I used to be in a very nice band called Neon Kicks. It featured Chloe Elliott on drums, Natalie Graham singing and Rob Peck playing bass, and I was playing quite an old but good keyboard on which, in a near-perfect reflection of our music, the pitch shift wheel eventually broke due to overuse.
Rob is also quite clever with computers and synths and DJing, and I’ve recently been listening to some of his work. There are some nice long mixes which I’ve found very good for doing work to, and in particular there’s a great tune called Any One which I think (think) might be a Philip Glass remix — only because Rob told me he was working on one and this seems like it might be it [edit: now I don’t think it is, and can’t remember whether Rob told me otherwise..].
It’s one of those things which, as well as being good to listen to, has obviously identifiable musical peculiarities which it’s nice to go on about to your friends. In this case, I love the extra 2 beats on the leading tone which break up the harmonic movement but are smoothed over rhythmically by thumping electro-crotchetz. I also love the way the whole thing is just 3 notes over gradually more exploratory and wandering chords. It’s great.
Since recently discovering that my phone is resistant to water and very loud, I’ve taken to listening to music in the shower. Not owning a purpose-built bathroom audio appliance, the only other option is to open the door through to the kitchen and use that whole room as a sort of giant speaker.
Now, songs are different lengths, and so are showertimes…. so:
I’m aware that even by the standards of a blog where the first proper post was a picture of some pasta, this is kind of inane.
I’ve just finished an arrangement of Elgar/Parry’s lovely socialist hymn, ‘Jerusalem’. This somewhat confused adaptation was part of a last minute effort by Steve Wright and myself to provide patriotic material for one of the gigs on LUU Dance Band’s 2011 tour of France — the gig happened to fall on St George’s Day, so the enthusiastic and numerous ex-pat community of Bergerac had requested that Jerusalem and Land of Hope and Glory be played that night. We forgot about it until a week before the tour, during which Steve was very busy with other things, and fun ensued.
I hope soon to upload an export or recording of Steve’s wonderful jazz-waltz setting (yes) of the latter tune, but for now here is an export of Jerusalem using the Sibelius 7 Sounds library.
Due to a minor bug and the fact that it was made in Sibelius 6 originally (I think), the inbuilt export chopped off a few notes, so I used the terrifying and excellent Audio Hijack Pro, a great Mac application that is able to steal the audio from any program and record it to a file.
Paul Gambaccini’s Radio 4 show ‘For One Night Only‘ is quite a rare thing: a radio show about (rather than playing) music that manages to avoid being joyless, self-indulgent and too long. Perhaps it helps that each episode is built around a specific historical event — usually, and in this case, a live concert. This helps to keep things focused and grounded, and there’s much less of the conceptual tangent-wandering you sometimes get with programmes about the arts.
The episode I’m talking about is this one from 2008. It looks back at the BBC Prom of 21st August 1968, when (Russian) Rostropovich and the (Soviet) USSR State Symphony Orchestra played (Czech) Antonin Dvorak’s Cello Concerto, amid protests in London and calls for the concert to be cancelled. Why? Because, that day, Russian tanks had invaded Czechoslovakia.
I would have loved to see Rostropovich play at any time, but this really would have been something else. It is often said that music, sport, culture in general, can and should be kept separate from politics. This concert is a powerful counterexample. Shouting in the audience, protestors outside, tanks in Czechoslovakia, and on the stage a tearful Rostropovich playing the music in such a way as to make it ‘completely clear whose side he was on’.
The CD is available on BBC Legends, here, and now I’m going to buy it. But there’s a final, poetic sadness. On the recording that survives, the shouts of protest from some in the audience as the music begins have been removed. I’d take the original any day, sullied and tainted as it was by the low politics and human tragedies of its time. Just as live music should be.