real

In 1991 I spent a few evenings doing a recording session with my friend Andy Smith who is now manager of the PMT music shop in Bristol. Whenever I call in at the shop and see Andy he always tells me that he has no time to do any music any more, which is a shame because he is very talented. We worked on 2 songs, one which we completed which is called What Is It That You Dread? that tackled the subject of having a 2 year old daughter and an about-to-be-born son whilst the Gulf War and other atrocities seemed to be leading the human race towards Armageddon. The coda was from a radio recording that I made on the night when the US started the war with a precision-guided bombing raid on Baghdad. Now I wish I’d kept the whole of the recording, but all I have left is a very poor quality copy of the actual track. This is some of the dialogue from it

we continue to hear, er, an occasional round, er, go off in the background

they’re spurting fire into the sky, heavier calibre. I don’t know what they are but they’re more impressive than that used earlier.

Are things better today? I’m not sure when we live in a world where to some people Anders Breivik is a hero.

The other track we worked on was never finished – at least no vocals were ever added, but the recording quality was better, probably because the track was simpler and didn’t have so many added layers. I can’t remember who played what though I’m sure the drum machine programming was mostly by Andy and I think he played bass as well. I definitely would have done the rhythm guitar, but I suppose it’s the 2nd guitar that could have been me or could have been Andy. Sounds more like Andy to me, but sometimes I surprise myself.

Now, some 21 years later (my son’s age of course) I have recorded the vocals. I could do better but as usual I can’t be bothered. I have a philosophy which decrees that you shouldn’t work on things too much. If what you can do fast isn’t good enough then maybe next time it will be better. And there’s also a distorted guitar solo at the end which is another 1st take. In fact I wasn’t really thinking of it being a take at all, it was just to check the levels but once it was done it seemed adequate especially when you consider what I’ve just said above.

Compared to the serious shit I’ve described above re the other track, the lyrics to the song which I call Real are a reversion to my normal Nonsense. See the category Nonsense for further details. At times it seems like a John Cooper Clarke tribute, which is fine because I think he’s great, but there are definitely bits that are Vaseyesque (note 1st use of this adjective).

real

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Jazz Quotations 2

some more snippets from the downbeat archive

Like a woman at Birdland once asked me why I played so low, so much in the middle register, and not on the top keys. Well, I play where I want to. I can’t help it if nobody digs it. I’m going to play the way I feel. Certainly a musician should have training and should be able to play the whole piano, but once he has that ability, there may be something else he’s trying to prove.

Horace Silver

For years I thought only in terms of wishing I could get a job for scale. And if I had it all to do over again, that’s all I’d want. I can truthfully say that.

Dave Brubeck

When I can reach an audience, I feel as if I’ve persuaded them to come into my camp and accept what I am. You have to be careful not to let that tempt you either to phone in a performance or to become solicitous of the crowd. That’s why I stopped playing at one time. The pressure I felt from the audience made me want to do something for them I wasn’t able to do.

Sonny Rollins

Nostalgia brings on anticipation because you know what’s going to happen next. When people start to anticipate, they become intense, waiting for what they know is going to happen. And this tension feeds their neuroses.

Lennie Tristano

There’s no key! You just go ahead, and I’ll follow.

Django Reinhardt

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granite mix 3

I still remember very well first hearing Rock Bottom back in 1974. My friend Ray Kent bought it before me and played it to me. He described it as soft rock. My favourite British rock/pop albums are The Madcap Laughs, Rock Bottom and Shooting At The Moon. What have all 3 got in common? The contribution of Robert Wyatt.

I like the song Alabama Bound so much that I wrote a sort of tribute song which I call Belerion Bound. I don’t play it too often, maybe I’m too much of a Puritan to want to emphasise it’s hedonistic agenda. Actually it’s called Don’t You Leave Me Here and is by Papa Harvey Hull & Long ‘Cleve’ Reed.

It’s hard to remember just what impact David Bowie‘s Station To Station had back in 1976. It takes me back to the sitting room of my friends Rod & Sheila Henderson in Hyde, Manchester. The still from The Man Who Fell To Earth on the cover seemed to hint at things that were extra-terrestrially incumbent. Actually the film came out earlier in the year, before I was living in Manchester. The film I associate with my short time there is another offering from that year, Taxi Driver. That’s something for another time. There is much to write about it seems.

