Quiet Sun
Quiet Sun were an English progressive rock and jazz fusion band associated with the Canterbury scene.[1] Formed in 1970 at Dulwich College by Phil Manzanera (guitar), Bill MacCormick (bass), Dave Jarrett (keyboards), and Charles Hayward (drums), the group performed live and recorded demos before disbanding in 1972, with members pursuing other projects such as Roxy Music and Matching Mole.[2] The band reunited in 1975 at Manzanera's instigation to record their sole studio album, Mainstream, which featured guest appearances by Brian Eno (synthesizer, vocals) and Ian MacCormick (vocals).[3] Released that year on Island Records, the album received critical praise, including as New Musical Express' album of the month, and is noted for its experimental sound blending rock, jazz, and avant-garde elements.[4] Quiet Sun's influence persists in progressive music circles, though they produced no further material after 1975.[5]Formation and Early Years
Origins at Dulwich College
Quiet Sun originated in 1970 at Dulwich College in London, where guitarist Phil Manzanera (then known as Phil Targett-Adams) and bassist Bill MacCormick reformed an earlier school band called Pooh and the Ostrich Feather (formed in 1967) into an experimental rock outfit.[5][7][8] The duo, along with drummer Charles Hayward and keyboardist Dave Jarrett, drew from their shared experiences as students to create a group blending rock improvisation with more adventurous structures.[7] The band's formation was motivated by a mutual passion for progressive rock and jazz fusion, cultivated during their time at the college amid the late 1960s British music scene.[7] Influences such as Soft Machine's innovative jazz-rock explorations particularly inspired them, reflecting the emerging Canterbury scene's impact on London-based experimental ensembles.[7] Early rehearsals took place informally at Manzanera's family home and school facilities, where the members experimented with covers of bands like Jefferson Airplane and originals that hinted at their atmospheric style.[7] The name "Quiet Sun" derived from "The International Year of the Quiet Sun," an astronomical reference to a period of minimal solar activity that MacCormick's brother had encountered in a scientific article, evoking a concept of serene yet potent energy that mirrored the band's aim for calm intensity in soundscapes.[7] This poetic choice underscored their experimental ethos, setting the stage for a brief but influential tenure before the group paused activities.[5]Initial Lineup and Live Performances
Quiet Sun's initial lineup solidified in 1970 around guitarist Phil Manzanera, bassist and vocalist Bill MacCormick, keyboardist Dave Jarrett, and drummer Charles Hayward, all of whom had connections to Dulwich College in London.[8] This quartet formed the core of the band during its active phase from 1970 to 1971, drawing from the improvisational ethos of the emerging Canterbury scene while experimenting with progressive rock and jazz fusion elements.[7] Earlier iterations of the group, predating the name Quiet Sun, featured fluctuating members including additional drummers, but Hayward's arrival provided rhythmic stability for their live work.[7] The band's live performances were limited, consisting of approximately 10 to 15 gigs primarily in local south London venues and nearby areas, as they operated without major label support or widespread promotion.[7] Key shows included college events at Dulwich's Great Hall and Swimming Baths Hall, informal parties, church halls, and a notable support slot for the band Symbiosis at Portsmouth Polytechnic in mid-1971.[7] These appearances attracted small, student-oriented audiences receptive to experimental sounds but often limited by the band's grassroots status in the pre-Roxy Music era, when Manzanera's profile was still developing. Setlists typically featured original improvisational compositions such as "Marcel my Dada," alongside covers like Jefferson Airplane's "Somebody to Love" and Cream's "Spoonful," blending rock structures with jazz-inflected solos and avant-garde flourishes to create a dynamic, unpolished live energy.[7] Challenges during this period included equipment shortages typical of an amateur outfit—relying on borrowed gear and basic amplification—and inconsistent lineup attendance, which hampered rehearsal cohesion.[7] Audience reception was mixed, with enthusiastic responses at intimate college gigs contrasting against sparse turnouts at larger halls, reflecting the niche appeal of their fusion style amid the dominant rock and pop scenes of 1970-1971. Financial constraints and burnout ultimately led to the band's dissolution by late 1971, as members pursued individual paths.[7]Reformation and Mainstream Album
