Musical Background
Harry's musical ability came from his mother, who's family were all musicians. His maternal grandfather helped to rebuild York Minster Organ. Harry was drawn to the keyboard from an early age.He often stayed late into the evening playing harmonium in a chapel when he was supposed to be on the way home from primary school. He was fascinated by the patterns of sound that hung in the air as the twilight deepened, improvising endlessly - pedalling, pedalling, until the old felt pads and canvas bellows ran hot in the damp air.
He gained a place at Exeter Cathedral School and left home in 1959 to became a Chorister, eventually Head Chorister, under the guidance of Lionel Dakers. There he studied piano, organ and composition and developed a keen ear for pitch and harmony.
This time was extremely formative and the atmosphere of professionalism combined with the classical tradition and the famous wickedness of cathedral choristers has stayed with him. He learned to sight-read by the age of 10 and was singing over 400 services a year without repeating the material - except for the occasional hymn. Rehearsals twice a day every day created a familiarity with Choral Music from Plainsong to Benjamin Britten - an education not be underestimated - just ask Keith Richards!
When he left Exeter, he went to Millfield School where he studied the sciences, acted, and played in his first Jazz combo, as well as experimenting with rock and blues.
He borrowed the school's double bass and was often found playing during break time and lunch to a small but appreciative group of friends, some of whom he is still in touch with. He made friends with Richard MacPhail who went on to be the personal manager of Peter Gabriel, and with him formed a band which actually won a prize in a Rock Competition. During this time John Mayall and all his various bands played regularly in the local Glastonbury Town Hall and were a continual influence and inspiration
Tarka
www.anthonyphillips.co.uk
In the early/mid seventies Harry Williamson began to work with Anthony Phillips (Genesis). They collaborated on several unusual experimental guitar and keyboard pieces. They wrote and scored two semi-classical works, which were harmonically and rhythmically complex. Using guitars in different open tunings forced them to compose by ear rather than intellectually. The results were striking and quite novel.
One of these pieces, 'Tarka', (PRT and later Voiceprint) was recorded in 1978 but finally released in 1988. It was in some ways a tribute to Harry's late father, acclaimed novelist Henry Williamson, whose classic award-winning novel, 'Tarka the Otter', inspired the composition. The release was produced by Simon Heyworth (Tubular Bells) and financially backed by movie producers Susan George and Simon McCorkindale. Harry says he wept when he first heard the Symphony orchestra read the music! Tarka was released to great acclaim and it stayed No 1 on the Classical/New Music charts in Britain for 3 months.
www.tarka-country.co.uk
Sting & the Radio Actors
Harry's involvement with fledgling Green movement led to the creation of an antinuclear benefit group, The Radio Actors, which featured Sting, Harry, Nik Turner, Steve Hillage, Mike Howlett and Steve Broughton.
A single, Nuclear Waste, written by Harry & Nick and sung by Sting, was released by Virgin and then Charly to raise money for nuclear disarmament. Now available through Voiceprint/Blueprint. When he asked Charly about royalties on the 10,000 copies they pressed he was reminded that if he wanted to walk out of the office he should not ask that sort of question.
The Gong Family PLANET
http://www.planetgong.co.uk
Harry Williamson's involvement in Mother Gong began in 1979. Working with Gilli Smyth, formerly of Gong and known for her 'space whisper', he wrote recorded 'Fairy Tales' for Charly records and toured the US with Georgio Gomelsk's ZU manifesival. The tour line-up included renowned bassist and producer Bill Laswell, Daevid Allen, drummer Stu Martin (Charly Parker) and 16 other musicians, including Kramer. Three LP's later they formed Mothergong with brilliant saxophonist Robert Calvert, percussionist Rob George and Conrad Henderson on bass.
Harry helped to create a vast catalogue of musical explorations to accompany Gilli's poems and invocations in the years 1979 -1991
Harry Williamson appears as producer/musician/composer on many of the Gong family releases of the 80s. He was part of the Gongmaison incarnation of Gong (Gongmaison 'Live at Glastonbury' CD, available through GAS), engineered and produced releases for Daevid Allen ('12 Selves' and 'Australia Aquaria' (Voiceprint), was behind the Australian Invisible Opera Company of Tibet's self-titled CD (Voiceprint) and for 12 years was the main composer/producer for Mothergong
Harry's classical affinity produced structures not usually associated with this freeform style of music. It was a new way of working that he particularly appreciated. It enabled his musical boundaries to expand to yet another level and the result is some very intriguing music. 'Wild Child' is perhaps the epitome of this elegant and emotionally moving process, recorded in a few wild full moon days in a studio in Wales prior to the 1989 UK tour. 'Magenta/She Made the World' also highlights this style.
More recently
Harry's official involvement with Mother Gong ended in 1991, but a recent resurgence of interest has resulted in the reissue of 6 CDs in 2004. The Battle of the Birds, Tree in Fish, The Owl and the Tree, Histories and Mysteries of the Plant Gong, Mother Gong 'Greatest Hits' compilation, have now been released on Voiceprint. They were all extensive remastered and recompiled by Harry in Melbourne during 2003, and include new tracks. Another compilation, Mothergong live at Glastonbury 79/ 81 has been completed in May 2004.
Harry and Daevid Allen recently collaborated on a new CD, '22 Meanings - the art of glissando guitar', available on the Gliss label. This CD features the extraordinary drone of the Angel Guitar.
He is now looking for a deal with his collaboration with Afghani Sitar maestro Khalil Gudaz and has recorded an eponymous CD with Melbourne Ladino quintet Soleluna, and developing a musical, called LACE with his partner Maribel Steel
In 2000 he released his first solo CD which was called Life in the World Unseen (available from Voiceprint) after the book by Luis Borgia. It is a collection of instrumental as songs and includes a suite, mainly in 7-8 time inspired by the book - which deals with life in the spirit world - where building are made of music.
SInce then he has recorded several CD's with different artists. 'Dreaming in English' with Meblourne Poet jeltje , Soleluna with Ladino band Soleluna and others.