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Kenneth Ansell, in his notes to the 1980 Amalgam Wipe out box set, indicated that, although Keith Rowe's first major engagements were with the Mike Westbrook Orchestra in the early 1960s he was increasingly at odds with the surroundings in which he found himself. At college Rowe had begun to translate the drawings of Paul Klee into guitar tablature and as his further explorations led him towards the perception of the instrument as predominantly a sound source, he found that his contributions 'became too radical for the jazz context.'
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