John Edwards
Mark Sanders
John Wall

CD (E217)

Digital version available from

John Wall
Computer-generated sounds
Arrangement and composition
Severe editing

Mark Sanders
Drums and percussion

John Edwards
Double bass

This work was compiled from improvisations
recorded at The Welsh Chapel in London in 2009
by Paul Richardson, who was also involved at
that time in co-editing and producing the final
stereo mix. This mix would eventually became
the foundation for my later reworking and
editing in 2016. — John Wall

See also

John Wall/Alex Rodgers (E234)
John Wall/Alex Rodgers (E193)
John Wall/Alex Rodgers (E178)
John Wall/Alex Rodgers (E114)
John Wall/Mark Durgan (E139)
Out of print

Mastered by Jacques Beloeil

Edition of 150 copies
Out of print


Behind its austere monochrome cover, FGBH offers four wonderfully
intense tracks totalling 20 minutes. Improvised material from John
Edwards’s bass and Mark Sanders’s drums has been recomposed by
John Wall, who credits himself with “severe editing”. This term nicely
captures both Wall’s merciless approach to his material and the fact
that such painstaking processing and arranging is bloody hard work.
But the results are fresh and sensuous. Edwards and Sanders still
sound like themselves, and Wall plays games with the idea that we’re
hearing three musicians at work in the same room.

The opening could be an improvising trio, but Wall creates a different
type of drama by steering his music into areas that free improv finds
hard to reach. One gesture is repeated in a loop, bass noise is layered
across a bass riff, or the whole group can stop on a sixpence. Apparently
the rough draft of this album was almost twice as long. Wall has pared
it back to create a sizzling, succinct set without an ounce of fat. It’s a
balancing act between abandon and delicate restraint, and repeated
listening is a great pleasure.

Clive Bell in The Wire