Thursday, 17 January 2013

Bob Dylan - Money Honey



  • Cornell University, Ithaca NY 15th nov 1999

John Renbourn - So Clear

Last night's set list

At The Habit, York (The Elderly Brothers): -

Chains
This Boy
Misery
All I Have To Do Is Dream
You Got It

A curate's egg of a performance - what might have been a Beatles tour de force turned out to be a bit of a shambles so Yes It Is was ditched for the Everlys and Roy Orbison; the night was somehow saved. It was perishing cold mind (The Habit has no heating!!).

Wednesday, 16 January 2013

Keith Crombie's Funeral

Hundreds pay tribute to 'Jazz Man' Keith Crombie

by Coreena Ford
Evening Chronicle
Jan 15 2013

JAZZ man Keith Crombie was given a send-off fit for a music legend, bringing a city centre to a standstill.

Newcastle became New Orleans for a few short hours as some 600 friends and family members shrugged off freezing temperatures and snow showers to follow him as he made his final journey in a horse-drawn carriage, led to his funeral service by a marching band.

Nicknamed ‘The Jazz Man’, the 74-year-old ran the Jazz Cafe for more than two decades, turning it into a mecca for visiting performers and music aficionados.

But on December 29 he passed away in hospital, days after falling ill, surrounded by some of his close musical friends.

Those pals gathered outside the Jazz Cafe in Pink Lane yesterday morning as he left his beloved venue for the last time, to be placed in a dreadnought carriage pulled by two black horses.

A small group of musicians struck up a slow, mournful version of St James Infirmary Blues as the carriage pulled away, followed by the procession.

Along the 30-minute journey through Newcastle to St Thomas the Martyr Church in the Haymarket, the band speeded up into When The Saints Go Marching In, and were given a huge round of applause when the carriage finally arrived.

It was standing room only for some at the church, full to capacity inside and on the upper tier, where Reverend Catherine Lack led the service.

Robert Forster paid a warm tribute to his close friend, encouraging giggles as he swapped stories of his adventures with Keith over the last 40 years.

After the service, Lindisfarne musician Ray Laidlaw said: “I knew Keith for years, and he wouldn’t usually let me in – he said I was bad for his image!

“I came because he was part and parcel of Newcastle’s heritage. He was enthusiastic about music and getting people together to enjoy themselves. We could do with more Keiths in this town.”

Performers from the Royal Shakespeare Company were regular Jazz Cafe guests, and a tribute from lead actor Greg Hicks was read aloud at the funeral.

The actor wrote: “The Jazz Cafe for me was a place where the world became better. Keith had the lock-in to a Noah’s ark of brilliant music, brilliant camaraderie and straight talk.

“I would go after many of the Shakespearian heavies I have been asked to play over the years and Keith would greet me as only he could, ushering me quietly and warmly unto the witty and surreal world of the Jazz Cafe. I would often be the last to go and he would see me safe with a strong instant coffee and two digestives, escorting me with the watchful care of a favourite uncle into a taxi.

“He was one of the most uncompromising and authentic men I have ever met. There can be no more fitting tribute to Keith than that which is offered to Brutus at the end of Shakespeare’s Julius Caesar: ‘This was a man’.

“Goodnight, dear Keith, and flights of angels sing you to your next Jazz Cafe.”

http://www.chroniclelive.co.uk/north-east-news/evening-chronicle-news/2013/01/15/hundreds-pay-tribute-to-jazz-man-keith-crombie-video-gallery-72703-32602421/

Tuesday, 15 January 2013

Jon Finch RIP


Jon Finch obituary
Charismatic star of Polanski's Macbeth and Hitchcock's Frenzy

Ronald Bergen
guardian.co.uk
Sunday 13 January 2013

In the 1970s, it seemed a sure bet that the actor Jon Finch, who has died aged 70, would become a durable film star of some magnitude. He had the dark good looks, the voice, the charisma and the opportunities. At the beginning of his film career, he played the title role in Roman Polanski's The Tragedy of Macbeth (1971) and starred in Alfred Hitchcock's Frenzy (1972). Around the same time he was offered the chance to replace Sean Connery as James Bond in Live and Let Die (1973). The fact that Finch turned the part down stupefied many commentators.

