Categories
jazz music quotations

jazz quotations 4

more in my series of quotations connected to jazz. these ones are not actually from downbeat.

So here you’ve got a case where I was playing with Fletcher Henderson, and Fletcher Henderson’s fellows always said to me, “You play those strange chords! Why don’t you just play like a piano player?” And I said, “Well, Fletcher plays piano, he likes the way I play, and hired me, and you just play horn, so you should shut up! I think a piano player would know what I’m capable of, and he likes what I’m doing; he ain’t saying nothing, so you should shut up!” So then it was a big problem. I put in my notice. I said, “I’m not going to put up with this, because I’m not what you would call a human being. I deal with precision, and if they keep on messing with me, they’re going to get an explosion.” I had to do something about it, it was irritating me. I said, I’ve got to do something to teach these humans don’t mess with me. So the next night I got me a straight razor, and I put it right on the piano, by one of the trumpet players, and I said, “Tonight, I’m going to cut somebody’s head off if they say something about my playing, `cause I’m very evil tonight, and I’m not going to take nothing from no human being. Off goes somebody’s head!” So he didn’t bother me no more. And then the next thing that happened, I just put my notice in. So I came back to see who Fletcher got to play piano. And he was down there directing. He had no piano player. And Fletcher said if I didn’t play, they wouldn’t have a piano. He said, “Come back on the stage!” So I went back on the stage, and Fletcher smiled, and I had my job back.

Sun Ra

I used to run into Paul Motian in the Sufi center in the late ’60s and early ’70s and we’d see Hazrat Inyat Khan speaking and this guy is a very, very high person. And he would stand up in front of the 40 or 50 people there who were into him and he’d just be looking out at people in the audience without saying anything for about three or four minutes, which is a long time if you’re waiting for somebody to speak. But he’d be like in the ozone but in a very special way, waiting for the words to come and being totally real and totally spontaneous with the people. And this is really beautiful to see. In fact, it’s the most natural state of human beings. Anyway, that’s kind of an analogy to what I feel about music, which is to say we’re really ourselves most naturally when we’re being spontaneous with each other, which is the best way to be in life anyways. You know, when you have a family, everybody is spontaneous with each other and sometimes a little brutally honest, but nevertheless it’s spontaneous so it cannot really be bad. And that is really my philosophical foundation, if you like, about how groups should be. And maybe this is why I always want great players. I need stimulation, I need them to kick my ass, as it were, and provoke me in some way that will push me to a place that I don’t know, that I’ve never been before.

John McLaughlin

It interests me more to have a human relationship with you than a musical relationship. I want to see if I can express myself in words, in sounds that have to do with a human relationship. At the same time, I would like to be able to speak of the relationship between two talents, between two doings. For me, the human relationship is much more beautiful, because it allows you to gain the freedom that you desire, for yourself and for the other.

Ornette Coleman

Categories
geology music

granite mIX

first i must explain the ethos behind this the 9th granite mix. which is that i used my box to create a playlist. the songs chosen to make up the playlist all are chosen with 2 common letters – in this case m and y. this conceit has caused some repetition in artists that have previously featured but ultimately that’s taste…

the advantage of the playlist is that it does a segue/fadein-fadeout between the tracks. just about everything that was selected in this case seemed to have a long fade-out which pretty much negates the effect of the segue. still nothing becomes improvisation but artifice as they say in the old guignol street presentation…

mys mr fahey suffered from epstein-barr syndrome when he recorded this album. somehow that’s not a problem for me. i also love bill evans solo album … which was not released at the time because it was thought to be so bad. see further down the playlist for mr evans but not that album. a new film about john is going to be shown on bbc4 on dec 6.

i think french rap could have been sold better in the uk if we hadn’t been so up ourselves. here’s the video if you like this.

myt the only myth on my unit. sun ra is a big myth. and not only is he a myth but he is also a mystery.

my(+space) i am fortunate to have seen sharon van etten twice. once on her own and once with a band. i do not know which to prefer the beauty of inflexions or the beauty of innuendos.

my romance. now it’s getting quite intimate. that’s the trouble with m and y maybe i should have chosen something a bit more random, like a and s

and then gerald finzi comes along and sorts it out. hopefully.

joseph spence makes me reconsider my whole approach to singing. somehow i feel he is challenging me to reassess and reorder. above all in 2014 i want to write a song in esperanto.