Which leads me to the soundtrack of another 70s film, Roma. I didn’t get to see this film until 73 or 74 and I have a vague memory that I saw the end of the film (the motorbikes bombing around Rome) first as the previous screening hadn’t finished when I took my seat. It’s not a good idea to do that, although not too bad with a film like Roma.

I first saw John Cale perform on June 1st 1974. That’s easy to remember because the concert was recorded and came out on an Island Records album and that’s what they called it.

Sun Ra I think I saw twice, both times at The Venue by Victoria station. And in reference to the earlier paragraph, that was somewhere I also saw John Cale do a solo gig on his first solo tour and I saw Nico do a solo gig there once too.

Monk sadly I never saw. I’m working on a guitar solo version of Pannonica and have been doing for a while now. It’s going to take me a little longer before I contemplate playing it live, but one of these days.

Misterioso is another of my favourites. I’ve seen the Kronos Quartet a few times. The first album I bought with them on was Terry Riley‘s Cadenza On The Night Plain. There is much to listen to it seems.

Finally back to 25th December at Rod & Sheila’s in 1976. My best Christmas present was the box set of Keith Jarrett‘s Solo Concerts. I may have played one of the sides sometime that Christmas morning. Afterwards I left the triple album in its box on top of the TV set. It’s never a good idea to leave records on the top of the TV. Especially not on Christmas Day in 1976. Later that afternoon I found that the records had sort of changed shape and not much of the vinyl was left in a listenable state. So this recording of Side 4 of the record is from my 2nd copy of the album (although I’m afraid it has some vinyl defects near the end). I should point out that this last track is a couple of minutes over 20 minutes long.

here’s the mix

and here’s a link so you can download the mp3

Granite Mix 3
Artist Title Album
Robert Wyatt Little Red Riding Hood Hits The Road Rock Bottom
Papa Harvey Hull & Long Cleve Reed Don’t You Leave Me Here The Songster Tradition
David Bowie Golden Years Station To Station
Nino Rota Ecclesiastical Fashion Show Roma
John Cale Baby You Know Sabotage
Sun Ra & His Outer Space Arkestra Rocket Number Nine The Singles
Thelonious Monk Quartet Straight, No Chaser Live At The It Club
Kronos Quartet Misterioso Monk Suite
Keith Jarrett Lausanne March 20th 1973 Part 1 Solo-Concerts

Thanks for listening and finally I would like to copy out the words of a poem by William Carlos Williams. I don’t know why exactly but the desire hit me a little bit earlier.

An Exercise

Sick as I am
confused in the head
I mean I have

endured this April
so far
visiting friends

returning home
late at night
I saw

a huge Negro
a dirty collar
about his

enormous neck
appeared to be
choking

him
I did not know
whether or not

he saw me though
he was sitting
directly

before me how
shall we
escape this modern

age
and learn
to breathe again

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the great outdoors

I’ve recently managed to complete a film comprising of some footage that I shot about a year ago. It’s called The Great Outdoors. As a soundtrack I used some excerpts from a jam I had with Nick Pullin about 20 years ago. This is something we only did once – at least only recorded once. I’ve searched through the archive and found this image of Nick which I hope he will approve of.

If not I might have to update this page sometime in the future and hopefully change this wording. If not don’t worry. Worse things have happened on the world wide web, or even the whirled woid wedge or thereabouts.

Here is the page for Nick’s band Ilya (or thereabouts) with Joanna Swan, some friends I’ve known for a year or two.

They’ve just moved but they used to live very close to where these images come from so it’s all very fitting.

Now I have new friends in Albemarle Row – it’s funny how life works out. Or so Moses used to say. Apparently.

Here’s the embedded what-do-you-ma-call-it. If you don’t like it, please don’t bother to let me know. I’ll just take that for granted.

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Winter Thirst

WINTER THIRST

A Short Operation

Fall

Green became tawny. Between tall spindle trees smoke rose from a cottage chimney. It hung in the air and then spilled to one side.

