Meet The Team – No.4 Veryan Weston

Master improviser, composer, lecturer, award-winner – it’s possibly easier to ask “what hasn’t Veryan Weston done?”

 Veryan Weston moved to London from Cornwall in 1972 and began playing as a freelance jazz pianist as well as developing as an improvisor at the Little Theatre Club. He accepted a fellowship with the Digswell Arts Trust in Hertfordshire in 1975 who commissioned him to revise his book on piano improvisation which he was able to do through a subsidy from the Arts Council of Great Britain. During this time, he co-founded and composed for Stinky Winkles. With the group he was voted a ‘Young musician of 1979’ by the Greater London Arts Association and won three major awards in France, Spain and Poland.

Whilst at Digswell, he also collaborated with visual artists, giving exhibition/solo performances at the Victorian & Albert Museum (1979) with potter Liz Fritsch, and at Hammersmith Jazz Festival (1980) with visual artist Stephen Cochrane. During this period, he composed and performed music for a range of films and documentaries, most notably with Lol Coxhill for Derek Jarman’s Caravaggio (1985). This interest in music and media collaborations led to a degree course in Performance Art at Middlesex Polytechnic (now University) where he gained 1st class Honours, and in 1990 he was awarded a Masters in Music Composition from Goldsmith’s College, University of London. These qualifications then led to a brief period as a part-time lecturer at Bretton Hall and Middlesex University.

Throughout the 1980s and early 90s he worked primarily with the Eddie Prévost Quartet, Trevor Watts‘ Moiré Music and duets with Lol Coxhill and Phil Minton. He also worked in other ensemble projects with Minton, including ‘riverun’ the Phil Minton Quartet with John Butcher and Roger Turner. Major festivals have included Zurich, Berlin, Nicholsdorf, Karlsruhr, Warsaw, Wroklaw, San Sebastian, Bombay, Vancouver, St Etienne, Aukland, Nevers, Washington, Lille, Houston, Le Mans, Straasbourg and Victoriaville.


1977 The joy of paranoia, Ogun OG 525. Lol Coxhill. Released on CD as Coxhill on Ogun.

1978, Digswell duets, Random Radar Records RRR 005. Lol Coxhill.

1978, Digswell duets 1978, Emanem 4052. Duo with Lol Coxhill.

1979, Opus 5, Blueprint 159CD. One minute of Stinky winkles on this Morgan Fisher compilation.

1981, Hysterical woman, Poljazz PSJ 94. Stinky winkles

1982/1986, Unexpected pleasures, Arc 05. Trevor Watts Moiré Music.

1983, Couscous, nato 157. Lol Coxhill.

1983, ContinuumMatchless 7/Matchless MRCD07. Eddie Prévost Quartet.

1985, The inimitable, nato DK 018 53039.2. Lol Coxhill.

1985, Continuum +, Matchless MRCD07. Eddie Prévost Quartet.

1985, Trevor Watts’ Moiré Music, Arc 02.

1986, Saalfelden encore, Cadillac SGC 1015. Trevor Watts Moiré Music Sextet.

1986, Underwater Carol, Matchless 12. Solo.

1988, With one voice, Arc 03. Trevor Watts’ Moiré Music.

1989, Druga godba, DG 007. Trevor Watts Moiré Music.

1991, AngelicA 91, CAICAI 001. Three pieces by ‘Ways’ + one trio.

1991, Songs from a prison diary, Leo CD LR 196.

1992, Ways, ITM 1420. Duo with Phil Minton.

1992, Ways past, ITM 1468. Duo with Phil Minton.

1995, AngelicA 1995, A1 007. Four pieces by Ways Past.

1996, Mouthful of ecstasy, Victo cd041. Phil Minton Quartet.

1996, Playing alone, Acta 9. Solo.

1997, Little movements, FMR CD Sampler 3. Veryan Weston Trio (one track on sampler CD).

1997/1999, Spectral soprano, Emanem 4204. One duo, one trio and one quartet with Lol Coxhill + track with London Improvisers Orchestra on compilation CD.

1997/1998, Abo bhayi, Nota Bene NBCD001. Ntshuks Bonga’s Tokolosho.