Reunion in 1975
Quiet Sun disbanded in mid-1971 after running out of momentum, financial resources, and viable performance opportunities, with guitarist Phil Manzanera departing to join Roxy Music and bassist Bill MacCormick moving on to Matching Mole, while drummer Charles Hayward began exploring experimental projects that would lead to This Heat.[7][9] Keyboardist Dave Jarrett shifted to teaching mathematics, effectively ending the band's initial phase after a period of sporadic live shows and unrecorded demos from 1969 to 1971.[9] The group's temporary reformation was spearheaded by Manzanera in early 1975, motivated by a desire to finally document the unused compositions and demo material accumulated during their original tenure in the early 1970s.[7][9] This initiative aligned with Manzanera's concurrent work on his debut solo album, Diamond Head, allowing him to reassemble the core original lineup—consisting of himself, MacCormick, Hayward, and Jarrett—for what was envisioned as a singular recording endeavor.[7] Island Records played a pivotal role in enabling this one-off reunion by providing access to their facilities at Basing Street Studios in London, where Manzanera had already secured time for his solo project; the label supported the parallel Quiet Sun sessions as an extension of this arrangement, reflecting their interest in Manzanera's growing profile post-Roxy Music.[9][7] Prior to entering the studio in January 1975, the members convened for brief rehearsals in London to revisit and refine the old demos, ensuring cohesion among the reunited quartet after four years apart.[7]Recording and Production Process
The recording sessions for Quiet Sun's only studio album, Mainstream, occurred in January 1975 at Island Studios in London, concurrent with Phil Manzanera's solo album Diamond Head.[10] Manzanera had booked the studio for 26 days, allocating the first eight hours daily to his solo project and the remaining four—often late-night slots—to Quiet Sun, enabling the band to reunite and capture their material efficiently under time constraints.[7] The album was self-produced by the band, with Manzanera taking a leading role in oversight, while Rhett Davies served as engineer and Robert Ash as assistant engineer.[10][8] The seven tracks on Mainstream were primarily adaptations of compositions developed during the band's original 1970–1971 incarnation, drawn from live performances and demos, but refined through overdubs and arrangements that incorporated the members' post-hiatus musical developments from projects like Roxy Music, Matching Mole, and Gong.[7] One track, "Wrongrong," was a newer piece composed by drummer Charles Hayward specifically for the sessions.[7] Brian Eno contributed synthesizer performances, effects treatments, and oblique strategies to enhance the sound, adding experimental textures to the jazz-rock fusion elements.[10] Due to the abbreviated schedule, many takes were first or second attempts, emphasizing the band's tight chemistry from their earlier years while allowing for layered multi-tracking to build complex instrumental sections typical of mid-1970s progressive production at Island Studios.[7] Mainstream was released in August 1975 on Island Records in the UK (catalog number HELP 19), with initial pressings issued as a vinyl LP featuring a gatefold sleeve.[11] The album's cover artwork, derived from a hand-colored image in a French book, was designed by Nigel Soper, complemented by photography from Richard Wallis.[10]Band Members
Core Original Members