As Ern and Kast drew closer they heard sweet violin tones, muffled by thick limestone walls. The door was open – they knocked and Ern shoved his head inside. Both were grabbed, shaken and invited to dance by a frenzied crone, drenched with a bitter perfume. Mascara cascaded down her wrinkled cheeks. Her breath smelt strongly of onions.

The face of the violinist caused them to leap back towards the door. It resembled a metal flower – well-rusted and extremely scrappy – fit only for the junkyard.

They both ran for it, of course. Afterwards Kast said to Ern “You know, I liked very much that violin-playing.” Ern agreed that it had been astoundingly skillful. They returned to their small boat and sailed back across the channel to their homeport.

Ern’s Dream

At work, wearing new overalls he spilled a plastic cup of hot chocolate over his chest. His father emerged from behind a forklift truck. His eyes were pointed heavenwards.

“Commend my son unto thee. See he is like a whisky bottle run dry – the last drop of spirit lies unevaporated around the concave bottom. His mother passed away many years ago, since when I have used a fish in order to be faithful to her. Aye, a fish, like fisherfolk do on long sea-voyages.”

His dad was acting like a raving widower. He could not bear to see him thus transformed and went for him with a box of nails, assorted into handy sizes.

His father, with a cut eye and forehead lurched back out of what was now a chapel. A rather lively fugue was being performed on the organ. He followed the injured man out into a sunlit courtyard. Out in the open air, church bells pealed deafeningly. They were quickly surrounded by ostriches with long inquisitive beaks and necks.

He retreated to the chapel where he watched through the peephole whilst the ostriches, somewhat excited by the smell of fresh blood, perpetrated hideous disfigurements on his father’s whole body. The old chap still clung on though and, when he could, delivered stubborn kicks that winded several of the birds.

Ern was interrupted by a tug of his sleeve. “Could you sit down during the sermon, please” asked a rather presumptuous lay-worker. He sat in a central pew.

“Hells’ teeth, friends, are long, like fritters, coated in tartaric acid with the taste of rancid margarine exhumed from a dead man’s gut. Eventual Justice Will Prevail. I can’t express this too often. Some of you here today will be clawed by bird-men till you are but bleeding wrecks – raw carcasses yet still alive.”

At this point in the sermon Ern blushed, thinking of his poor old dad at the mercy of those unusually savage ostriches. Defying the lay-worker’s despising glare he hastened to the door and looked out to see his father struggling to get in, a mass of blood and feathers. Although one could not make out much of his face he seemed to cast a reproachful glance at his son through the small glass square. Ern repented. He opened the door. The lay-worker loomed up behind, slobbering with rage. Ern’s dad, now a vicious fighter, jumped on this rather pompous little individual.

At first Ern was quite amused to see this little runt take a beating, but then he noticed the scissors in his father’s hands.

“How the devil did he get those” he thought.

It was already too late – the sharp little blades had gone straight through the shirt that had been white, but was now reddening, and split the lay-worker’s abdomen open.

“You fool!” shouted the angered official.

No-one paid much attention, for meanwhile the ostriches had invaded what was now a cathedral. Some could fly and defecated on the choir and congregation from above. It grieved Ern’s heart to see such desecration.

La Flèche Sympathique

Eventually Kast and Ern never returned to their home-town.

Edgar felt lost without them. He mooned around the quayside where he had so frequently welcomed them in past years. One afternoon he sat on a backless metal bench facing a light dredger of dowdy appearance. To his left, by a rusting capstan, an unkempt mongrel was spewing up a dark red (almost russet) mixture that reminded him of something he had once seen on the floor of a Parisian public convenience.

This only added further to his irritation. Back home, his landlady would invite him to a game of chess, but both she and the game itself he found boring – he preferred to watch the dog.

“At least out here some adventure might befall me” he thought.

His wish was granted. Perhaps Ern or Kast had something to do with it, but after all, who cares – an adventure’s not to be scoffed at.

