This album is a collaboration between Hugh Hopper of The Soft Machine and Kramer. Robert Wyatt is featured on "Free Will And Testament." A Remark Hugh Made was produced and engineered by Kramer. This album is recommended for fans of The Soft Machine and Kramer. Although this album was recorded long after the peak creative period of The Soft Machine, all artists on this CD demonstrate that they were not past their prime in 1994.
Gloriously atmospheric, jagged and intense, 2004's 'The Stolen Hour' was a superb extension of Hugh Hopper's 'Jazzloops' series of explorations written to accompany the distinctive imagery of American comic book artist, Matt Howarth. Assisted by, amongst others, Robert Wyatt (cornet, voice), John Marshall and Didier Malherbe, Hopper updated the Jazz-tinged Minimalist looping he initially developed in the 1960s, evoking the innovative spirit of early Soft Machine, while simultaneously suggesting new possibilities for his music. Matt Howarth's 'The Stolen Hour', the visual inspiration for this landmark in the development of Hopper's truly idiosyncratic talent, is featured as a pdf file on the enhanced CD.
Cardboard sleeve reissue features remastering in 2013 and the high-fidelity Blu-spec CD2 format (compatible with standard CD players). Includes bonus tracks. Originally released in 1973 by the Soft Machine bassist shortly after the band had lost eccentric drummer/vocalist Robert Wyatt and had begun their evolution into a respectable (and somewhat predictable) jazz-rock ensemble, this was Hopper's attempt at something more experimental.
This was Hugh Hopper's second solo album but the first he released after leaving SOFT MACHINE. Hugh hooked up with recording engineer Mike Dunne who had been the assistant engineer on his first record ("1984"). Mike was now in charge of the mobile studio of Jon Anderson of YES. Mike suggested that he could provide the studio while Hugh would provide the music and musicians. Hugh notes: "By the time I had arranged the music into some sort of coherent order and invited the various guest musicians, Mike's studio was set up in one of London's big film sound studios, where YES rehearsed for tours. Jon Anderson occasionally popped his head around the door when we were beavering away at some tricky tape-looping or double-speeded bass, and Steve Howe looked in once, I seem to remember. I knew them slightly anyway, from SOFT MACHINE tours when the two bands came together at festivals".