, and I also like to put emotion into it. I’ve changed that on stage a bit. I put a lot into performance. I hope you noticed it in Kawasaki’s concert. That’s my trust doing.

―You are a multiple player. How did you get the technic to play so many instruments?

　I'm interested in musical instruments, how they work. So I play it by myself. There are many musical instruments in this studio. Viola, violin, cello, flute, clarinet, and woodwind.... I play most instruments except for trumpet and trombone. I have no experience with those two, so I don't know how to play them.

　Because we are locked down now for coronavirus, I had been learning the saxophone, alto saxophone. I've improved a lot. I want to reflect it in my work in the near future. Like this, I learned about musical instruments by myself. I love musical instruments, I collect and look after them very carefully. Also, spoon!

―I would like to ask you about spoon! Why did you start spoon playing?

　Actually, the spoon I‘m using now is made in Japan. At the Kawasaki concert in 2019, the crew was very interested in it when I brought it to the sound check (laughs).

　In 1975, at a Canterbury music shop, which my friend was doing and unfortunately is closed now, maybe I was trying to buy a string or something. But these spoons were on the shelf. They were not expensive. They were just almost toys. I didn't know what to do with them, but I decided to buy it. So I bought it and went home and thought about how to use it. I couldn't hear the sound of them on stage, so I put a guitar pickup on them. This made an electric spoon and I started using it. It worked well and the audience was very enthusiastic at the show, so I've been using it ever since.

―So, you have been using the same spoon from 1975?

　Actually this is a new one. The original one broke on stage about 12 years ago ... I was playing spoons as usual, and it flew away and hit Pye’s head (laughs). So my friend gave me a new one. When I opened the drawer in the kitchen, he said, “Help yourself for new spoons." This spoon, which I'm using now, fitted the original handle, so I chose this one. I still have an old spoon, though. Most of the instruments have been using the same ones from 1975, so they are all quite old ... I’m also old (laughs)! All my instruments are very valuable (laughs).

ーPlease let me ask you a little more about Caravan. I think Caravan's music always has humor.

　Exactly. I think that's one of the reasons Caravan has lasted so long. If you take things too seriously, the group will break up. Our attitude towards music has always been with a sense of humor, which is reflected in the songs. And much of this humor comes from Pye. His sense is great. We are always prepared to laugh at ourselves. That's a good thing.

―You have performed with many other musicians. What do you think is the unique part of Caravan’s music from those experiences?

　I think it's Pye's voice. I think it's a unique sound. There is always "high singing voice.“ throughout the Canterbury groups. And, the sense of humor, you mentioned a while ago, is also reflected in Caravan's songs. There is a characteristic of Caravan. I can't say exactly what, but I think it’s recognisable. That is the characteristic of Caravan's sound that has remained for more than 50 years.

―You said that Pye's vocals are unique, but how about other vocalists? For example, Richard (Sinclair) , who is also an original Caravan member…….　

　Richard has a very good voice, and so does Kevin Ayers. Kevin's voice is more mainstream, rock voice to me. And Robert Wyatt. Robert gave birth to the so-called Canterbury vocal sound. Robert Wyatt, Richard Sinclair, Pye Hastings, there is a thread. Richard is a lovely singer. He has a very gentle singing voice and does not sing in an American way. I myself don't sing that way in my ongoing album. I’m pleased with that.

―By co-starring with a lot of musicians, is there any influence to your musicality when you perform in Caravan?

　I met them all after I joined Caravan. When I joined Caravan, I didn’t have any other musical experience because I was a student before. I had no imports. So all the musicians I've met since then have influenced my play at Caravan.

　Particularly, I was influenced by the experience of co-starring with Murray Head. He is a very good musician. And Rupert Hine. His album is on the wall. He died last year. All the work with him was great. I met Rupert through Caravan, but through him, I met Simon Jeffes from Penguin Café Orchestra, Murray Head, Rachid Taha, Bob Geldof and so on. I met them all through Rupert's connection. My career owe to Rupert. So he is a very important person to me. Of course, all the musicians I co-starred with have influenced me.

―I would like to ask you about Mr. Rupert Hine more. What is your most favorite album or work in that you collaborated with him?

　I think it’s "Immunity“. As I said, that album is on the wall. It was an early session, when I started a different musical activity from Caravan. Rupert was the first person to employ me as a session player. So, "Immunity" was one of the first times that I was employed as a serious session player. The opportunity to play with people outside my group was very good. I'm happy with my contributions to the album. It was the beginning of a long friendship and working relationship with Rupert. That's why it's a very important work for me.