Later that evening he had returned to his apartment and was intently studying a cup of tea, when someone climbed in through his living-room window – open as it always was at this time of the year. A smartly-casual clerical type with a bulbous nose and a complete lack of eyebrows walked briskly across the room towards Edgar, seized him by the wrist and led him back to the window.

Most people would have resisted, but Edgar’s present lethargy and ennui induced him to succumb. One must admit, however, that he did begin to have serious misgivings when he found himself on a narrow ledge some thirty feet above the concrete yard at the back of the house. But there was no need to worry – they jumped and both started flying through the air.

“How peculiar” mused Edgar. It was certainly an unexpected twist to the day. They followed the widening channel and then reached the sea. As Edgar watched the beach and cliffs fade into the distance his thoughts turned to Ern and Kast – lost friends drifting in a void. Probably eating hamburgers. He, too, was hungry and rather cold by this time. He looked towards his companion for some sort of explanation, but the clerical character would not look at him. In fact, he strained his neck away, searching in the distance.

Gulls glided below complaining to the wind of the hardness of their life. Or so it seemed to Edgar. Actually he felt like complaining himself. I mean, an adventure is something, that’s true, but there must be limits, after all.

Eventually they reached another coastline. Highlands rose steeply from sea-level. A few miles inland they reached a pass between two craggy mountains. A medium-sized office block reared up on a grassy plateau. The two aviators came close to the building, hovered down and entered through a window just like his at home.

The room was a rather dreary office. At last his abductor spoke,

“You have been chosen as one of the few here in Arsanda – the few given the chance to marry the King’s daughter and rule at her side when he dies. This is a magical kingdom and the perks and benefits are unbelievable – I cannot begin to explain them to an uninitiate like you. Yours could be a life of luxury. But in order to win the Princess you must work here for forty years. She is but two years old, the King is twenty-four and has a good many years left. You must in the meantime prove yourself worthy of the Princess’s favours. You or one of the fifty like you – it matters not which.”

In The Golf Club

Scene IV

(The golf club bar. It is dingy and dimly-lit. The 4th Trombonist is acting as barman. Pious and unrelenting he pours lager over the heads of the customers. Whilst the following exchange is advancing, the customers throng, jostle and joke incessantly. Gordon and Firtree are sat on stools some ten feet from the bar. Each has his drink. The juke-box plays Amarillo Zippodder’s “Crazed ‘Bout You” as many times as necessary.)

Gordon: Nice whisky.

Firtree: You think so? Not a mixture?

Gordon: No, not on my nelly.

Firtree: Your nelly?

Gordon: That’s what I said.

(Pause)

Gordon: Been playing?

Firtree: Praying, actually.

Gordon: Preying?

Firtree: No. Praying. To Jesus.

Gordon: I say, really?

Firtree: Well, no, just my little joke.

Gordon: You’ll never believe what happened to me on the fourteenth. I was trouncing old Thompson, the building chappie, by a clear seven points when we were interrupted by a balloon race. One of the blighters landed on the fairway.

Firtree: Gawd, did you chase them?

Gordon: Tried to, but they turned on us with empty propane canisters. Smashed up our clubs, too. Spoiled the game completely. You know – it’s impossible to go on when you’ve been put off your stroke like that.

(A bunch of drunken young men lurch backwards knocking Gordon and Firtree off their stools.)

Gordon (still on the floor): Have care, you swine.

Firtree (rising painfully): Oh my ribs – something’s smashed.

Gordon: See what you’ve done, you bastards, my friend’s haemophiliac.

1st drunken youth: We don’t care if he’s made of delicate china or fine cut glass.

2nd drunken youth: Or built like Humpty-Dumpty. Eggshell surface – a bag of wind inside.

(The lights fade. A whistle pierces the stillness. A single beam of light returns – directed on a solitary drunk.)

Solitary Drunk (thinks): We burnt his feet, by the side of the fishpond. The wind blew backwards, rushing repeatedly through two silver tree-trunks. A renegade ice-cream van careered through the undergrowth, an ominous green light within. He staggered up, his feet peeling and blistered, and crawled off to look for his mother, on her way home from the supermarket. But she had run off with her new boyfriend – Cyclops. They had taken a taxi to the station and were already arguing.