1998, Boundless, Emanem 4021. Duo with Lol Coxhill.

1998, Mercury concert, Emanem 4028. Weston/Edwards/Sanders.

1998, Concert, v., Matchless MRCD37. Prévost/Weston.

1998, Music on seven occasions, Meniscus MNSCS004. Three duos with John Butcher.

1998, Unearthed, 33 Records 33WM110 CD. Veryan Weston/Stu Butterfield/John Grieve/John Edwards.

1999/2000, Five shadows, Emanem 4048. Duo with Caroline Kraabel.

1999/2002, Ways out east, ways out west, Intakt CD 097. Minton/Weston.

2000, London gigs, Prominence PPRCD 4199. Duo with Enzo Rocco.

2000, The hearing continues…, Emanem 4203. London Improvisers Orchestra.

2000, Daybreak, Emanem 4059. Ian Smith.

2000, Musical Corr≡la(c)tivity, combined Book/CD. Rose/Weston duo on one track.

2000/01, And the world aint square, Red Note 9. 4 Walls.

2000/2001, Worms organising archdukes, Emanem 4074. Coxhill/Weston.

2001, 3 pianos, Emanem 4064. Beresford/Thomas/Weston.

2001, Freedom of the city 2001: large groups, Emanem 4206. London Improvisers Orchestra.

2001, Freedom of the city 2001: small groups, Emanem 4205.

2001, 6 dialogues, Emanem 4069. Watts/Weston duo.

2001, The All Angels concerts, Emanem 4209. Solo on compilation 2-CD.

2001, Out to launch, Emanem 4086. Lol Coxhill and the Unlaunched Orchestra.

2001, …..past, IDA 018. Minton/Weston.

2000-2002, Temperament, Emanem 4207. Rose/Weston duo.

2001/2005, Tunings & tunes, Hermes Discorbie HDCD011. Jon Rose/Veryan Weston.

2002, Allusions, Emanem 5001. Solo.

2002, Freedom of the city 2002: small groups, Emanem 4210.

2002, Freedom of the city 2002, Emanem 4090. London Improvisers Orchestra.

2002, For John Stevens, Emanem 4091. The Gathering.

2002/2003, Gateway to Vienna, Emanem 4214. Veryan Weston/John Edwards/Mark Sanders.

2003, Tessellations for Luthéal piano, Emanem 4095. Solo.

2003, Which side are you on, Red Note 11. 4Walls.

2003/2004, Responses, reproduction & reality: freedom of the city 2003-4, Emanem 4110. London Improvisers Orchestra.

2005, Freedom of the city 2005, Emanem 4216. In trio Hallett/Kraabel/Weston.

2006, Slur, Emanem 4140. Phil Minton Quartet.

2007, Unlocked, Emanem 4141. Trio of Uncertainty.

2007, In backward times, Emanem 5045. One trio track with Paul Rutherford, Marcio Mattos.

2007, Separately & together, Emanem 4219. London Improvisers Orchestra/Glasgow Improvisers Orchestra.

2007, Caetitu, Emanem 4149. Martin Blume/Yedo Gibson/Marcio Mattos/Veryan Weston.

2008, Playtime, Mass Producers MPCD01. Caroline Kraabel/Veryan Weston/Mark Sanders.

2009, Sol6, Red Note 15.

2009, Stops, psi 10.07. Tony Marsh.

2010, Different tessellations, Emanem 5015.

2010, Lio Leo Leon, psi 11.04. London Improvisers Orchestra.

2011, Haste, Emanem 5025. Veryan Weston/Ingrid Laubrock/Hannah Marshall.

2011, 5 more dialogues, Emanem 5017. Watts/Weston duo.

2011, Dialogues in two places, Hi 4 Head Records HFHCD010D. Watts/Weston duo.

2012, Hear now: a film by Mark French, FMRDVD5. Trevor Watts/Veryon Weston/Mark Sanders/John Edwards.

2014, Discoveries on tracker action organs, Emanem 5044. Solo.

2014, Tuning out: pieces for tracker-action organs and strings, Emanem 5207. Veryan Weston/Jon Rose/Hannah Marshall.

