I’m reading a biography of Kurt Weill by Ronald Taylor and when I reached the subject of hyper-inflation of the German currency during the early 1920s it gave me the idea to resurrect my stamps series. Desiring to keep it simple I won’t go into the possiblities of how the severe reparations of the Treaty of Versailles led to the rise of Nazism and any parallels between then and the world today. Here’s an excerpt from the book –
The urban middle classes, traditional exemplars of thrift and custodians of family welfare, who regarded themselves as the most loyal and stable elements in society, had their savings wiped out. They were powerless victims of forces over which they had no control, and they knew it. Mark values were becoming increasingly meaningless, and only goods, property or foreign currency provided a basis for setting real prices and values. With inflation at its height, a day’s work would earn a factory worker a pound of margarine, six weeks’ wages would buy him a pair of boots, and twenty weeks’ wages, a suit.
Let’s start with the simple 15 pfennig stamp. A reasonable amount to pay for a letter or postcard one would imagine back in 1920. There were 100 pfennigs in a mark.
Now a series which depicts the early days of inflation.
Obviously it got to a stage when as soon as a stamp was printed it was redundant. So new amounts were printed on top of the out-dated ones.
And finally we work up to the half a billion stamp that is the latest one I have.
for the xvth granite mix i decided to feature the artist who i have most recordings of, miles davis – it’s a long mix – nearly an hour and a half. instinct led me from one track to another. here’s the mix and after it the details and then some comments on the tracks.
Granite Mix 15
Charles Mingus/Miles Davis
Nem Um Talvez
The Complete Jack Johnson Sessions
The Bootleg Series Vol. 2 Live In Europe 1969
The Complete Miles Davis at Montreux 1973-1991
It Never Entered My Mind
Miles Davis & The Modern Jazz Giants
The Complete Jack Johnson Sessions
The Time Of The Barracudas
first of all one of my favourite tracks from one of my favourite albums. esp was the first album of what is known as the 2nd great miles davis quintet which was somehow a perfect band when this was recorded tony williams was 19 herbie hancock was 24 and wayne shorter was already doing some of the best writing that was going on in the mid sixties. ron carter was writer or co-writer of 3 tracks on the album including this one and they’re all good. after that he didn’t contribute any compositions to the following 5 albums he was involved with possibly due to the fact that he was an incredibly busy musician during the period he was with the quintet playing on over 50 recording sessions for albums with other artists.
back to 1955 for a track from a session that had problems according to miles in his autobiography
something went wrong at this session and nothing ever really clicked, so the playing didn’t have any fire. I don’t know what it was – maybe the arrangements – but something definitely went wrong…
but I’ve always enjoyed this track, written by proto-hippy eden ahbez, first recorded by nat ‘king’ cole, frank sinatra recorded a version in 1948 and it’s worth recording miles’ frequent assertion that his phrasing was heavily influenced by sinatra, although also worth bearing in mind that he gave a lot of credit also in this respect to charlie christian. as in another quote from the afore-mentioned book
charlie christian influenced my approach to the trumpet and also influenced the phrasing of frank sinatra and nat ‘king’ cole
next is one of 5 versions of this tune by hermeto pascoal that have been released, 2 from a session on may 27 1970 and 3 from a session shortly after on june 3 (although one of them ended up with a different title – selim). given that there were apparently at least 19 takes on the 1st session there could be a few other versions hanging round in the vaults. ian carr doesn’t even bother to mention the 2 that were released when he wrote his critical biography of miles and in paul tingen’s miles beyond he describes them as ‘ear-grating’. much as i like the latter book i find this opinion like a lot of tingen’s other critical opinions are not worth heeding.
the 1st of 3 live recordings in the mix is a version of a wayne shorter composition – probably his most famous. in the sleeve notes (written by josef woodard) to the set that contains the track there is the following quotation from an interview 20 years later with miles
you could tell what part of the note, what part of the sound you could play off of. wayne had some different, each run had. we used to play footprints and the way we were playing it, nobody else could play it like that except for me and wayne.