“Do you always wear blue socks with brown shoes?”

Cyclops began to stammer an excuse, but kept silent. They passed by a huge red-brick factory which caused the very air to stink of rotting carrots discovered under one’s mattress on a winter’s night.

Then, the station. The taxi pulled up, but neither mother nor boyfriend showed any sign of stirring.

“I’m bored” said Maria (the mother, that is).

“I’m not going to cringe before you any longer, you toadthug.”

“What a cheek! You frisky cad!”

“Don’t ever ask me again. Come on, let’s get the train. Pay this citizen.”

“Don’t talk to me like that. My father was a foreman, my mother was a nurse, and I was made to swear, I’d never end up worse.”

An Only Child

Sebrana rose – she’d had enough. The kettle was left to boil as she slipped through the Judas trees, her eyelids pinned to her cheeks.

Night it was and fine, bright one too. The wind sounded like rustic pipes, blown by a dolt.

She walked head-down across the clodded meadow, pretending to be with Gordon, her imaginary lover, who whistled a tuneful waltz in her ear. They were in the desert – on a sand dune – it was jolly.

Back in the forest, as tall as trees, Sebrana sobbed on Gordon’s shoulders. Now they had grown even larger and used mountains as armchairs in their cosy apartment.

In truth she was alone. Even the little animals seemed to avoid her. If she had carried a knife in her bag she could have stuck it in her heart. Kept it there as a souvenir. Of Gordon, vanished, running into the night, lost in the forest.

Sequel

Gordon eventually reached the house and entered by the conservatory. Once inside he ran upstairs into the bathroom and removed his sore eye. In the next room he could hear a hungry baby wailing for attention.

He slipped his plastic clammy fingers over the door-handle, pushed the door open and took a step inside.

One day, in the Caucasus Mountains, a goatherd had a dream :

He was in a red polystyrene beaker in a turgid canal – floating whichever way the wind blew. From this vantage-point he saw the moon, with a face, bend down and kiss a mad dog. Marching past, a military band were playing a foxtrot, but stopped and drew swords. The dog was slain. He saw tears on the eyes of the moon-face.

Back in the bottom of the beaker he found a handful of salted peanuts – and, shortly afterwards, woke up.

Back in the house, Gordon side-stepped into the corridor. The lights began to flicker incessantly in the umbrage, causing his thoughts to flash back to the freak meteorite storm that had occurred in his bedroom when he was nine years old. The next day he had found a smooth, rounded pebble in a clear mountain stream. His mind and indeed his life was full of such irrelevancies.

Suddenly he cried, “Yike!” as an enormous jellyfish, crimson with purple spots, plopped off the glass roof onto his neck. As it slipped down his shirt he sat on the foam carpet, sobbing.

Another door opened. Gadfly, the boy jockey, appeared with a handful of radishes.

“What’s up?” he queried.

“I need your help, I’ve been the victim of a vile ambush” said Gordon, opening his shirt-front to let the jellyfish slop out over his lap onto the foam. It scurried down the passageway towards the stairs.

Gadfly sniggered. “That’s Tony. He loves his little joke”

“Tee hee” thought Gordon.

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The Moment of Creation

Usually these days when I write words for a song I do so using the Voice Recorder function on my mobile phone. I record in short bursts – 1 or 2 lines at a time. Writing it all down and editing it comes later, accompanied by guitar. Tweaking the words can go on for a while after that. In fact in theory that could go on while there is still life in the old dog.

I recorded a demo of the song I wrote towards the end of 2011, RV Marche RG. Later I found that I had not yet deleted the various Voice Recordings. Before doing so I transferred them to my MacBook and strung them all together. They are the log of the act of creation. They go on for about 4 minutes. In real time of course there were gaps between Record and Stop so I was probably stumbling around the streets whilst recording/creating for about 10-15 minutes in total.

My presentation of this moment of creation is not really a thing of beauty, but I felt it was worth preserving and was prepared to front it on YouTube, possibly a mistake but what the hell. My favourite bit on the soundtrack is the call of some random bird that happened to be about at that unearthly hour. I did think about cutting that noise and introducing it with some delay or something a bit more frequently but in the end laziness prevented that innovation which I think is good because just appearing once and then not again is ultimately more rewarding/intriguing.