2013, At ad libitum, fortune 0057/007. Trevor Watts/Veryon Weston.

2015, Dialogues for Ornette!, FMR CD404-0915. Trevor Watts/Veryon Weston.

2017, Dialogues with strings, Fundacja Sluchaj FSR 09 2017. Trevor Watts/Veryan Weston/Alison Blunt/Hannah Marshall.

 Please remember to book your tickets to avoid disappointment… this will only happen once.

Book Tickets

Tel: 01225 463362

Who ARE These People?

The Magic When Musicians First Meet…

You may or may not have grasped the fact that the musicians who will be accompanying me for Think of a Sequel – Tony Orrell, Paul Bradley, Veryan Weston & James Watts – will not have met before the show.

This means that everything you see and hear them do will be happening spontaneously, for the first – and only – time. Furthermore, I will not know what to expect from them and will need to respond in the moment to whatever backing they choose to provide.

“So, why do this?” you may ask. Well, it is generally the case that when musicians come together for the first time, they tend to – quite literally – sound one another out. Ideas are thrown up, licks are traded, stumbling blocks are laid. And often what ensues is quite magical; never to be repeated.

What then normally happens is the players will attempt to distil this into something that can be replicated on demand. But it can often lose some of its original edge, vibrancy and nuance in the process. So, what if we simply present those first impulses within a performance context?

Nobody really knows what will happen. But what I can tell you is that the particular group of musicians engaged for this show has the ability and experience to generate fabulous sonic landscapes, continually creating ideas whilst simultaneously making space for – and responding to – one another.

Framing this with ‘songs’ will provide context and necessary limitations, so that the output will not be allowed to became safe or samey. Each piece will be created as a response to a set of ideas and will then be further shaped by the application of lyrics and vocal lines to the musical back-drops provided. This will also enable the evening to have a narrative arc, which will take us all – performers and audience alike – on a journey of discovery.

The Fringe Festival provides a platform on which new and challenging ideas may be explore. The challenge for me is to do so in a way that is entertaining and inclusive. This is not intended as an exclusive exercise for sagely-nodding, free-jazz cognoscenti. Rather, it is hoped that all will come away from the show having had a thought-provoking and enjoyable, experience.

I do hope you will be able to come along. Without you, we are just a bunch of blokes (and, sorry, we are all blokes) making noise in an empty space. As highlighted in the first show (‘Think of a Song’), the audience is at least as important as the performers. So, I will need your help with that bit.

And please do spread the word. I guarantee we will have a memorable, exciting and fun evening together.

See you there.

Book Tickets

Tel: 01225 463362


Meet the Team – No.3 James Watts

A musician with the world at his fingertips

James Watts studied oboe at the Royal College of Music (2000-2004) before travelling around the world playing with musicians from many different backgrounds, and exploring the musical worlds of different cultures as well as folk music of the British Isles.  He delights in finding unusual woodwind instruments, particularly if they have a double reed.

He lives on the Mendip hills and performs throughout the region playing in Orchestras, period instrument ensembles and folk bands, as well as groups weaving different world music elements and collaborations with story tellers and live improvised theatre.  He conducts community choirs and children’s ensembles as well as teaching woodwind, piano and guitar.  He loves the diversity that working within the field of music can bring and the unity that music can bring between people of any culture or creed.

James Watts performs throughout the south west as a freelance musician playing oboe, cor anglais, and baroque oboe with various local orchestras and chamber ensembles.  He has performed as a guest soloist with the bristol chamber orchestra, the Lucis choir, the Silton Singers and the Bruton Choral society.  He will be guest concerto soloist next year with the Frome symphony orchestra.

James also engages in a diverse range of World and folk music traditions.  He plays the Armenian Duduk, The Zimbabwean Mbira, Indian harmonium and various other folk flutes.  He uses these for exploring new musical ideas as well as weaving diverse folk elements into a rich tapestry of musical cross pollination.

Most recently he has performed at Bath Spa University following an arts council research and development project with the group “Ombiviolum”. The project was a choreographed dance piece weaving elements of folk music from the British Isles with traditional Zimbabwean music and cultural practice.

