I can’t get started


I might have bought this just for the cover but I forgot to look at the record condition before I handed over 59p at my favourite local charity shop. Just about any version of ‘I Can’t Get Started’ is worth a listen but when I slipped this disc out of the sleeve I found that someone had made a fairly determined effort to render the A-side unplayable.


I tried some mild solvent but this adhesive tape glue was ancient and immovable. I had just changed the stylus on my deck so still had the old one…it seemed like too good an opportunity to waste…

Apropos of nothing


Here is a track from an album made in New York in 1958. The record is a piece of anti-Soviet propaganda called, as you see, ‘Dreams of Golden Prague’ and its sleevenotes bemoan the influence of communism on Bohemia and suggest that the terror imposed there is merely a preliminary to a take over of the ‘Free World’. The rant on the back cover occupies the space where one would normally expect to find performer credits so I don’t know who is playing. The front cover meanwhile shows Golden Prague through a rose-tinted glass. I took the liberty of ‘improving’ this track which I believe is called ‘Vērím-tango’. (Those accents are wrong). I’m interested in how a simple shift of the sound can change the nature of a song….in this case adding echo has, I think, brought a much needed sense of melancholy to bear on the tune and its delivery.

Listening, Looking, Not Looking. (Evan Parker at Vortex, 22.i.15)

Improvisation transcription - fragment.  About 4 seconds. 58 x 102mm.

Improvisation transcription – fragment.
About 4 seconds. 58 x 102mm.








I have no idea what it is like to be a musician. I don’t know how they think, what decisions they make when they are playing. And particularly I don’t know how they interact with one another when they are playing. This sense of the distance between listening as a member of the audience and playing as a member of a group has occurred twice this week, on Tuesday at the PJ Harvey fish tank recording session and last night at the Vortex at one of Evan Parker’s regular Thursday night slots. Accompanied by Steve Noble on drums and Marcio Mattos on double bass this, from a listener’s point of hearing, was exemplary improvised trio playing. The two sets were beautifully balanced with each player responding to subtle inflections in the music while making their own distinctive sounds. It seemed that two players could stop at any moment and the third would carry on without taking breath, following the track upon which they had already set out. And when they all played it was as a unity. This notion of the individual within the group was emphasised by the body language of the performers. Parker remained fairly motionless, his eyes closed while he played. Noble hardly glanced up from the drum kit, his concentration at odds with the apparent ease of his playing. Mattos, in contrast, allowed his gaze to roam around the room or at least around middle distance, occasionally bowing his head over his instrument and closing his eyes. From time to time he raised his hand from the strings up to shoulder level and brought it back down in something like a theatrical flourish. But in all of this, and like his fellow performers, he made no eye contact, neither with the other musicians, nor with the audience.

So the closeness or proximity between performers and audience was brought about by listening. (At the end Parker thanked the audience for ‘listening so hard’). But, on the other hand, a distance or separation was brought about by looking. For me (but not, I suspect, for all the audience) this separation was compounded by my not knowing how the musicians interact…how they communicated. They were clearly doing another kind of listening which was not just a matter of degree (from ‘easy’ to ‘hard’ say) but was some parallel to how I was listening.

Does this performance listening separate the sounds being made by the others and allow (create?) a space into which the players insert sounds of their own? Or is it that individual players can anticipate a synthesis of sounds a few seconds into the future….the actual noise of the instruments always running slightly behind their knowledge? I noticed I slipped into saying ‘space’…is this why trying to work out what happens here is so difficult for me? Is improvisation between musicians not a spatial practice at all? When I experience this music it is very much within particular environments…both musician and sound are sited. The performance takes place within a room, a zone within the room, a stage. When I draw the performers, though sometimes no element of the room appears, they tend to be located…even if it is only a location defined by them and the spatial relationship to their instrument.

Maybe my listening practice, unlike that of the musicians, needs to be spatial as this takes the place of their intuitive experiential communications.