The film I carved together from a few oddments derived at similar late night junctures, though not on the same night and in fact from the opposite direction. Down by the dockside to be precise where late night lights flicker and dip with reflected refractions. I have done something vaguely similar though reasonably different in the past which is here. I abstracted more this time and resisted the temptation to fade the odd Hergé still subliminally into the background.

Here are the final lyrics

rv marche rg

past rows of metal boxes
with single antenna
save one for tintin street
feelers for dreams
that flow through channels
towards tintin street

save the last one
save a little bit
save some now
for tintin street
save one
for tintin street

the last gully
transmigrates
to simplistic gratuity
burnt into diamond shapes
that line the walls
on tintin street

save the last one…

where concrete descends
a pear tree attends
suspends and portends
with balconies around
can calculus be found?
cellared up and bound on tintin street

save the last one…

through the smoke
the buildings choked
don’t stay too long on tintin street
your lair’s right there
fair and square
you’ve made it back from tintin street

save the last one…

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may/march jupiter/venus

this is a piece I called may because I filmed it in that month. it blends a couple of things together which are generally called blitts kreegen or something of that sort and ends with an out-of breath extravanganza which goes by no name other than compleasure. earlier this evening I was confronted by the eyes of a maniac but I managed to survive and now I redeem pleasure simply beneath a concave window of other parts hung sideways and curvaceously perpendicularly trapezoid.

now we are in march and the recumbency is proportionate to the viscosity. in may the rubric becomes infantile and sucks at many teat-like purveyances.

if I go back in may this year it’s not to be expected. the frail-like incumbency can be replaced by ovoid rectitudinal symbiotics. you know what I’m saying

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news review

there’s much that is good about the ability to gain an international understanding of the world and here are some links which are my news review

Philippines story of a tragic death

the first item is a short news clip from philippines about a filipino woman who was beaten to death in kuwait. I don’t know exactly what happened but the point of interest for me is not the story itself but how the story is told. there is a mixture of video shots with drawings, but the figures in the drawings don’t seem to set out to be anything like likenesses of the actual people involved.

Salvador Dali photographed by girl guides with brownie cameras

secondly I have a great shot from el país of salvador dali. I’m not a big fan of his, but I have to ultimately respect the innovation that makes him an icon. I would really like to know whether this photo opportunity was planned or whether it was just a spur of the moment chance.

red picture with horses

another picture which is one of the best forgeries by master-forger wolfgang beltracchi. supposedly heinrich campendonk’s red picture with horses. it was sold for 2.88 million euros in 2006, but after a scientific analysis it was discovered that some of the paint used contained titanium white, which wasn’t around in campendonk’s time.

chinese store skulduggery

the next link is just an article from eastday which is a shanghai news portal. this sort of cheating seems to be endemic in contemporary china. it’s a very modern tale. earlier today I just finished reading the gilgul or the transformation by avrom ber gotlober which would seem to suggest that life could have been similar in 19th century eastern europe.

ukrainian land sales

finally because I’m going to ukraine in a few weeks time, an insight into the current situation in eastern europe. like the philippines link I started with there is a certain amount of innocence that I like about this article. on the other hand it is the link that has most invasive advertising, which often contradicts the feeling behind the words. I say often because it’s random and I don’t know what happens every time you go there.

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Firebird Pica Pica

Some 10 to 15 years ago I used to spend frequent evenings playing piano with my friend Dominic Black. Neither of us are particularly good piano players. Dominic could sight-read better than I could, but I was the more proficient improviser. Our most well-thumbed music book was The World Of Piano Duets which were arrangements made by Denes Agay. He wrote one hell of a lot of best-selling piano arrangements and his influence on the lives of innumerable people must have been immense. He died in 2007 – here’s an obituary.