Book Tickets

Tel: 01225 463362

Meet the Team – No.2 Paul Bradley

Paul Bradley is a right-strung, lefthanded guitarist, bandleader, composer, triple-octave singer, improviser, sessioneer, collaborator, children’s musician and multi-instrumental live-looper-cum-raconteur.


“Conjures up the spirit of adventure and no boundaries better than pretty well anyone since the heady 1960s.” fRoots (March 2015)

“Undiscovered genius” Jazzwise

“Consistently captivating” Guardian

“Wonderful” Independent on Sunday

“One of the most truly original composers and performers in the country” Venue (Bristol)

Paul’s 2015 90% improvised (words and music both) Banish Cherish was longlisted for the Northern Ireland Music Prize in November 2015.

Paul’s discography ranges from albums by Radiohead-influencing Anglo-Irish visionary popsters ‘Me’, via pioneering Bristol postrocker/nujazzers ‘Organelles’, to current filmic-folk-minimalists ‘Three Cane Whale’ (whose debut was described in the Telegraph as among the “five best modern folk albums”; and follow-up album as “hidden gem of 2013” by The Observer).

Bradley has collaborated with dance-theatre choreographers, animators, film-makers, and a breadth of musicians from Blue Aeroplanes to Spiro. He has scored and performed for soundtracks on BBC Natural History, Discovery Channel, Encounters Film Festival, C4’s Random Acts, and has played live, or been broadcast on, all six national BBC Radio networks.

Paul’s prolific output of spontaneous, multitimbral music has seen him do hundreds of solo, improvised gigs throughout the UK since 1996. Then Bradley would have been virtually alone in staging live-looping solo performances in all-made-up song, soundscape, illustrated “talk”, misguided standup and even off-the-cuff solo theatre.  But it all must entertain and tell the truth, somehow.

In 2009 Bradley made a children’s & family album of poetry-settings (Blake, Rossetti, Lear, RLS and more). Calico Pie was described by Independent on Sunday as “wonderful”.

Book Tickets

Tel: 01225 463362

Meet the Team – No.1 Tony Orrell…

(Gas Giants, Goldfrapp…)

This picture says it all: loud shirts; loud drums (but not always); humour, character and a willingness to musically go where few drummers dare


Tony Orrell aka ‘the Birdman of Alkijazz’

Moved to Bristol 1973 in search of drumming work.

Frequented Dug Out 1974-80.

Met wife-to-be Sarah at the club in 1975 – still married!

Played with Rockin’ Robert and various Wild Beasts/Juan Footers at Dug Out.

1979-89 the “Modern Jazz” Years with Spirit Level/Sphere/Andy Sheppard etc.

1990-2000 Nursery Teacher and musician – Gas Giants/Will Gregory/Adrian Utley etc.

2000-2005 Movies+Shakers project in schools (see 90 Second Challenge) and played drums on Goldfrapp’s ‘Felt Mountain’ and Ilya’s ‘They Died for Beauty’


What was the first concert you ever went to?

streatham ice rink. kinks 1964 or 5. my sister fainted …it seemed like i was the only boy amidst a horde of screaming girls

What gear do you use?

1966 Ludwig Downbeat with Bosphorus cymbals and Steve Hubback creations

Who was your biggest musical influence growing up?

kinks then beatles and then stones (ambivalent) zappa coltrane brotherhood of breath keith tippett tony oxley with mclaughlin and the singing nun – remember ‘dominique’?

 Watch Tony and others creating some weird shit here

 Remember to book your tickets early to avoid disappointment… chiefly mine!


Tickets are on sale now at:

Brown Paper Tickets

Bath Box Office

 Or call the Festival Box Office on: 01225 463362.


I look forward to seeing you there.


Brian x

I’ve Thought of a Sequel!

You didn’t think the fun would end there, did you?  Oh no.

This year sees the premier of the follow-up to ‘Think of a Song’, which I have imaginatively titled ‘Think of a Sequel’.

If you were at the first show and would like to relive the agony/ecstasy/indifference it induced – or if you weren’t there and would like to take a voyeuristic look – then please click here. But look: now there’s more…

So What’s New This Year?

