Iain Cameron's Diary
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2005-04-24 - 9:38 a.m.

I turned that 1st inversion C Chord into a piece and stuck it in a vid that I started last weekend now entitled ĎThe Leam Gleamed Like A National Steel Guitarí. Then I took the guitar track that was used for the vid and stuck a Dhorn line on. Itís a bit like tracks 5 and 6 on the Dhorn page in KK on Making Music. Except on those Gilbert came up with the guitar part. The only other text on the vid are credits. Something after W Shorter?

I thought that Greenwood piece on Newsnight Review looked good. Having been blessed by Merce the skyís the limit. Talking of which I need to clarify my viewpoint on some of this with Andrew K.
Listening to the R2 LN programme makes me wonder if I can really do that Tribecca-Soho thing in Leantown - like with the spiral staircase and all. Geffen says she was a shooting star.

I wrote to Paul about the volumes on KK - requests are calling more bits these days. I did a bit more analysis and as far as I can work out this means that more audio is being called. But I am not sure I can follow that through all the stats.

There s a good tape from LN recorded just before she died where she talks about what was on when she was 14 or 15 - she mentions Trane and Miles - and then they illustrate the point by a virtual radio tuning episode slipping from So What into Mr Jameson on My Guy to a Brill Building thing. Also a good solo piece to show how she might have auditioned. R Williams gets at the harmon mute crossover to the LN high register edge. Someone explains how the right hand triads and the bass notes go - not normally - just like the So What chord which has a right hand triad and a second in the bass. Of course ND would throw seconds around a lot cf Rman.

I still have a borrowed CD of the Greenwood solo album. I have been thinking about that customized reverb thing from the 50s - why Fender springs still do it - and all that building magic that George Martin and others were into. There s an image from my childhood listening to the radio - a vocalist.

I need to mail Beefheart-Jordan on the technology streams we are going to engage with in the next few days. There s some important stuff from Rolls Royce that we can marry with the ESRC global project we are intersecting. The key concept is capability acquisition. In fact this has unlocked a few terse observations which are on the wire.

Mailing PW about Miss M in Sanfancisco giving a lecture as far as I can make out. Also tracking down other DVDs.

Odd coincidences no 67452 - we were talking this week about the retiring boss of Renault - Schweitzer - of the family. It occurred to me as I picked up a book on Shamanism that there must be a relationship with Regan von Schweitzer - cf Making Music Dhorn track 10. The book is with me because of RvS tragic death - just a twist of fate - and my inheritance - a set of odd volumes. I have mentioned the I Ching workbook. Schweitzer is a classic technocrat - from the Grande Ecole.

The new Shaman paradigm - hmmmmm - something to do with that US poet in the woods feeling up the men and boys?

Didnít quite make the canal - slipped into the Manor to see whats on offer and then some market comparison.

Listening to Blue Note comeback concert NYC 1985 - v much the usual suspects. HH with Henderson Williams Carter Hubbard. So itís the great 5tet with a close fit front line - some Hutcherson vibes and Newton flute. Also the early days of the great MD 5tet in France in 1963 when Williams was 18 and Shorter hadnít joined. Doing standards but beginning to fracture them. Everyone is very on. The Album won the Jazz Album of the Year Award in 1964.

By the time they get to Berlin the next year with WS on board its up several steps. This is quite close to the Lincoln Centre concert where they destroy and resurrect MFV - in a version that Ian Carr thinks is possibly the greatest live jazz recording ever..

At Berlin its Stella by Starlight which is if anything a more rewarding vehicle given its harmonic trajectory starting out on the sharp fourth minor seventh with a flat fifth - in C thatís effectively an A minor with a F sharp root. The song is all about harmonic pressure and a band like this revels in turning it on and off. To me it sounds way ahead of what HH is doing on Bluenote at the same time. This band is already in the history books before they get to the new compositions which HH Carter and Shorter bring on eg to the stupendous ESP album the next year (which Carr thinks is the best studio album since Kind of Blue) - and before the get to the wild abstract bebop of the Plugged Nickel Club marathon. When HH goes unaccompanied on Stella he drop right into Book 1 of the Preludes.

This is the sort of music they were playing when I saw them at Hammersmith in 1967 - just starting my formal studies and getting my chops round Stephanie Knows Who.

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