Evan Parker

Evan Parker

Marcio Mattos

Marcio Mattos

Steve Noble

Steve Noble







Evan Parker

Evan Parker

Marcio Mattos

Marcio Mattos

Steve Noble

Steve Noble

Recording in Progress


The set up is in the basement of Somerset House…in the building recently abandoned by the Inland Revenue. Visitors are guided through the former rifle range after decompression and mobile drop-off on the ground floor. In a one-way mirrored cubicle in the old gymnasium, the musicians, producer and technicians are already at work…we can see and hear them but they are isolated from us. No one within the recording studio looks up to the glass, the barrier remains intact. I find it hard to concentrate at first….this audio/visual voyeurism is unfamiliar territory. The space is full of instruments some of which look like props – though a beautiful old snare rum is later pressed into service. Listen out for a hurdy-gurdy on the new PJ Harvey album. The talk inside the box is technical but then the assembled musicians run through a fairly short section of a song…or maybe it is a fairly short song…and it is possible to discern the beginnings of a ‘track’. It all looks like hard work and everyone is very well-behaved and patient. They do know they are being watched and this is bound to affect the ‘performance’. John Parish as producer sits on a white sofa (the whole interior is very white) and nods and suggests different approaches to the instrumentation. Snare drums, flute, saxophone, guitar and melodica are put to use with a good deal of experimentation with percussion on a marching-style rhythm. He asks PJ Harvey – ‘How’s your song doing in the middle of this?’ – she laughs in response. It seems quite tentative from everyone’s point of view…I have no idea if this is normal. At one point Parish says to Kendrick Rowe on drums something along the lines of ‘…you get into the groove at that point and there’s nothing wrong with that but maybe it should be a kind of standing up groove rather than a sitting back groove…’. The ‘audience’ are very attentive and quiet though we have been told that we don’t have to be. The session is about 50 minutes long and there is the feeling that people don’t want to miss anything.

Here is the text that Steve Donald (who was there with me) sent me afterwards: ‘Just thinking about the PJH gig…Spatially and temporally I though it seemed an ‘immersive’ experience but simultaneously I was acutely aware of being outside of ‘the vitrine’ and, consequently, excluded from the process…Nevertheless, in this instance, I sensed the contrived exclusion ‘set up’ somehow provided a privileged vantage point…(view is somehow too inexact). In retrospect, the vitrine set up made me think of the recording, documentary process more as an experimental, anthropological science project…More than a formal art installation…’

Kendrick Rowe and PJ Harvey

Kendrick Rowe and PJ Harvey

PJ Harvey on saxophone.

PJ Harvey on saxophone.


PJ Harvey, voice, saxophone.

Kendrick Rowe, percussion.

Terry Edwards (?), flute, melodica.

Alessandro Stefana (?), guitar and percussion

John Parish – producer.

After Stars

Stars from the gods.

Stars from the gods.

Maybe 40 years ago I would have left the Scala ecstatic but last night the melancholy behind the surface got to me. I thought I was immune to this performance – especially leaning against the balcony rail up there in the gods, higher than the lighting rig, looking down at the real audience with all those back-lit smart phones blinking up at me. Up there was alienation territory…like I was asking permission of myself never to come along to this kind of gig again. I was thinking about live performances, about how the music I hear at Cafe Oto works best live with the recorded ‘version’ acting as a stand-in for the actual event. And I was thinking that music that I listen to first as produced, song-based work almost always disappoints live. The band look slightly too old to be singing these youthful anthems of elation and doubt. They run through a set of moves and poses that come from the book of rock cliché – the pigeon toed, legs apart guitar stance, punk hops, raised fists.

But about half an hour into their set the singer Torquil Campbell theatrically halts the intro to ‘Hold On When You Get Love And Let Go When You Give It’ to tell a story about the ritual he performs every time he comes to London…something about taking the Northern Line to a particular café then standing outside his father’s former house…and instead of feeling distant listening to this sentimental tale I began to dissolve into the present and as the music started I thought about my father and about my life in London and I could feel tears welling up. From there on in I was prey to every naïve or sophisticated nuance of the songs. I was even moved by the audience taking over the chorus of the song ‘Your Ex-Lover is Dead’ (‘Live through this and you won’t look back…’) and I fell for the repeated line ‘put your hands up ‘cause everybody dies…until then, nothing ends’ in the disco thump of ‘No One is Lost’. I have had the feeling of being the oldest person in the Scale before and it could be that I am too old to be at a gig like this…but only because I am at the other end of the experience from the rest of the audience. But as I am entirely invisible there is no reason they should notice…

Here is a link to the ‘official video’ of ‘Hold On When You Get Love And Let Go When You Give It’…hard to relate this to my reaction above, except that this film has a certain sentimentality and/or melancholy too.