Well, this time around, I have enlisted the help of some first-rate musicians to fill the silences for you. Back into the breech will be the inimitable improviser/guitarist/composer/genius that is Paul Bradley. Alongside him will be the astonishing talents of drummer/percussionist/Gas Giant/wearer-of-shite-shirts Tony Orrell. And last but by no mean least is the ethereal oboist/percussionist/multi-instrumentalist/bear-foot-globe-trotter James Watts.

To say that these are three of the most affordable and available musicians I could find would be to tell the truth. But not only that! They are actually each hugely respected talents in their own field.

Meet the (A)Team

Paul Bradley, you will know from the first show, is the brains behind Organelles, Three Cane Whale and more besides. Renowned for his freewheeling improvisations, Paul is a hard man to pin down in terms of style or genre but you may want to think Frank Zappa meets John Williams and Pat  Metheny (and kicks the sh*t out of both of them).

Tony Orrell is notoriously one half of Gas Giants, alongside Will Gregory (of Goldfrapp fame). But he is much more besides, being the go-to drummer for jazz combos throughout the South West. Tony is an astonishingly expressive player with a flare for improvisation, which is how we originally met, back in the late 90s. Tony was commissioned to lead a series of free-improvisation sessions that culminated in Fringe performances around Bath in a variety of unlikely locations. Yours truly took part on a cobbled-together portable percussion rig and a battered flute.

James Watts is a very-much in-demand oboist, who also has a penchant for world music and a thirst for travel. He brings a multitude of influences to the party and is well-versed in the art of improvisation. James is well known in the area as champion of reed instruments among young students. He is an early music specialist, a classical soloist, producer, arranger and all-round lover of all things noisy and/or reedy.

Sublime Support

As I go to press, I don’t have any specific information for you on Jim Gallagher, who will provide the opening performance for Think of a Sequel. However, I have known Jim for many years and seen him perform at (indeed on) various stages over that time. His songs are beautiful, ethereal, engaging and at times other-worldly, all of which adjectives apply to the man himself.

Something of an enigma, Jim is someone who very much treads his own path. Having spent time in California during the 1960s, it is very possible that a part of him never really returned. Or that is the impression sometimes given. So, as you can surmise, Jim is a shoo-in for this show. He will set the tone and we will follow…

Put it In Your Diary!

Now, don’t come running to me saying you didn’t know this was happening. The date is booked for June 6th. The venue, as for ‘Think of a Song’, will be the Old Theatre Royal Bath (details available here). This space has a certain magic to it, which lent itself perfectly to the first show and will – I am sure – do the same once again.

I will be posting updates as more info becomes available (like actual information on the other performers), so stay tuned. Once tickets are available, the links to book will go live on this site and I will be sending out emails to those unfortunate enough to be captive on my list (but with an opt-out of course).

Any Questions?

Of course you have. Feel free to get in touch at I should love to hear from you.



The Space Between the Notes

“Music is the space between the notes” – Claude Debussy





This, of course, is an idea that John Cage ran with and explored in his now- infamous ‘4:33’. Tonight, I hope to take this concept to the next level with ‘Think of a Song’, in which a large portion of the show will take place in my head and the minds of the audience.

‘But why would you want to do that?’ You ask. The answers are many and complex but essentially it is to explore the nature of the performer-audience relationship. More importantly, it will push both beyond their respective comfort zones and create a unique theatrical experience.

In our modern society, we are constantly bombarded with information, ‘news’, opinions and ‘entertainment’. This can serve to put us in an increasingly passive state, in which it is difficult to question the status quo and all to easy to fall into unhealthy patterns of behavior.

Think of a Song will seek to jolt us out of our collective torpor and provide space for genuine original thought and emotion. And in the first half of the show, the incredibly talented Paul Bradley will exemplify here-and-now consciousness by entirely improvising his set of on-the-fly songs.

This show may never be repeated – (even if it happens again!) – so I hope you will be able to join us and share what promises to be an amazing experience.

See you there!

Show Details

A Show of Two Halves

This Wednesday at the Old Theatre Royal in Bath is going to be a show the likes of which has never been witnessed before. Not only that but it comprises two very different performances. The unifying factor is that in each half the performer will be ‘thinking of a song’.