it’s july again only 16 years later. this is a john mclaughlin composition that was briefly in the setlist. there was an afternoon set and an evening set on the 14th – both long sets, over 2 hours. this track is from the evening set. a week later the band similarly played 2 sets in london at the royal festival hall – i’m pretty sure i was at the 2nd set. ian carr was also there with a backstage pass and he relates seeing miles at the end of the last set
as soon as he got down the two short flights of steps and out of the audience’s sight, two large men were waiting for him, and each grabbed an arm and supported him as he suddenly sagged and almost caved in
given that wayne shorter has already featured on 2 of the above tracks you would expect me to include at least one track featuring john coltrane but sadly this has not happened i didn’t plan it that way. this is the only track in the mix which was at the period of the 1st great quintet. but on this track chosen late at night reflectively the saxophone laid out.
this comes from another controversial recording session. some reports reckoned that there was a fight between miles and monk.
…i just told him to lay out when i was playing, because i wasn’t comfortable with the way he voiced his changes…i wanted to hear space in the music…so I just told him () to come into the music a little after i played. and that’s what he did. there wasn’t any argument…monk was a gentle person, gentle and beautiful, but he was strong as an ox. and if i had ever said something about punching monk out in front of his face – and i never did – then somebody should have just come and got me and taken me to the madhouse, because monk could have just picked my little ass up and thrown me through a wall.
i love all of these tracks that I’ve put on this mix. obviously. but this is another of the great sessions. i wish monk and miles had recorded more together. listening to this session was the 1st time i heard both of them and at the time monk knocked me out more than miles. his solos seemed to come from another mysterious dimension.
and johnny bratton is the 3rd appearance of john mclaughlin in the mix if you include his composition pacific express. recorded on february 27th 1970 this is the sort of thing that some people fail to understand. here’s a good clip that deals with this subject.
from an album reviled by the man himself but which nevertheless has some great moments. this tune was also recorded on the gil evans album the individualism of gil evans and miles got a co-credit for the arrangement. in the end that is a better track but he doesn’t actually play on it and despite the history taken in isolation this is a great track and there’s something actually quite unique about it. if they’d had time and money to complete the album properly this would be a masterpiece and maybe it is anyway.
finally another album written off by various critics or in my words vastly under-rated. when i first heard it back in the early seventies i immediately thought it was brilliant. to me it was great that the instruments were all levelled out in the mix and i assumed that this was deliberately done and i still do. producer teo macero wasn’t an idiot and they wouldn’t have put the record out if they hadn’t got decent quality recordings. it needs to be listened to loud ideally through headphones. with open ears and an open mind. carlos garnett on saxophone and cedric lawson on keyboards for example maybe didn’t go on to have brilliant careers but i don’t think they let the side down at this gig.
I haven’t got a quick and catchy phrase to describe my music or that of Mike and Rob (Nichols) come to that. I did once think of describing mine as elucinogenic mouse singing but I’m yet to stick that on a poster or any other type of blurb. Overall I’m happy to have the problem that my music is hard to describe nevertheless it can be a pain.
In his Facebook Event Page, Mike has given the gig the name – Mike Flew Over The Rob’s Nest and ideally I would have spent hours on photoshop trying to make an illustrative poster instead it took me about 15-20 minutes to make the one above using what seems to be a photo taken by accident on my phone. I suppose the nest could have been a mouse nest.
So far I have kept a steady consistent stream in my posting of the Rock & Roll Years series. But as I have earlier alluded there are gaps in my collection and sadly a significant gap in that 1962 and 1963 are both missing. I have always thought that these would have been 2 of the most interesting years in that it was during these 2 years that something started to happen with the chart pop music. If you look at the promoters who took charge of the early British bands then in some ways nothing much was different but there was a sudden surge of cultural creativity that – for a while at least – changed the nature of the entertainment business.
