Jazzy D's Soul Notes

Malcolm Arnold
Symphony no.9
National Symphony Orchestra of Ireland/Andrew Penny




Arnold is probably better known for his film scores such as Bridge on the River Kwai,but his 9th symphony is his crowning achievement in my opinion. Composed in the eighties, this is his crowning glory with a heart aching lento in the fourth movement. The movement is bleak and intense, spare and grief stricken, like a gigantic funeral march but with a radiant resolution at the end. Without that final chord, the surrender to nihilism and despair would be total
Awesome..

Arnold: Symphony No. 9, 4th Movement



ENJOY

This is a classic prog rock alobum from 1969. Its 40th annoversary edition is just awesome. CD and DVD double in a slipcase style.

King Crimson - In The Court Of The Crrimson King

Jacqueline Harpman "I Who Have Never Known Men" (Vintage)



For years, 39 women and 1 younger girl have lived in an underground bunker in a cage. Patrolling guards are their only contact with the outside world, and at this point they despair of ever escaping, resigned to death in prison. Most of the women can remember their former lives, but the younger girl remembers nothing but the cage. But one day, a mysterious siren goes off just as the guards are opening the hatch to deliver them food, and after the guards disappear, the women are able to escape. But will they find freedom outside of the bunker?

This is a bleak dystopian novel that is less about what happens to its characters and more about the human spirit in the face of despair. The writing is beautiful, and every word is tense. My only complaint was that I desperately wanted to know more, to understand why and how, but Harpman does not answer these questions and leaves them to her protagonist and the reader to ponder.

Raymond Williams "The Long Revolution"(Pelican)




I've become very interested in critical theory recently, especially in the areas of Marxist Criticism and Cultural Studies. I've been reading some of the primary texts of these movements in an effort to understand where they are coming from and how they can be used in literary criticism and beyond. So far I have finished several short excerpts and essays as well as two books, including The Long Revolution by Raymond Williams. While all of this reading has been truly enlightening, The Long Revolution has stood out to me as one of the most interesting and mindblowing pieces of nonfiction I have ever read.

In this book, Williams sets out to describe the state of literature, democracy, education, and culture in England, how it got there, and where it's going. He does so by tracing the history of various institutions, including public education, the popular press, and standard English, and showing how they have become what they are. Using many (somewhat exhausting) pages of facts and statistics as evidence, Williams comes to stunning and revolutionary conclusions. I was absolutely blown away by his ideas because they seemed so right and felt so honest.

First, Williams sets down definitions for important terms that he will be using for the rest of the books. These terms have so many uses in casual speech that he defines the way he wants the reader to understand them in the context of his book. He defines what it means to be creative, and shows how all people create to some degree in their everyday lives. He also defines culture, not just as art and clothes and the lie, but as structures of feeling, the way people thought and felt about things, the general sense of what it was like to live in a time. Once those definitions are complete, he shows the various ways that an individual can relate to society as a whole, and the different ideas of what it means to be individualistic verses social. His great gift is subtlety, and he can show all the important social reasons why individualism became the dominant idea of how people relate to society while also showing how pure individualism has failed society and is now being reevaluated by a new generation of people. The chapters Individuals and Societies and Images of Society and the end of Part 1 left me literally speechless. It's Williams's balance and fairness, his reliance on research, his refusal to be pedantic or dogmatic, that makes this book so refreshing and so effective.

So often, when we talk about culture we blame low quality arts, be they books, movies, or music, on the masses, as if the working class were inherently less intelligent than the rich or entitled. Williams doesn't just argue against that, he shows with real evidence that much of that classist thinking goes against the actual history of these institutions. He shows, for instance, that the relatively low state of the popular press (magazines and newspapers) today is not, as many people think, the fault of the poor taste of the masses, but instead that the popular press has been affected by changes in printing, distribution, taxation, advertising, and consolidation of ownership more than anything else. The glut of sensational tabloids is sold just as much to the rich as to the poor, and the changes in newspaper styles and distributions are independent of education reforms that taught more of the working class to read. The proliferation of low-quality books, movies, music, and newspapers, he argues, is not the fault of the inherent bad taste of the masses, but a side-effect of the ownership of these cultural institutions by speculators who are only interested in making money. Quality artists, interested in furthering the art form, cannot compete with the scale of distribution that the large companies produce. The problem, it seems, is not that people are inherently stupid or that the lower classes have inherently bad taste, but that our current system of capitalism makes our cultural institutions into a matter of speculation and profit. Anyone who is interested in independent publishing should absolutely read Part 3, Britain in the 1960s, which looks at the publishing industry in a way I've never seen before.

