I had another look round Homemaderecords and decided I could spend a lot more time there just finding out what other homemakers were up to. Zapruder Red caught my ear. Try 6 on Blackburn.

Exchanged e-ms with Mark over how best to get a file of guitar sounds to him for BBC500. Maybe I have successfully compressed one of the files I am trying to get to him � after one false start. We shall see

I think Robin is into an excellent area with her current stuff about our strong positive feelings for that new piece that is just starting. Maybe it�s a dangerous area too � those feelings provide the energy to embark on the creative project. To expose them to too much analysis � especially analysis which construed them as fantasies with a certain origin - might easily deprive them of their power. Which would mean that we didn�t have to create any more � well there�s a debate � is this a good or bad thing?

There seems to be no shortage of new music after all..

I also enjoyed reading Andrew on KC � is there another band whose alumni have been so fecund and influential. I can�t really think on one that goes that far back � Fairport Convention, Jeff Beck � maybe if you rolled the two together � well not a serious suggestion really.

I read an article about Varese hanging out with jazz musicians in the 1950s in NYC � it contained his graphic instructions for an improvisation. Art Farmer and Teo Macero were among the group that interpreted them � Earle Brown helped to organise the event. In fact this event took place around 1957 � quite close to the start of the period started producing masterpieces for Miles. Arguably Miles Ahead was the first one.

I went a bit further with Boulez-abuse � using the same movement from the 3rd sonata � this time played on a vibraphone � I decide to use only pre-recorded fragments this time � some of Mark�s Fifths interpretation and some Cathy Bell � still underway. I can think of several reasons why this is a good exercise and several why it isn�t. I read an article by Richard Wollheim who said that in minimal art the thinking which leads up to the creation of the work is a factor that one is invited to consider. This kind of factor is already in the canon � in works where we can see that the artist has distorted or pushed a more straightforward conception. Maybe this explains why I went back to pre-existing elements from other pieces.

I put up an article on the kwase-kaza.org site about Warren Zevon from the Guardian. There�s some interesting material about Zevon�s links to Jackson Browne who he regards as his mentor � and also about a school of mainly LA based �literate� songwriters whose stance is to wrap hard messages inside deceptive outer clothing.

I finished my online search of letting agents. I am wondering what kind of property is best suited to flute practice.