It’s all about the mix

mix001This is the 100th post on this blog…I had meant to do something clever like choose my favourite 3 LP box set (3 x 33 and one third…geddit?)..it was going to be either Yessongs or Escalator Over the Hill (no it wasn’t). But I was never going to get round to that and, in the meantime, I found a black bin bag containing around 130 CDs on Kingsland Road this week. Some were unplayable, there were a few free films from newspapers and some old software. There was one CD full of someone’s holiday pictures. The rest were mostly singles, either ‘Landfill Indie’ or the kind of R&B that does little for me. Still I retrieved 27 from the pile..the rest have already gone to Oxfam. Before I did this I recorded the shortest track from each CD for the purposes of experimentation…more of this at some future date maybe. Here is the first experiment/unholy racket…ten tracks that ended up at the beginning of the list played simultaneously and mixed down…it ends well I think.

Radio 201.4 [JN]

Since the beginning of this year I have been making one compilation CD each month. The tracks on each mix come from CDs from charity shops (mostly from my local one) and I exclude music bought elsewhere…that is the only constraint. The mixes tend to be combinations of the popular and the obscure so include jazz, pop, noise and anything else that I like. Many of the charity shop CDs are bought on spec so I am never sure if they will make the cut…sometimes only one track will work in the context of the mix, sometimes none. I send the CDs to various friends who I think might enjoy them. Think of this particular compilation as being in the spirit of a mixtape…specifically a C60. It almost works as two 30 minute sides with ‘run out’ as the last track on Side 1. All the cuts here come from recent (as in this year) 7”s…not all singles or 45s…there are some tracks from EPs and some play at 33 1/3 rpm. The same constraint applies…all are from charity shops but on this occasion a good few come from an Oxfam in Slough.


Track 1. From about 1967…the summer of love.

Track 2. I didn’t know that The Red Flag shared its tune not just with Oh Tannenbaum but also with the State song of Maryland. How far was Ken Colyer’s tongue in his cheek when he said this was an arrangement of Maryland, My Maryland? Just what were Colyer’s political affiliations and/or sympathies?

Track 3. More tongue in cheek?

Track 4. This is from one of those Melody Maker EPs that came free with the paper. Also on the side with the Fall is a track by Zodiac Mindwarp and the Love Reaction. The other side, which features the Cocteau Twins and Hollywood Beyond has been given a coat of white emulsion by its previous owner. Why would you do that?



Track 5. The B-side of Shipbuilding.

Track 6. Never heard of ‘Big Toe’…slightly awkward…especially that slurping/breathing sound that runs throughout.



Track 7. The B-side of Superstition. The single version fades out with about a minute to go and before the redemptive line…’you’ll have it good girl…’ Sad.



Tracks 8 and 10. Six separate tracks over two sides of a ‘single’.

Track 9. The run-out groove from Clarence ‘Frogman’ Henry’s But I Do.

Track 11. From a flexidisc issued by the RSPB. 1976.

Track 12. See Track 3

Track 13. Thank you Steve Winwood.



Track 14. This came in a sleeve for The Dave Brubeck Quartet in Europe –No 1. So it is neither Wonderful Copenhagen nor Like Someone in Love.



Track 15. From an EP The Art of Lotte Lenya, Vol 2. With Orchestra conducted by Roger Bean.

Track 16. Dundee’s answer to Scott Walker.

Track 17. Didgeridoos!

Track 18. From a record on the Stagesound label…so scratched that it has been a long time since it convinced anyone.

Track 19. A short mix based on the record that was inside the sleeve of the RSPB flexidisc. Open University catalogue number P912, The Pre-School Child, Disc 2 Making Music.