Phil Manzanera (born January 31, 1951, in London, England) served as the lead guitarist and a primary composer for Quiet Sun during its 1969–1971 phase.[12] With a background influenced by his Colombian heritage and early exposure to electric guitars in Venezuela, Manzanera brought experimental rhythmic techniques to the band, often employing a red Höfner Galaxie for intricate, fusion-oriented riffs that blended rock and jazz elements.[7] His songwriting input included key tracks like "Sol Caliente" and "Madman Running Through the Fields," which showcased the band's avant-garde leanings and were later recorded in 1975.[10] Manzanera's role extended to co-founding the group alongside schoolmates, driving its formation after leaving Dulwich College in 1969 to pursue music full-time.[12] Bill MacCormick (born 1951 in London, England) was a co-founder, bassist, and occasional vocalist in Quiet Sun's original lineup from 1969 to 1971.[7] Initially a drummer influenced by jazz and the Beatles, he switched to bass—self-taught with an emphasis on speed and dexterity—to fill the band's needs during rehearsals at Dulwich College.[7] MacCormick contributed to the group's compositional foundation, co-writing pieces that highlighted unusual chord sequences and time signatures, including "5.15 A.M.," which captured the band's improvisational ethos.[10] As a key figure in the ensemble's early development, he helped shape its progressive rock-jazz fusion direction through collaborative songwriting sessions.[7] Dave Jarrett joined Quiet Sun as keyboardist in 1970, recruited via advertisement as a Dulwich College alumnus several years older than the other members.[7] Fresh out of the British Army and influenced by the Canterbury scene, Jarrett—a Mike Ratledge-style player—infused the band's sound with sophisticated harmonic layers and electric piano textures during live performances and rehearsals.[7] His songwriting contributions from this period included "Bargain Classics," "R.F.D.," and "Whether Or Not," tracks emphasizing atmospheric keyboard work that aligned with the group's experimental style and were preserved in later recordings.[10] Jarrett's expertise helped elevate Quiet Sun's instrumentation beyond standard rock setups. After the band's early phase, he returned to teaching and mathematics.[13] Charles Hayward (born 1951 in London, England) provided drums and percussion for Quiet Sun starting in 1970, shortly after the band's initial formation.[14] A trained drummer from Dulwich College with his own double-bass Premier kit, Hayward employed an avant-garde style rooted in reading percussion scores, delivering complex rhythms that supported the group's fusion explorations.[7] His compositional input featured prominently in tracks like "Trumpets with Motherhood," a surreal homage to Marcel Duchamp that highlighted his innovative percussion and occasional vocal elements.[10] Hayward's technical proficiency and experimental approach were integral to the band's live dynamic during its brief active years.[9]1975 Lineup Additions
For the 1975 recording sessions of Quiet Sun's album Mainstream, the core lineup of Phil Manzanera, Bill MacCormick, Charles Hayward, and Dave Jarrett was augmented by two guest contributors drawn from Manzanera's professional network in the progressive rock scene.[15] These additions provided specialized elements without supplanting the original quartet's instrumental foundation, allowing the band to revisit and refine material from their early 1970s rehearsals.[7] Brian Eno contributed synthesizer parts, audio treatments, and employed his Oblique Strategies card deck—a set of creative prompts designed to inspire unconventional approaches during production.[15] A former member of Roxy Music, where he served as a founding synthesist and vocalist from 1971 to 1973, Eno brought his expertise in experimental sound manipulation, honed through albums like For Your Pleasure (1973), to enhance Quiet Sun's textural depth. His involvement stemmed from prior collaborations with Manzanera in Roxy Music and extended to co-production input, subtly layering electronic atmospheres over the band's jazz-inflected rock.[7] Ian MacCormick, brother of bassist Bill MacCormick, added backing vocals to select tracks, offering harmonic support that complemented the group's occasional vocal excursions.[15] Active in the Canterbury scene through outfits like the Global Village Trucking Company in the early 1970s, Ian's contributions were familial and low-key, reflecting the informal ties within the local music community.[7] These guests integrated during intensive late-night sessions at Island Studios in London, spanning January 1975 and overlapping with Manzanera's solo album Diamond Head; the efficient process typically captured first or second takes to fit the booked time, expanding Quiet Sun's palette with ethereal electronics and subtle vocal textures while preserving the core's improvisational drive.[7]Musical Style