Improvised and Inspired

First up is Paul Bradley; Bristol-based Northern Irish singer-songwriter, guitarist, composer and raconteur. Paul improvises everything with such fluency and skill that it is hard to believe this is not all predetermined. Somewhere between Thom Yorke and Tim Buckley, his vocals soar to high falsetto one moment, then descend to a whisper the next. His guitar playing ranges from prog to folk to Pat Metheny-esque jazz-fusion. And the whole thing is augmented with electronic processing and pre-Ed Sheeran looping.

All in the Mind

Following that is Brian Madigan (a Band named Brian), presenting his experimental-theatre-cum-performance-art piece ‘Think of a Song’. In this, he literally does just that; performing songs in his head and inviting the audience to join in a communal mind-experiment. In between, he tells the stories – out loud – that inform the songs, weaving a compelling narrative thread and throwing in a couple of surprises along the way.

The Final Part of the Puzzle

Audience members will then get a third performance –  but not until after they leave. They will each receive a CD copy of ‘Think of an Intro’. This comprises the songs from Think of a Song, as performed at the Old Theatre Royal – live but without an audience -on May 15th. In this performance, the songs are delivered out loud and the intros are performed in the mind. That was captured on film and will be edited together with footage from Wednesday’s show to create a unique video document of the whole experiment.

Be a Part of It…

Naturally, the audience forms a major part of the whole thing. In both performances, the relationship between performer and recipient will be explored and tested. Come and be a part if this unique Fringe experience: it certainly is one you won’t forget in a hurry!

Book  Your Tickets Now

Tel: 01225 463362

“So, What’s It About?”

Somebody posted on Facebook the other day “What’s ‘Think of a Song’ about?”. Which is a very good question…


Like many pieces of experimental art, the interpretation will lie largely with the audience. Which is – to a large extent – the point. However, there are some themes that run through the piece. If you don’t want to know in advance, then please look away now. Otherwise, read on.

The show asks how can we break away from our day-to-day routines and certainties. How do we  allow ourselves to move beyond our own and others’ preconceptions of who we are and where our limits lie? What does it feel like to put ourselves willfully into a position of discomfort and embrace present uncertainties?

Through these explorations, is it possible to transcend our  instinct for self-preservation and expand our creative potential? And by so-doing, can we allow magic into our world?

And what’s that Kingfisher got to do with anything?…


… Come along and you’ll find out.

Book Tickets

Tel: 01225 463362

Well That Was Weird…

Monday was the first performance of ‘Think of a Song’. No, don’t worry, you’ve not missed anything – this was the non-public part of the performance. If you haven’t fully grasped the concept of this show, let me explain…

All in the Mind

But first, I want to share my experiences from Monday’s show. This was performed in its entirety, with no breaks or edits. The space was empty, save the film crew, audio technician and myself. What was disconcerting was the sensation that, having thought the introductions (the part that will be heard on 31st May) in my mind, I than had the strange sensation of not knowing whether or not I was actually singing out loud .

It was clear that I was playing the guitar but I very nearly forgot to externalise the vocal more than once, as I had become accustomed to the voice inside my head. This was an interesting and disconcerting part of the experiment and, I have to admit, adversely affected my performance. It should not have been a surprise, since I always think of my shows as being a dialogue with the audience. Yet I came away with the distinct feeling of having in some way let myself down.


As an exploration of the role of the audience within a performance, this has – then – already yielded some significant results. All the more fascinating to see how it goes ‘on the night’. That is, the ‘second night’. Let me explain:

On May 31st, I will be performing the introductions to my songs in front of a live audience, who will then join me in thinking the songs as I play them through – silently – in my mind. Yesterday, I performed those same songs, in the same space, out loud and thought through the intros. This was all captured live on camera and digital audio. Footage from both performances will be edited together following the live show on May 31st and audience members will receive a CD of the songs they have just thought. Clear? Thought not!

Please don’t forget to book your tickets while they are still available. These can be ordered from Bath Festivals Box office on 01225 463362 or online here .