Williams writes in a style that is easy to read and understand. Although there are some slow sections where he is setting down definitions or charting history using facts and figures, his conclusions are always strong and flow naturally from his research. The book is older, published in 1961, so I'm sure it has mistakes and is outdated in some places, but most of it still reads as being contemporary and relevant. His structure is perfect, his writing is incredibly readable, and his ideas are engaging. I don't know that I have ever enjoyed academic writing so much, and I thoroughly intend to read more of his books very soon.

Ashley Kahn "Love Supreme: The Creation of John Coltrane's Classic Album" (Granta Books)





A Love Supreme is one of the most important and influential jazz albums of all times, and, certainly, one of Coltrane's most praised records. This book is a kind of biography of that record, presenting, in Chapters 3 and 4, the history of the recording sessions of December 1964 (with recollections of, among others, Elvin Jones) and also describing the surrounding context (musical and otherwise): the early play of Coltrane, including his work with Miles, the formation of his Quartet with Tyner, Garrison and Jones, and the contract with Impulse, and the aftershocks of the album release, describing the influences the album had in the avant-garde jazz scene at the time and in the larger world afterwards. This is a excellent book and a fit tribute to a unique jazz masterpiece.

David Barber "When the Fat Lady Sings: Opera History As It Ought To Be Taught" (Sound And Vision)







The subtitle says it all: Opera History as it ought to be taught. (Although it's really about the composers rather than their operas.)

As with his other books, it is a humorously engrossing book. You don't have to be a big opera buff to enjoy this exhilarating and entertaining book. If you feel down, this will definitely perk you up.

Billy Bragg "The Progressive Patriot: A Search For Belonging" (Black Swan)





Billy Bragg is a well-known singer-songwriter and activist, and this is a very personal account of English identity. He examines both the history of dissent in England and his own family history as a way of examining how he came to his own views, and rounds it off with a passionate plea for a proper, modern Bill of Rights in this country as a way of countering the rise of fascist organisations like the BNP (British National Party), who have been particulalry succesful, until recently, in his own East End of London. It's an interesting account of Englishness (rather than what it is to be British, for the Welsh and Scots seem more secure in their own identity), but it is rather uneven in the way it is written. At times, the account becomes too personal, almost autobiographical, with long sections on the rise of Punk music and his part in the music scene of the time. Interesting in itself, but too much detail compared to the more measured historical analysis of English identity.

Perhaps I was expecting more of the latter and not expecting the depth of autobiography; I certainly enjoyed that part more and became restless when the focus switched back to his own family. Probably this should be two books, not one, each one a little more focused.

Lisa Jardine "Worldly Goods: A New History of the Renaissance" (Papermac)



This fascinating book is essentially a look at how important things, and money, were in shaping what we now think of as the world of the Renaissance.

It starts with an analysis of the National Gallery Crivelli annunciation, a "meticulous visual inventory of consumer goods" from across the known world as well as a beautiful work of art - and itself a desirable possession. Renaissance artists were craftsmen for hire, working to order for the rich and powerful - and sitting at table with the tailors, musicians and other salaried members of the household. Others who fell into this category were people who would now perhaps style themselves as lifestyle consultants. You could have a man to advise you on what paintings, antiquities or books to buy to display your wealth and taste. You could even have someone to pre-read the books for you - Sir Philip Sidney had a private reader who annotated a copy of Livy for him with marginal notes referring to modern parallels to the events in the text, and a number of cross-references to modern works on political and military theory.

Conspicuous consumption was an essential aspect of prestige and authority, often backed up by borrowing on a massive scale. Christopher Columbus' proposal to seek a shorter route to the Indies - and therefore bypass the mark-ups which the spice traders put on their goods - was attractive to Ferdinand and Isabella because they were deeply in debt after a series of costly military campaigns. (For the weddings of two of their children in 1495, Isabella had to redeem her crown of gold and diamonds which had been pledged to raise money for the war against Granada.) And fortunes were made for entire families of bankers because they had received trading concessions in return for loans to popes or kings - the Medici wealth was based on monopolistic access to alum, vital for dyeing cloth. You could also make a fortune by having access to the right piece of information - for example, if you knew that two great houses were planning a wedding, you could stock up on fine fabrics while they were relatively cheap.