Genre Characteristics and Influences
Quiet Sun is classified as a progressive rock and jazz fusion band emblematic of the Canterbury scene, where improvisation intertwines with meticulously structured compositions to create a distinctive sound.[16][17] This placement reflects the band's roots in the late 1960s and early 1970s British underground, emphasizing instrumental exploration over conventional song forms.[18] The band's music was profoundly shaped by influences from Soft Machine and Robert Wyatt's experimental approach, which infused their work with avant-garde jazz-rock sensibilities, alongside Frank Zappa's eclectic compositional flair and Miles Davis's pioneering fusion jazz innovations.[19][20][21] These elements contributed to Quiet Sun's avoidance of straightforward rock tropes, favoring instead a cerebral blend that prioritized textural depth and rhythmic complexity. Core characteristics include intricate time signatures that drive shifting rhythms, extended improvisational solos showcasing technical prowess, and atmospheric soundscapes built through layered instrumentation, all delivered primarily without vocals to highlight collective dynamics.[22] This instrumental focus underscores the Canterbury ethos of playful yet sophisticated interplay.[23] Quiet Sun's style evolved notably from the raw, demo-era recordings of the early 1970s—characterized by loose, psychedelic jamming—to the refined fusion polish of their 1975 album Mainstream, where production clarity amplified their fusion elements without diluting the improvisational spirit.[24][25]Innovations in Sound and Instrumentation
Phil Manzanera's guitar work in Quiet Sun prominently featured the use of effects pedals and treated guitars to create distorted, ambient leads that added a layer of dissonance and angularity to the band's sound. His approach involved electric and treated six- and twelve-string guitars, often processed through custom rigs that emphasized fuzz and echo effects, contributing to the album's experimental edge.[22][26] Charles Hayward's drumming incorporated inventive patterns influenced by jazz, blending tight up-tempo rhythms with rock power for dynamic propulsion.[27] His style in Quiet Sun reflected early explorations in psych-fusion, drawing on free jazz elements for complex, groovy textures.[28] Dave Jarrett's keyboard layers utilized Fender Rhodes electric piano, Hammond and Farfisa organs, and VCS3 synthesizer to provide textural depth and impressionistic atmospheres.[26] The shimmering quality of the electric piano, in particular, created moody, ambient backdrops that enhanced the band's fusion elements.[24] Overall, Quiet Sun's innovations lay in seamlessly blending rock energy with jazz improvisation, using these instrumental techniques to prefigure developments in art rock by combining melodic complexity with experimental sonics.[22][29]Discography
Studio Album
Mainstream, Quiet Sun's sole studio album, was released in August 1975 by Island Records in the United Kingdom under catalog number HELP 19 (equivalent to ILPS 9350 in some pressings).[10] Recorded during night sessions in January 1975 at Island Studios in London, the album captures the band's reunion and draws heavily from material developed during their original 1970–1972 incarnation, including reworked versions of tracks from 1971 demos such as "R.F.D.," "Trot," and "Patience" (the latter incorporated into the closing medley "Rongwrong").[27] The production, handled by the band themselves for EG Records, emphasizes a raw, improvisational energy blending progressive rock, jazz fusion, and Canterbury scene elements.[30] The album comprises seven tracks, showcasing contributions from core members Phil Manzanera, Bill MacCormick, Charles Hayward, and Dave Jarrett:| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1 | "Sol Caliente" | Manzanera | 8:02 |
| 2 | "Trumpets with Motherhood" | Hayward | 1:30 |
| 3 | "Bargain Classics" | Jarrett | 5:37 |
| 4 | "R.F.D." | Jarrett | 3:09 |
| 5 | "Mummy Was an Asteroid, Daddy Was a Small Non-Stick Kitchen Utensil" | Hayward | 6:09 |
| 6 | "Trot" | Manzanera | 5:00 |
| 7 | "Rongwrong" | MacCormick, Jarrett | 9:39 |