―Please let me know about your own musical activity. You were a student of Winchester School of Art and studied painting and printmaking. Did that artistic experience have an impact on your musical activities?

　Our school was great. Brian Eno was also there at the same time, though I hadn't talked with him at that time. I was there from '69 to '72 and got a first degree. I still draw pictures. Then, at this time, I got the mentality of the art school. Our school was organized in the way of the '60s, so it was very liberal and free. Simon Jeffes, who worked with Penguin Café Orchestra, had that kind of mentality. He didn't go to art school himself, but the way he worked was very like art school students. Of course, Brian Eno does. And I also do my way of working. It has been learned from art school.

― Have you ever designed the album cover?

　No. Well, the new album I'm working on has one of my paintings. This is my 4th solo album, but this is the first time I've posted my own paintings. The album is titled "Completeness“, which means everything or entirement. It's mixing now and will be completed soon. I'm very happy with the result. I think it's my best.

ーI love your solo album “The Gardens of Love”. It’s very emotional album…….

　The theme of that album is "recovery". Because I have recovered from alcoholism. It's been 18 years. I'm doing yoga in this studio. My wife is a yoga teacher. The title "The Gardens of Love" is an image of where I am when practicing yoga. The songs on that album are deeply linked to recovery and healing.

―Your solo music is definitely different from Caravan on Penguin Café Orchestra. How do you feel about your own music?

　 You’re right. I play a lot of instruments in my solo, but I also use the same instruments when I played at Penguin Café Orchestra and Caravan, such as Cuatro and viola. But they are different music. It is just what I want to do. It's the mentality of the art school, as I said before. I just do what I want to do. I come to this studio, play Cuatro, Kalimba, electric guitar and various instruments, and when the idea hits me, I make a song. My solo is not like  anybody else I played with, but on the other hand, it’s influenced by everyone. I think it has inputs from everybody I played with.

―What is your core instruments when writing the songs?

　 I’ve just written some hip-hop songs, so I started composing it by Kalimba. Cuatro is quite a good instrument to start from, too. I also use an acoustic guitar like any other musician. I'm not very good at it, but of course I also use the piano. It’s rare that I start with a viola.

　There was a piece on new album, called "Only Sunshine”. It is like a calypso song, but it incorporated the sound of the saxophone and the bells of Canterbury Cathedral. But the riff is playing on the mandolin. It's nice to be able to choose from a variety of instruments.

ーI heard that you have been doing storytelling in elementary school for about 20 years. Why did you start that?

　A friend who gave me a new spoon, Francis Kendall, was working as a storyteller. He's a musician and a guitarist, though. I made some records with him. Unfortunately, he's gone now.

　He invited me to do storytelling because I could bring lots of instruments as many as I could carry. The more musical instruments you have, the more you can color the story. I did storytelling at the school and found it great. It's really challenging to make children interested in. We did also tales from Japan. We did various tales from all over the world.

　It is currently locked down and not done, but I hope it we can do it again. I don’t have much money from that because the salary of teachers in the UK is not very good, so that is reflected (laughs). But it's a lovely thing to do.

ーYou really have many talents.

　Thank you. I'm in good form, so I'd like to carry on. I’ve had this studio for four years now. After a tour with a French singer named Renau, I had a lot of money, so I built it. I can come here forever as long as I pay for releasing my album. I’ll be working here.

　Except for musical activities, I’m enthusiastic about walking with my dog. Her name is Luna. Canterbury is a really nice place to take a walk. Because  I’m a bit bored if I only do music, yoga, music, yoga, eating, music, yoga (laughs)!

ーPlease let me know about the future plans of Caravan and your musical activities.

　My priority at the moment is my solo album. About Caravan, we will have a concert with Procol Harum in July. We couldn't do the European tour including Germany last year, so we’ll try to recover the tour in England and Europe once the pandemic settled down ... Of course, I would like to go to Japan again.

ーHow about the new album of Caravan?

　We were about to start. First, a box set will be released. And after that, Snapper Music signed a contract with us for a new album, and we'll start when we will be able to  rehearse. We’re not allowed to be close in the rehearsal studio.... We'll start as soon as we can legally get together to rehearse. I think it will be out this year. New Caravan record!!