I think that since this book was published in 1996, its thesis has become much more widely accepted. But even so, Jardine finds some eye-catching links between things - consumption and discovery - and broad historical changes. The rebuilding of St Peter's Church in Rome, involving some of the greatest artists of the day including Michelangelo and Raphael, was so expensive that Pope Leo X issued a particularly grandiose indulgence, granting remission not just from sins already committed, but "purchasers and their relatives were forgiven every conceivable sin they had committed, or might commit, and exempted from all suffering in Purgatory, advancing immediately to Heaven". The indulgences were sold particularly hard in Germany, because the papacy had agreed that half the proceeds would go to paying off the debts of the Archbishop of Mainz. It was after the issue of this particular indulgence that Martin Luther nailed his theses to the church door at Wittenberg.

This is definitely a macro-history, ranging across the European continent from Scotland to the Ottoman Empire and in time across a couple of centuries. I am not sure that there was a coherent argument running all the way through it - it's more of a bag of delights, studded with interesting facts that you feel Jardine couldn't bring herself to leave out. I particularly liked the story of a map which deliberately placed the Molucca islands in the wrong place to back up Spain's territorial claim to them - and the related treaty stated that "during the time of this contract, {the Moluccas} shall be regarded as situated in such place" as shown on the map. Even that was only a bargaining chip - as soon as the claim was established the Spanish relinquished them in exchange for cash - "far more valuable to Charles, beset, in established Hapsburg fashion, by enormous debts to his bankers, than monopoly trading rights on the far side of the world".

Illustrated with monochrome and colour plates, which adds to the appeal of the book, I would heartily recommend this as a good read.

Richard King "How Soon Is Now?:: The Madmen and Mavericks who made Independent Music 1975-2005" (Faber & Faber)



This is a dense and involving tome of roughly 600 pages. Even though this book is very long and took me two months to finish, it doesn't feel overlong; in fact, I felt it glossed over certain people and labels (Mute gets a chapter all to itself towards the beginning, then is barely mentioned until the end when it's sold off; meanwhile 4AD and Factory all get multiple chapters).

That said, this is a very interesting book on a subject I really had never thought about prior to reading. I loved the music covered in the book, and had never considered the people who ran the labels it came out on. I thought the book might get bogged down in business specifics, being about labels and all, but the author smartly focuses on the individual label heads and their sort of "character arcs" rather than deals and money (though that shows up too, of course).

In many ways this reads as a sort of British version of Our Band Could Be Your Life. That book, one of my favorites, profiles 12 bands in the 80s American Indie scene, but since many of those artists either ran their own labels or were close to the label heads, it ends up covering the business side as well. This book definitely focuses on the business end, but there is plenty of info about the bands as well (and when Blast First shows up, it even covers the same bands as OBCBYL).

I'm not sure I could recommend this book if you weren't at least interested in some of the bands mentioned on the back cover of the book, since it is quite long, but this expansive history of independent record labels is definitely not as dry as it may seem at first glance, and as with all good books about music, it inspired me to go away and explore or revisit some of the key tracks from the era.

For example, I'd completely forgotten about Colourbox despite loving their music when it was released - thirty years on they still sound wonderful. I was also very interested to read how a massive hit single effectively stopped their career in its tracks.

It was a remarkable era for popular music and this book is a compelling reminder of a glorious and important musical era. The book concludes in 2005 when, in a reverse of the rest of the music industry, many modern independent labels are prospering relative to the major labels. That said, if this book proves one thing, it's that it is very difficult to run a small and successful independent record label - and always has been.

Francos King "Frozen Music" (Arena Arrow)




A fairly simple little novella looking at India before and after independence. Rupert, recently divorced, is travelling around with his elderly father Philip and the latter's new wife, Kirsti, who is Rupert's age. They want to visit the grave of Philip's mother, who died during an earlier family trip to India in the 1930s, when Rupert was still a child. And of course it all leads to a lot of readjusting of perspectives and revising of memories.

It's really more an expanded short story than a compressed novel, and King uses the extra space to sketch in minor characters like the group's Indian driver, Rajiv, and the hotel manager Mr Solomon, whose father had worked for Rupert's uncle. Slight, but very nicely done.