Actually most of 1962 was pretty much like the late fifties and the first couple of years of the new decade. It wasn’t until the twenty-second of November of that year that The Beatles got to number twenty-three in the UK charts with Love Me Do. Nothing of that nature had ever got into the popular music charts before – obviously it was based on the music that had been coming from the USA – Chuck Berry, Everly Brothers above all Buddy Holly, but it took elements from all of those and more and did them in a different way. This didn’t completely come from nowhere – it had been building up for a while but Epstein made sure that his band was the first to break through. Love Me Do stayed in the charts for several weeks but never got higher than seventeenth. But two months later they released Please Please Me which got to number three in the charts by the sixth of February, number two a couple of weeks after that. Then on the twenty-first of March, Gerry and the Pacemakers jumped into the chart at number twenty with How Do You Do It?. After three weeks that song got to number one which so far The Beatles had failed to do. But the week after that – April the eighteenth 1963 – The Beatles brought out their third charting single, From Me To You which jumped into the charts at number twenty-three and in two weeks knocked Gerry and the Pacemakers off the number one slot and stayed there for the next six weeks until Gerry and the Pacemakers took it back with their next hit I Like It.
Other British groups to make it into the charts in 1963 were Freddie and the Dreamers, The Hollies, Brian Poole and the Tremeloes, The Searchers and by the end of the year, The Dave Clark Five. On August the first The Rolling Stones’ single Come On reached number thirty-two but this early sortie wasn’t followed up until I Wanna Be Your Man was released and started moving upwards in November.
In the meantime The Beatles continued to dominate with She Loves You entering at number twelve in August and reaching top place two weeks later, dropping to number three in October but back at number one by the end of November.
So that’s what’s been missed. Here’s the Rock and Roll Years 1964 for your consideration
about this time last year i posted the 1st of what i described confidently as a 2 part series. and so here is part 2. it’s a collage of photos taken randomly usually at night so a lot of it is quite dark. the soundtrack is a looped improvisation something i recorded last week. it’s 6 minutes long and as i said last time it’s best viewed full screen in a darkened room.
It was on a Monday that I went up Crinkle Crags. I own Crinkle Crags. Well not the actual crags, but I own the most iconic picture of the mountain which is Alfred Wainwright’s pen and ink drawing that was used in A Second Lakeland Sketchbook (1970). Here’s a scan from the book.
Anyway I’ll have to go back another time and do it properly. Because I rushed out – all I had was 500ml of water and no food – that’s not sensible when you’ve got a six mile walk before you start ascending. So I was pretty hungry and thirsty when I should have been enjoying that great high ridge walk with spectacular views. I took some snaps and here they follow :-
This is the target from the early stages of the ascent.
And this is at the same place, zoomed in a bit and landscape.
This is the south end of the crags looking northwards and it’s not a dissimilar viewpoint to that of Wainwright’s drawing.
The Langdale Pikes from the summit.
From a similar spot looking down Langdale.
And in the other direction across to Scafell and Scafell Pike.
Moving our view to the right we encounter the massif of Bowfell.
With no water left as I came to the end of the Crinkle Crags massif I aimed to head around to a footpath which is known as the Climbers’ Traverse. I couldn’t find a connecting path so just skirted round the col which is the top of the mountainside that is known as the Band. Eventually I connected with the Climbers’ Traverse and promptly bumped into a couple of climbers who had completed their climbing adventures for the day. The traverse is not for those who may get giddy or have balance problems but is good at getting you right in the middle of the spectacular parts of a mountain. I’d remembered the spring in the rocks at the bottom of Bowfell Crag as being a gush, but now it was just trickling out as a small stream. Whether this represents an accurate survey of the water table covering the period from the sixties to now I would not like to say. The water tasted a bit weird at first but my reasoning was that coming straight out of the rock as it did there couldn’t really be anything bad in it.
That was the first day of my holiday in the Lake District. On the last day I had a more dramatic and exhilarating close encounter with a mountain when I ascended Jack’s Rake on Pavey Ark.
Pavey Ark is the crag on the right in the shot above and Jack’s Rake cuts across the crag face from bottom central to top left as you face it. As the photo shows it was misty and while I was climbing the mist had come down even more. I’m not sure if that was a good thing (in that I couldn’t see the drop) or bad (in that it might not have seemed too bad if I could have seen it). Probably it was a good thing. But I discovered that I wasn’t really fit enough to do that ascent especially not in wet conditions. Still I survived and eventually got to the top. I think there was only one bit where I was clinging to the rockface and I didn’t feel I had either one really secure foothold or one really secure handhold. I can confidently assert that I’ll never do that climb again not even in dry conditions.