All the pieces in the book are great, but my favourite has to be the Lullaby which is taken from a section of Stravinsky‘s Firebird Suite. Last year I downloaded MuseScore and messed about with a bit of music notation. One of the things I did was to take Mr Agay’s two piano parts and arrange them for 2 guitars instead. The plan was for me to perform the result with Everton Hartley but we still haven’t got around to doing it yet. In order to practise it I need to use my loop pedal. It would be much better to be played live with 2 guitars, and I apologise to anyone listening to it for my not having the patience to work at it a bit harder and play it better.

Lullaby

On the subject of Stravinsky I would like to recommend a great book which is The Apollonian Clockwork by Louis Andriessen and Elmer Schönberger. Musicologically it’s a bit over my head most of the time, but even in the middle of those sections the love at the base of the book shines through.

Here’s the last bit of the chapter that is called The Firebird as Magpie.

True renewal is only possible by the grace of tradition. But tradition is something different from convention.
‘[Conventions] differ from traditions in that they are modified rather than developed.’
In music, it is a good tradition to break conventions.

And finally a chance for me to embed an excerpt from a film of the Pina Bausch choreographed Rite of Spring. Particularly apt for those of us in the Northern Hemisphere as our patient wait for that season nears an end.

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Nonsense & NF Simpson

To leap from Alfred Jarry straight through to NF Simpson in the late 50s is to leave a lot out in terms of nonsense theatre otherwise known as the theatre of the absurd and possibly other sub-categories. But when you’re writing you can jump around in time and so I do. Because in the late 60s Simpson was my introduction to that sort of thing. My brother was keen on drama and he had some of his plays which I read. Part of the powerful pull they had on me then is obviously to do with the fact that these plays had been a very strong influence on a lot of the popular innovative comedy of the mid to late 60s, in particular the work of Peter Cook and then later Monty Python.

Simpson claimed that he didn’t know much about the work of earlier dramatists such as Ionesco and I can believe him. He mentioned Lewis Carroll as more of an influence. The plays haven’t aged too well in that the humour now seems dated. They created an effect which was of the moment and somehow was an opening which allowed something new to emerge.

The usual premise of a Simpson play is to use a banal everyday setting, a suburban middle-class home or an office, and people these with unexceptional individuals whose dialogue is at times a series of inane non-sequiturs. In The Hole a man-hole on the edge of a street or pavement is used as a central point which draws a small crowd of onlookers. There is a solitary messianic character, The Visionary; 3 men whose dialogue is somewhat more rational and 2 housewives (Mrs Meso & Mrs Ecto) who are a bit of a Greek chorus though most of their exchanges are off the point, endlessly discussing their husbands’ whims. Eventually a workman emerges from the hole. He immediately disappears, his only words being,

Cables! Junction box! Electricity! You never had any of this ruddy caper back in the Ice Age

The fantastic imaginative arabesques of the 3 men are dashed against reality.

SOMA: And this word “junction box”. Does it mean anything? Or is it just a new name for something we’ve been looking at all along?

CERBERO: It does have a meaning – a very definite meaning. Though it doesn’t make a great deal of difference to what’s down there, whether you call it by that name or another one. We call it a junction box because that happens to be a useful and convenient term for it – but any other name would do almost equally well. We know quite a lot about it, too. We know what its function is and we know what would be the immediate and the long-term effects of removing it. We could fairly easily – if you particularly asked us to do so – find out who put the junction box here and when. We can tell at roughly what date the modifications incorporated in this type were adopted as standard, and we can tell you to what extent they represent an improvement on the old type.

At the centre of the play a creed is recited by the 3 men in unison. I think it fits well with some of the Nonsense excerpts I have included in earlier posts. See the links at the end for the details of these.

I believe in one aquarium which was and is and shall be; in which shall be comprehended the sprat and the Black Widow; in it the sole and the carp shall swim together, the swordtail and water-flea; with the gudgeon shall float the mackerel, with the roach the guppy; duckweed shall be there, and foaming moss; neither shall the water at seventy-five degrees Fahrenheit be at variance with the water at forty degrees Fahrenheit, or eschew it. And the freshwater shall be salt and the saltwater fresh, and no distinction shall be made between them, for all are of one aquarium and there is no other aquarium, but this.

Edward Lear
Nursery Rhymes
Lewis Carroll
Erich Kästner
Alfred Jarry
Edward Gorey

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