"Charles Hayward (born 1951) is an English drummer and was a founding member of the experimental rock groups This Heat and Camberwell Now. He also played with Mal Dean's Amazing Band, Dolphin Logic, and gigged and recorded with Phil Manzanera in the group Quiet Sun project as well as a short stint with Gong. He was a session musician on The Raincoats' second album, Odyshape, and on one occasion played drums for the anarchist punk band Crass. Since the late 1980s, Hayward has released several solo projects and participated in various collaborations, most notably Massacre with Bill Laswell and Fred Frith.

In 1976, Hayward and fellow Charles Bullen began practising with bassist Gareth Williams under the name This Heat. They began to experiment with tape loops, found sounds and keyboards on several sessions (recorded from 1976 to 1978, but not released until 1979). Finally, in 1979, This Heat released their self-titled debut album. 1981's Deceit marked the final new album from This Heat, Williams leaving just after its release. While Bullen began working as a studio engineer, Hayward did sessions for Lora Logic, The Raincoats and Everything but the Girl before forming Camberwell Now with bassist Trefor Goronwy and tape manipulator Stephen Rickard. The trio released 2 eps Meridian, Greenfingers and 1 album The Ghost Trade through the Swiss Recommended label. When Camberwell Now disbanded in 1987 Hayward embarked on a solo career which has continued to the present day. He debuted with Survive the Gesture (1987), Skew-whiff (1989) Switch on War (1991) and My Secret Alphabet (with Nick Doyne-Ditmas) in 1993. 3 live albums recorded in Japan followed in the late 1990s (released on Japanese label Locus Solus). In 2003 Abracadabra Information was released and 2011 saw the release of ONE BIG ATOM In 1998, he joined Massacre with Fred Frith and Bill Laswell.

Throughout the 1990s up to the present he has initiated a large number of events and performances, including the series Accidents + Emergencies at the Albany Theatre in Deptford, Out of Body Orchestra, music made from the sound of the new LABAN dance centre being built which was choreographed for the official opening, music for a circus (part of the National Theatre's 'Art of Regeneration' initiative), the full-on installation/performance Anti-Clockwise (with Ashleigh Marsh and David Aylward) for multiple strobes, maze structure of diverse textures, 2 drummers, synthesizers and your nervous system. Recent developments include the CONTINUITY evenings as part of Camberwell Arts. Over the past ten years Hayward has developed these attitudes and insights into a wide range of soundwork, both collaboratively and as a solo artist/performer. These include: 30 MINUTE SNARE DRUM ROLL, Zigzag+Swirl, a solo song set at the drums using a system of controlled chance electronics, beginanywhere a set of songs centred around the piano, collaborations with Laura Cannell, Thurston Moore, Keiji Haino amongst many others. Recent work with the Islington Mill crew in the project Anonymous Bash has led to new work with many younger players, including Harmergeddon, DATA QUACK and projects for an array of new record labels including Samarbeta, Care in the Community and Unknown Gods. He also releases material on his own label CONTINUITY..... His long term relationship with the Albany continues with a twice yearly series of performances, workshops and installation, sound is sound is sound which he curates on behalf of Lewisham Arthouse."

"George Lowen Coxhill (19 September 1932 - 10 July 2012), generally known as Lol Coxhill, was an English free improvising saxophonist and raconteur. He played the soprano or sopranino saxophone. Coxhill was born to George Compton Coxhill and Mabel Margaret Coxhill (née Motton) at Portsmouth, Hampshire, UK. He grew up in Aylesbury, Buckinghamshire, and bought his first saxophone in 1947. After national service he became a busy semi-professional musician, touring US airbases with Denzil Bailey's Afro-Cubists and the Graham Fleming Combo. In the 1960s he played with visiting American blues, soul and jazz musicians including Rufus Thomas, Mose Allison, Otis Spann, and Champion Jack Dupree. He also developed his practice of playing unaccompanied solo saxophone, often busking in informal performance situations. Other than his solo playing, he performed mostly as a sideman or as an equal collaborator, rather than a conventional leader - there was no regular Lol Coxhill Trio or Quartet as would normally be expected of a saxophonist. Instead he had many intermittent but long-lasting collaborations with like-minded musicians.

In the late 1960s and early 1970s, he was a member of Canterbury scene bands Carol Grimes and Delivery and then Kevin Ayers and the Whole World. He became known for his solo playing and for work in duets with pianist Steve Miller and guitarist G. F. Fitzgerald. He was thought to have largely inspired Joni Mitchell's song "For Free", while busking solo on the old footbridge which formed part of the Hungerford Bridge between Waterloo and Charing Cross. Coxhill collaborated with other musicians including Mike Oldfield, Morgan Fisher (of Mott the Hoople), Chris McGregor's Brotherhood of Breath and its musical descendant The Dedication Orchestra, Django Bates, the Damned, Hugh Metcalfe, Derek Bailey and performance art group Welfare State.

He often worked in small collaborative groups with semi-humorous names such as the Johnny Rondo Duo or Trio (with pianist Dave Holland - not the bassist of the same name), the Melody Four (characteristically a trio, with Tony Coe and Steve Beresford), and The Recedents (with guitarist Mike Cooper and percussionist Roger Turner), known as such because the members were (in Coxhill's words) "all bald", though the name may additionally be a play on the American band the Residents. Typically these bands performed a mix of free improvisation interspersed with ballroom dance tunes and popular songs. There was humour throughout his music but he sometimes felt it necessary to tell audiences that the free playing was not intended as a joke. Coxhill was compere and occasional performer at the Bracknell Jazz Festival, and a raconteur as well as a musician; he often would introduce his music by saying the words, "what I am about to play you may not understand". It was following a performance at Bracknell that he recorded the melodramatic monologue Murder in the Air."