The new underground required a new linguistics. To “broom” meant to travel by air; the hipster figure of speech referred to the witch’s favored conveyance. Money was gold. Eyes meant willingness or enthusiasm. A pad was a bed, therefore someone’s room or apartment. Old jazzmen’s expressions, once in, were now out, and hopelessly dated the speaker. As root ideas they gave way to verbal improvisations, in the same way that old tunes served as armatures for bop compositions. Etymology remained reasonably straightforward. The intent was always the same: to exclude the uninitiated, to confound the square, to strengthen the inner community. Out of the world became gone, shorter and more allusive. Blow your top became flip your wig, leading to flipped, flipped out, wigged, wig and wiggy. Knocked out yielded gassed, as in an old-fashioned dentist’s chair. The verb gas gave the noun gas, a delightful experience (an evening at The Deuces, or uptown at Minton’s). Cool and dig served as verbs, adverbs, adjectives and nouns. Hipsters invented such portmanteau words as chinchy (cheap plus stingy). Like, already done to death in the mother tongue as adjective, adverb, verb, proposition and conjunction, now appeared in every other sentence. Sometimes it stood alone, a sentence in itself, followed by an implied exclamation point or question mark, or merely a dash and a raised eyebrow. If you were hip you dug (or used your imagination). The put down became the put on, a highly developed art, often so subtle that the victim was unaware that he was being put.
Dan Burley, the with-it columnist for the New York Amsterdam News, New York’s leading Negro newspaper, compiled and published The Original Handbook of Harlem Jive, a slightly fanciful lexicon of the new argot. It contained parodies of John Greenleaf Whittier’s “Barefoot Boy” and the soliloquy from Hamlet in jive (to dig, or not to dig, Jack, that is the question…”). Slim Gaillard began recording his musical versions of jive, liberally mixed with nonsense syllables, such hits as Cement Mixer (Puttie-puttie) and A-Reet-a-Voutie. Pod, more commonly pot, first appeared to describe cannabis, standard drug since jazz began in New Orleans, heir to a lengthy list of names: hay, golden leaf, cool green, gage, muggles, mezzirolls (after Chicago jazzman Milton Mezzrow), and shit.
Like the new music, the new linguistics revolved around fixed points and established ideas. Like the music, it was a language in motion, subtly changing from day to day, with ever fresh coinages and connotations, subject to common concepts and needs. Spoken quickly, inflected, it was a nearly incomprehensible dialect. Linguistically as well as musically the boppers had closed the door. The idea was to be on the inside looking out. That was the reason for all those heavily smoked glasses, defiantly worn in the darkest night club.
there isn’t really a theme to my 14th granite mix, but one thing i tried to do was to keep the tracks short. here’s the mix and after that a table with track listing and then some comments and links and stuff below that.
Granite Mix 14
The Academy In Peril
Notturno O Mattutino
La Dolce Vita – Soundtrack
The Bell Ringers
Lay Down My Sword & Shield
Gospel At Newport
Lawrence Of Newark
El Negro Zumbón
hit song from film Anna
I Love You Big Dummy
Lick My Decals Off Baby
I’ll Take Romance/My Funny Valentine
Ahmad Jamal At The Blackhawk
Belly Of Fire
Down Home 2002
Have Tenor Sax Will Blow
Kool G Rap
Impresiones Intimas No. 9 Gitano
Impresiones, Scenes, Charmes, Fêtes Lointaines
the academy In peril is not a particularly well-known work in the john cale canon and is almost as famous for its record sleeve as it is for its music. unfortunately i don’t own a copy of the original album but have a later re-release which doesn’t have the half-gatefold with the cut-outs that the original had but I have seen that original cover in fact the 1st time i heard the album it was at a friend’s house near uxbridge or thereabouts maybe ruislip and he had the sleeve i remember it well. the other thing that is well known about the cover is that it would have been worth a lot more if it had been in black and white which is something that the song a dream from the lou reed/john cale album songs for drella teaches us.
