Tim Crowther has recorded with ex-King Crimson violinist David Cross on two CDs of improvised music with Geoff Serle's band, Radius. Together with drummer Steve Clarke he formed the jazz-rock group Network and with him co-wrote the CD Corroded Path, released in the USA and Canada. His improvising group Conglomerate included trumpeter Ted Emmett and keyboard player Steve Franklin and released two CDs, the second of which features Hugh Hopper on bass. He has also gigged with ex-Soft Machine saxophonist Lynn Dobson in an improvising trio with Dreamtime drummer Jim Lebaigue. His jazz-rock trio Groon with drummer Steve Clarke and ex-Damned bassist Algy Ward has released a CD of written and improvised pieces. With Jim Lebaigue he formed the band Organon, featuring Elton Dean on saxes, Jim Dvorak on trumpet and John Edwards, bass. With Tony Marsh and Steve Franklin he has recorded two CDs of improvised jazz rock, the latest of which, Amherst Dislodged, is released on the SLAM label.

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DISCOGRAPHY

RADIUS - Sightseeing - Ear-Rational 1989 - ECD 1017

Geoff Serle - drums, percussion, sampling. David Cross - electric violin, Sheila Maloney - keyboards. Tim Crowther - guitar. Simon Murrell - bass guitar. Francine Luce - voice

1 Tibet

2 Ndugu

3 Back to the Land

4 Outlaw Soup

5 Sightseeing

6 Floating World

7 Keleti Terminal

8 Soitar

9 Voyage

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CONGLOMERATE - The Bible Says - Impetus 1990 - IMP CD 18921

Tim Crowther - guitar. Ted Emmett - trumpet. Steve Franklin - keyboards. Nick Stephens - bass. Steve Clarke - drums

1 Bizarre Gardening Accident

2 Tooting is not New York

3 Exercising Johnny

4 Jazz Incident

5 Deferred Gratification - part one

6 Deferred Gratification -part two

7 Just Add Beer

8 The Bible Says

Byron in Forced Exposure magazine, USA 1993

The only names on here that look even vaguely familiar are those of trumpeter Ted Emmett (who played once with Ken Hyder) and bassist Nick Stephens (who did the same with John Stevens). The Stevens/Hyder lineage places at least these two guys fairly squarely in the center stream of Brit electro-whatsis, and the sound of this CD seconds the nomination. On the "typical" track here the rhythm section lays out a tangibly springy bed of hot wire and guitarist Tim Crowther wrassles around big chunks of NOTE while Emmett attempts to commune with the spirit of Mongezi Feza. Everybody gets a decent amount of space, however, and Steve Franklin’s keyboards are particularly notable for having as much of an anti-trad stance as Brian Eno’s or Allan Ravanstino’s or Miles Davis’. You can bet me a beer that it makes for a swinging little racket.

James Nye in Jazz FM magazine, Issue 7

The Bible Says consists of eight items collectively improvised in the studio..... ..."Deferred Gratification Parts 1 and 2" are the shortest but most focussed and effective items on the album, moving from quiet coolness to a positively transcendent groove, whilst "Bizarre Gardening Accident" does indeed conjure up images of a high-speed collision between an electric guitar and several Flymos.

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RADIUS - Elevation - Ear-Rational 1992 - ECD 1036

Geoff Serle - drum machine, programming, percussion. David Cross - electric violin, Zeta midi violin. Sheila Maloney - keyboards, sampler. Tim Crowther - guitar. Simon Murrell - bass guitar.

1 Last train out of Tangier

2 On arriving at the gates to the city

3 Days of forever

4 Gashead

5 Ultramarine

6 Sensitized - Desensitize

7 Pagoda (Jay's tune)

8 Sky drive

left to right:

Tim Crowther, David Cross, Simon Murrell, Sheila Maloney, Geoff Serle.

NETWORK - Corroded Path - Progressive International 1993 - PRO 018

Tim Crowther - guitar. Steve Clarke - drums. Ted Emmett - trumpet, flugelhorn. Pete Jacobsen - keyboards. Laurence Cottle - bass. Terry Gregory - bass on 2, 6 & 7.

1 Hyperventilation

2 Corroded Path

3 L21

4 Five am

5 Obsessive Behaviour

6 Dial Direct

7 Faked Conversations

8 No Laughing Matter

left to right:

Ted Emmett, Pete Jacobsen, Steve Clarke, Laurence Cottle, Tim Crowther.

