Innovative jazz-rock band Soft Machine to perform at Reggies in Chicago as part of Progtober festival

Soft Machine is touring the United States for the first time since 1974, which includes an appearance on Oct. 21 at Reggies, 2105 S. State St., Chicago, as part of the Progtober IV festival.

By ERIC SCHELKOPF

With the release of its new album, "Hidden Details," UK jazz-rock band Soft Machine remains as innovative as when it first burst on to the scene in 1966.

In support of the new album, the band is touring the United States for the first time since 1974, which includes an appearance on Oct. 21 at Reggies, 2105 S. State St., Chicago, as part of the Progtober IV festival. The show will feature special guest drummer Gary Husband.

Tickets are $40, available at ticketfly.com.

I had the chance to talk to longtime Soft Machine guitarist John Etheridge  about the tour.  
 

Q – Great talking to you. Of course, the band has a new album out, "Hidden Details." In sitting down to make the album, what were your goals and do you think you have accomplished them?

We went in to make this album at quite short notice, so Theo and I wrote quite quickly. We also feature a high percentage of improvisation on our albums – so that's an 'in the moment' experience – so no preparation as a band, just bringing one's life experiences to the table.

The whole thing was recorded in a couple of days more or less live in the studio, which is how we like to work. Also the late Jon Hiseman's inspiring input helped us to work quickly and effectively.

We're very happy with the outcome. A good balance of new tunes, old tunes and improvisation.

Q – There seems like there should be a story behind the album's name. Is there? 

It does sound like there should be! We like to be enigmatic in our titles – so perhaps we are referring to the hidden details of the history of Soft Machine or perhaps we are referring to the hidden details in the music...Unclear enough for you ?

Q – How has the tour been going and how have people been reacting to the new songs? 

The tour has been really fabulous. Soft Machine have not been in the U.S. since 1974. 

Marshall and Babbington are veterans of that tour (I missed it by one year!)  We have been so amazed at the dedication, knowledge and tenacity of our fans over here.

We've just done five great shows in New York City ( The Iridium), and the audience seemed to know all the songs and all about the band. The new songs and album have been gleefully received.

It's such a good feeling when the audience recognizes all the old tunes and is hungry for the new ones. Brilliant!

Q – The band has been praised over the years for its innovation and creativity. When you first joined Soft Machine in the 1970s, did you think the band was on the cutting edge and creating something fresh and different? Were you a fan of Soft Machine before you joined the band?

I was so flattered to be asked to join in 1975. Basically Allan Holdsworth gave them my number, which I'm very grateful for as they had not heard of me in their world (although I'd had some great attention in the Prog world).

I really felt I was joining the premier band of the time in Europe in this area of music. I had seen the band a couple of months before and suddenly I was a member. Mind blowing!

I also felt I was the right man for the job, even though it was quite a challenge touring the repertoire that Allan had recorded. I was a fan of this particular incarnation and did not know an awful lot about the earlier incarnations.

I do now and really appreciate them.

Q – What is it like being in the band these days as opposed to in the 1970s?

The band has a much improved atmosphere socially. I really think this group is fulfilling all the potential that was latent in the first incarnations but was thwarted by personal problems, bad management and strife.

I personally am extremely happy with the way this has happened as there were so many lost opportunities in the '70s. It's almost a healing process!

Q – You also have been praised for your innovation. Pat Metheny has called you "one of the best guitarists." What is your approach to guitar playing? 

That's a big question! My playing over the years has covered a big range of influences and areas.

This was not necessarily the intention. My primary mode was and has been the way I play in Soft Machine.

But out of the blue, I got a call to tour with Stephane Grappelli and as I'd always loved Django, I couldn't resist.

I knew the repertoire and brought my own voice to it (Grappelli didn't want imitations!). Since then I have worked for a long time with John Williams in duo – which also requires a different approach, but at the same time it's still me!

I'm not a session musician!

Q – I understand that one of your first influences was Eric Clapton, and that you were impressed with how he made the guitar sing. Who impresses you these days?

My first hero was Django Reinhardt, who was hardly heard in 1963. I lucked into hearing an album and was blown away.

On all levels, that's the business! First of all as a kid, I loved the speed, then later the tone, then later the harmonic adventurousness and melodic creativity. It's all there.

I heard Eric in 1965 and was astonished by the sound and expressiveness. It's very important to remember that he started the whole overdrive blues/rock thing.

Talk about launching a thousand imitations! More like 10 million! of the guitarists at the time, the only ones who are NOT influenced were Steve Howe, Robert Fripp and Albert Lee.

Everybody else is a variation of Clapton '65. And it still brings them in .. look at Joe Bonamassa. 

How ironic that Clapton himself abandoned his own unique style in about 1970. Life is strange!

These days I'm impressed by so many. The level of proficiency is ridiculously high.

I wouldn't like to be a young player starting out. We had just a few influences and no teachers. So we're all self taught (my generation), and all have our own idiosyncratic techniques, etc.

It's an advantage in some way – but of course we lack academic training. That's the way we are!