a vast expanse of the roman countryside, to one side are the ruins of the san felice aqueduct, towering arches that come striding across the land. two thousand years ago those arches brought water to the city, but now there are many gaps where whole sections of the aqueduct have fallen in. directly in front is a soccer field, the goal posts dwarfed by the height of the aqueduct. in the distance the sound of motors is heard. a speck in the sky grows rapidly larger. it is a helicopter, and beneath it is a hanging figure. a second helicopter follows close behind. as the ‘copters pass over the field the figure suspended below can be clearly seen. a large statue of christ the labourer swings from a cable. the shadow of the ‘copter and this incongruous figure flashes across the walls of the aqueduct. the helicopters pass on.
why does ralph vaughan williams haunt me the way he does? Is it something to do with the ark tempers of medieval lines? who can tell in this age of imaginativeness?
as soon as i heard joseph spence’s take on utterance i was bewitched as if i had crossed several salt seas of despondency and come at last to fresh water.
at a certain time freedom mixed with sonority to produce several subversely subservient dramaturgy/diatribe/dialogue/dichotomy diptychs
el negro zumbón is complicated. usually attributed to silvano mangana she only mimed to the song in the film anna. it was written by italian composer armando trovajoli and the female singer is flo sandon’s
i’m grateful to samuel andreyev for his fascinating work on captain beefheart and the magic band – definitely one of the joys of youtube which despite my earlier diatribes i am overall in admiration for for its democratic all-inclusiveness. i certainly look forward to more from samuel.
maybe i’ve already written about the time i went to see ahmad jamal the only time i saw him but i’m proud to be able to say even that and if i haven’t written about it then no doubt i will repeat/not repeat it again in the future when my marbles start to lose their shine.
i’ve been to 3 howe gelb gigs but the 1st was something special. during the interval i was standing outside with my friend neil armstrong not the astronaut but maybe even greater in many ways. there was no-one else around and suddenly howe stepped out of the main entrance. he was about 40 metres away from us he looked around with a bewildered expression and then went back into the building. strange.
as a weather report fan in the mid-70s if i was to choose a favourite track mysterious traveller would be one of the top tracks in my opinion from that era and when i first heard 4,5,6 from kool g rap i recognised the sample straight away. it’s not one of the highlights of my hip-hop collection but is just in the end another of the great tracks that came out in the mid-90s an era that i have covered in the past.
finally what do i find so great about these gentle piano pieces that the catalan composer dreamed scored and deployed. apparently some say that there are superior representations of these pieces by more accomplished pianists than mompou was himself. to my mind who is going to interpret someone’s work better than that person themselves? i don’t know i just don’t get it.
from the distant past
the issue of the meaning
2 short films reminiscent
of the sentence
the essence of the thought
beyond the aching limbs
of elms now put to sleep
the image of the past
betrayed and bedraggled
from ravine to ravine
by process of elimination
and intrepid manumission
1st as a decumbent
lies the film that is called – maderensis
in which a bee
enervated and emancipated
by the scent and the
of the pollen incumbent saturation
and following the so-called shepherd’s delight
which combines geometry
with american currency
is above verbosity
or inclination to spin
in retractions of goodwill
to the expositors
originators and definatators
subordinate i say again
to refreshing of the sense
of dictatorial pursuit
of monkey chauve and toot to boot
the christian muslim thing has been going on so long and right now it’s completely up to date with president trump’s attempt to penalise humiliate and radicalise huge numbers of people this film stretches back to give you the history of how it happened islamic conquest crusades iberia up to pyrenees and for a while beyond balkans greece and the islands
the chief difference that i perceive is that mohammed gave a law that was to be enshrined revered inscrutably followed or at least that was how his doctrine was understood whereas jesus mocked and subverted the law said that it should be broken if it did not make sense with basic following of the heart in charitable directions and common sense rationalities