Bradley Smith in The Billboard Guide to Progressive Music, Billboard Books 1997, ISBN 0-8230-7665-2

Corroded Path is a minor treasure of UK fusion, directly picking up where groups like Brand X and Bruford left off. Eight tracks follow the friendlier and melodic paths of fusion, with a swinging smoothness that isn't earth shattering but is easy to like. The accent here is on concise, jazzy arrangements, with Crowther's restrained guitar soloing recalling some of the best of Allan Holdsworth and Al DiMeola. Imagine Bill Bruford's Earthworks band electrified and you get the sound of Network. Emmett's Miles Davis-like solos are superb, particularly when he is more up-front as on "Obsessive Behaviour". Occasionally the funky bass lines and piano breaks resemble Return to Forever, and Clarke's big drum sound vividly recalls Bill Bruford and the Phil Collins-era Brand X. The sound quality is good throughout, with production values ideal for an analog recording like this. Like Chad Wackerman's The View in the United States, Network's Corroded Path successfully continues the most attractive band dynamics of the jazz-rock fusion form.

Jon Newey in Tower Records TOP Magazine, July-August 1994

Discovery of the month is a home grown fusion group with balls that could withstand a pair of house bricks. Network are a Godsend. A bridge between the Mahavishnu-Return to Forever days and tough contemporary units like Tribal Tech, played with maximum enthusiasm and minimal budget. Corroded Path (Progressive International) is true spunk all the way, splashed about by an unlikely bunch that span UK mainstream jazz, avant and even thrash metal. Derivative for sure and over excited in places, but head and shoulders above the current UK designer crap that has all the life expectancy of another Conservative government.

Peter Thelen in Expose magazine, USA 1994

This five piece fusion outfit hails from the British Isles, led by guitarist Tim Crowther and drummer Steve Clarke. The band is rounded out by Ted Emmett (trumpet), Pete Jacobsen (keys) and Laurence Cottle (bass). Their music is filled with energy and melodic intensity, based on strong rhythmic foundations courtesy of Clarke and Cottle, and polished with brilliant solos from the other three. This is an impressive debut offering, striking a balance between structure and improvisation, complexity and accessibility; all are exceptional musicians, and depending on who’s leading at any moment, the sound can be covering almost anything from a hard-edged style comparable remotely to mid-period Return to Forever or the current edition of Brand X, to the more lucid and pervasive jazz stylings offered by the likes of Scott Henderson, Allan Holdsworth, or Bruford in his "Feels Good to Me" days. The writing duties are split between Crowther and Clarke, who tend to showcase the opposing aspects of the band’s sound - Crowther, who penned five of the albums eight tracks, concentrates more on the melodies and savor, while Clarke tends to focus on the rhythm and punch. One of the album’s most memorable tracks is "Dial Direct", a hard driving funky-at-the-bottom track with some punchy guitar work that will make Goodsall fans stand up and take notice. "Corroded Path", a Crowther tune, kicks off evoking the same spirits, but yields to some sweet melodic interplay between flugel and guitar. "L21" employs a bit of the Steve Morse touch as it winds through a series of changes and a tasteful keyboard solo followed by guitar pyrotechnics, covering a lot of territory within four and a half minutes. "No Laughing Matter" strolls through a series of tight turns, all in the jazzier stream, slightly reminiscent of Tribal Tech circa "Nomad:, although throughout the keyboards are used more freely without guitar dominating the overall mix. In summary, Network’s debut is like a breath of fresh air, going beyond the usual technical experience, hinting at new levels of the jazz-rock art form.

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CONGLOMERATE - Precisely the opposite of what we now know to be true - Dissenter/Progressive International 1995 - PRO 034

Tim Crowther - guitar + guitar synth. Ted Emmett - trumpet. Steve Franklin - keyboards. Hugh Hopper - bass. Steve Clarke - drums

1 Candles

2 Vespers

3 Arthur's Paranoid Half Hour

4 Fridge of Flies

5 All Nice and Clean

6 Patterns

7 Position B

8 More Wine, Darling

9 Bertie Simply Refused to Grow

10 Perverted Foods

Phil Howitt Facelift 1995

This is what progressive music should be all about. In spirit it’s close to some of Keith Tippett’s crossover albums of the Seventies, but Conglomerate come with wilder rhythm and more than the odd dip into electronics from Franklin, whose lugubrious appearance on stage belies a genuine desire to strip down your eardrums. The quiet pieces are brooding (the best being a Frippesque guitar effects piece entitled "Bertie Simply Refused to Grow"!), whilst the more upbeat pieces let fly with some fleet and discordant soloing from keyboards, guitar and trumpet. Even those with some sort of structure (such as "Fridge of Flies" in which Hugh Hopper’s grumpy bass provides the constants, "Wanglo Saxon"-style) aren’t particularly compromising. "Position B", a jam which allows Crowther to really stretch out, is the best of this particular breed. This isn’t easy listening - 70 odd minutes of experimentation isn’t likely to be. And it is a lot to take in at one sitting. But it is a breath of fresh air.