whereas rambling on my mind tracks into the veracity of priesthood. the crossroads are literally that – roads where you might find the cross.

what was born in those gospel tours that monk did when he was just a lad?

a couple of british guitarists to end with. why didn’t anyone at island records make sure that there were decent live recordings of the many gigs that chris spedding did with john cale? were they coked out of their brains or something?

sorry song for my mother is from a vinyl digitisation and i increased the gain slightly but it’s a bit distorted. i’m sure you can download it for a small fee if you want to hear it perfectly. i could quote a 3rd great british guitarist on this subject but won’t right now.

finally chris spedding showing his mettle. thanks to michael mantler for this great album which along with no answer and the hapless child are i think the best literary albums ever.

here’s the mix

Granite Mix 9
Artist Title Album
John Fahey The Evening Mysteries Of Ferry Street I Remember Blind Joe Death
Soon EMC Elucider Ce Mystère Giant Steps
Sun Ra And His Myth Science Arkestra Big City Blues The Singles
Sharon Van Etten Where Is My Love Home Recordings
Bill Evans Trio My Romance The Village Vanguard Sessions
Finzi Singers My Lovely One Gerald Finzi Choral Works
Joseph Spence Gonna Lay Down My Sword And Shield Gospel At Newport
Robert Johnson Rambling On My Mind The Collection Johnson 20 Blues Greats
Thelonious Monk This Is My Story, This Is My Song Straight No Chaser
John Cale My Maria Helen Of Troy
John McLaughlin Song For My Mother My Goal’s Beyond
Michael Mantler I Walk With My Girl 2 Silence
Categories
geology mixes music nonsense sea

Granite Mix 7

and now a granite mix that deals with my own work. this is my unveiling on this website of my new album which is called true v eye and will imminently be available on itunes and as a hard copy at my amazon store – see the buy stuff page for links. there are only 2 of the tracks from the new album featured on the mix along with a selection from other albums and some obscure places.

the music speaks for itself but it would be churlish not to write a bit about these tracks so here goes. desert ghost dance has nursery rhyme style dialogue and therefore acts as a pair with track 6. a famous german 20th century artist is referenced in the last verse. perplex is a pair with it too because it is also a dialogue of sorts. then there’s suspense which also hovers between heaven and earth, as do, for that matter the children of the sea. domes however merely fly beneath the starlit sky. i’ve already mentioned in my jar – a famous 20th century british writer is referenced in the 3rd verse.

my video for happy song is a shoddy affair but has a certain innocent sweetness in its demeanour which i hope makes up for that.

the track that i’ve called chasing the sun dates to a period when I was using a sampler to create the basics of my music. everything was a home recording and nothing was ever that well-finished but i’ve got a lot of interesting things that may never show the light of day. this one’s made it through though – for a while at least. It contains a sample from a track by sun ra called disco 2100. in the train was recorded in about 1982. at the recording session for the new album i re-recorded this track and my plan is to release both versions on some vinyl later this year. this is a re-mastered version of the 1982 track.

the words for v’nosnu are almost all from primo levi’s magnificent novel if not now when (english translation i’m afraid – an italian version would be good or maybe even a yiddish one). i’d just like to point out though that there is some art to it all the same – though mostly inspiration. in my book inspiration trumps artfulness. a cherry tree aka the cherry tree was somehow inspired and inter-connected with the music of the last track of the mix. I was still at school when I wrote the words which aren’t used in the music but which are

I planted a cherry tree
I watered it every day
in the summer I sat in its shade
one day a cherry appeared on my tree
one day a cherry appeared on my tree
it is for this that we live
it is for this that we live

here’s the mix

ca

Granite Mix 7
Artist Title Album
Neureille Desert Ghost Dance True V Eye
Neureille Perplex Amanogawa
Dry Rib Suspense Whose Last Trickle
Neureille Children Of The Sea Disparue
Robert Vasey Domes Unreleased
Neureille In My Jar Amanogawa
Neureille happy song (for dependable person) Disparue
Robert Vasey Chasing The Sun unreleased
as,hem,syrup In The Train Whose Last Trickle (remastered)
Neureille V’Nosnu True V Eye
Robert Vasey A Cherry Tree Unreleased
Categories
geology mixes

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

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