Alan Freeman - Audion - Issue No. 33, Autumn 1995.

Ted Emmett’s and Steve Franklin’s contributions to the music here make for a much more avant-garde fusion, from free-jazz realms through to cutting-edge modern styles. Naturally there’s quite a few references to Groon, yet Conglomerate (in living up to their name and disparate influences) weld lots of other surprises into their music, often resulting in wild and frantic structures.

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GROON - Refusal to Comply - Dissenter/Progressive International 1994 - PRO 050

Tim Crowther - guitar + guitar synth. Algy Ward - bass. Steve Clarke - drums

1 School Cook Forced to Eat His Own Custard

2 When Daddy's Tiny Seed Said Hello to Mummy's Little Egg

3 SOS

4 Mollusc

5 Suitable for Vegans

6 Celestial Terrestrial Commuters

7 Spillage

8 Interstellar Duster

9 The Baby Behaphthshephat

10 Rowland Hill

11 Always In Our Thoughts

12 291 LD

13 Immaculate Infusion

John Newey - Tower Records TOP Magazine

If the scorhing summer didn't kill your lawn then GROON most certainly will. Fronted by little-known guitar demon Tim Crowther, they're a UK power trio hell bent on terrorising the neighbourhood with a nasty dose of old school pyrotechnics. Refusal to Comply is a Lancaster bomber in an age of Phantom Jets: an oily, clanking hulk primed with enough early Mahavishnu, King Crimson and Alan Holdsworth licks to blast a flight of Guitar Institute wang-bar widdlers to smithereens. With just the dark frosting of guitar synth for company, this is full on electric jazz-rock the English way - noisy, indulgent, over enthusiastic and recorded in fits and starts at London's Pathway Studios - the home of punk. Indeed bassist Algy Ward was once in the Damned, but it's far more the Johnny McLaughlin and Billy Cobham obsessions of Crowther and drummer Steve Clarke that shape this almighty barrage, as well as exposing a quaint love of 70's progressive era tune titles like "School Cook Forced to Eat His own Custard".

Phil Howitt Facelift 1995

The monicker Groon implies more than a passing of King Crimson influence - I’d identify a closer allegiance to John McLaughlin and the Mahavishnu Orchestra, not because of the cover of "Celestial Terrestrial Commuters", but because of Crowther’s guitar style and penchant to flip from jazz improv to heavy rock soloing at the drop of a hat. There’s also the fact that his guitar synth sounds like some of the embrionic electronic stuff that Mahavishnu flirted with. Heavy rhythms, constantly shifting time signatures and general virtuosity are the order of the day - even the more reflective moments are laced with intent - there’s a rawness evident throughout this release. And if Crowther paid his respects with Conglomerate, with Groon he’s out to please no-one but himself. If you want to listen to a progressive album with the guitars genuinely going somewhere, this one is for you.

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Tim Crowther guests as a soloist on one track on each of the foillowing two albums - the music is Death Metal, but jazz rock influences occasionally poke through.

NECROPOLIS - Blueprint for Bedlam - The London Necropolis Company 1996

Sven Olaffsen - vocals. Keith More - guitar. Algy Ward - bass. Steve Clarke - drums.

Tim Crowther features on one guitar solo on track 5, with guitar solos from Bill Leisengang and the late Ian Aitken - may he rest in peace.

This CD also features outstanding solos from Steve Topping on track 1 and from Jan Hammer on track 2 - he hasn't played like this since the Mahavishnu Orchestra.

NECROPOLIS - End of the Line - Neat Metal Records 1997 - NM021

Sven Olaffsen - vocals. Keith More, Trev Thoms, Bill Leisengang - guitar. Algy Ward - bass. Steve Clarke - drums.

Tim Crowther features on one guitar solo on track 1, after a fluid solo from ex-Bruford band guitarist, John Clark.

CROWTHER-FRANKLIN-MARSH - Shell of Certainty - Visionlogic 1999 - VLG101

Tim Crowther - guitar & guitar synth. Steve Franklin - bass. Tony Marsh - drums

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TEK-SAN - Radio Tek-San - Dossier - VLG101

Geoff Serle - beats, drum programming, keyboards. Tim Crowther - guitar & guitar synth.

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ORGANON - Klusterbuckstuckle - SLAM 2004 - SLAMCD 256

Elton Dean - saxes. Jim Dvorak - trumpet. Tim Crowther - guitar & guitar synth. John Edwards - bass. Jim Lebaigue - drums

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CROWTHER-FRANKLIN-MARSH - Amherst Dislodged - SLAM 2005 - SLAMCD 263

Tim Crowther - guitar & guitar synth. Steve Franklin - bass. Tony Marsh - drums

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