That Finch never achieved the level of stardom that was anticipated may be attributed to his dislike of the kind of media publicity that goes with it and his self-proclaimed lack of ambition. "I never wanted to be a big star," Finch once said. "I usually do one film a year, so I always have enough money to enjoy myself and keep myself out of the public eye. It's a very pleasant life, not one of great ambition." Actually, leaving aside the great expectations, Finch's career was a reasonably successful one by normal standards.

Finch was born in Caterham, Surrey, the son of a merchant banker. He first started acting at school, later gaining experience in amateur theatre groups. After serving in a parachute regiment during his military service, he joined an SAS reserve regiment. "I thoroughly enjoyed my time in the SAS and I'm still very proud of having been a member," he recalled. "But eventually I had to leave because I was becoming more and more involved in the theatre and the SAS demands most of your weekends and several nights a week."

Finch had started acting professionally with several different repertory companies around the UK before he got a part in Crossroads, the popular daytime soap, during its first run in 1964. Finch then appeared in Z-Cars (1967-68) and in 10 episodes of Counterstrike (1969), a short-lived BBC sci-fi series about an alien (Finch) sent to Earth to save it from extinction.

His film career began in two hammy Hammer horrors, The Vampire Lovers and The Horror of Frankenstein (both 1970). Polanski, who had made his own comic horror movie, The Fearless Vampire Killers (1967), thought Finch had the credentials to play Macbeth.

There were those who thought it in bad taste that Polanski made a film of the most blood-soaked of all Shakespeare's plays just two years after his wife, Sharon Tate, had been murdered by the followers of Charles Manson. Finch and Francesca Annis, as the Macbeths, were impressively youthful, tortured and impassioned.

Equally outraged and baffled as a bitter ex-RAF hero down on his luck, Finch subtly avoided the temptation to be sympathetic as "the wrong man" accused of being the "neck-tie strangler" in Frenzy, Hitchcock's first film shot in England for 16 years.

He was quietly authoritative as the cuckolded politician Lord Melbourne in Robert Bolt's Lady Caroline Lamb (1973), in a role that had first been offered to Timothy Dalton, a future James Bond. Around the same time, Finch declined the Bond offer, as well as one from Richard Lester to play Aramis in The Three Musketeers. He preferred real-life derring-do – motor racing and parachuting.

But in 1976, Finch discovered that he had diabetes. A few years later, he remarked: "I am over all the trauma of it now and, apart from motor racing, parachuting and a few other things, I can still do what I want. I have plenty of energy for the parts I play and I just thank God for the discovery of insulin, otherwise I'd be dead."

Although he turned down the part of Doyle (eventually taken by Martin Shaw) in London Weekend's The Professionals (1977), claiming curiously that he "couldn't possibly play a policeman," Finch continued to appear regularly on television and in films. These included Death on the Nile (1978), based on Agatha Christie, in which he played a Marxist who resents the wealth of some of the other suspects. However, he had to drop out when he fell ill on the first day of filming of Ridley Scott's Alien (1979) and was replaced by John Hurt.

Regarded by Finch as the highlight of his career was his powerful portrayal of Henry Bolingbroke in Richard II (1978), and Henry IV (parts one and two) (1979) in the BBC's Shakespeare History Cycle. He was later a nobly played and spoken Don Pedro in the BBC's Much Ado About Nothing (1984).

In 1980, Finch married the actor Catriona MacColl, with whom he co-starred in a minor Spanish film, Power Game (1983). They divorced in 1987. Finch was seen in various television series throughout the 90s. His last film role was as the Catholic Patriarch of Jerusalem in Kingdom of Heaven (2005); in which he finally got to work for Ridley Scott.

Finch is survived by his daughter, Holly.
• Jon Finch, actor, born 2 March 1942; found dead 28 December 2012

http://www.guardian.co.uk/film/2013/jan/13/jon-finch?INTCMP=SRCH

Monday, 14 January 2013

Tonight's set list

At the Fulford Arms, York: -

Falling
Is It Only The Moonlight?
Love Song
Mellow My Mind
Sugar Mountain
Harvest Moon

Great beer and great music - an open mic night to be savoured.

A FNB serenade


Paul Muldoon - Songs and Sonnets review


Songs and Sonnets by Paul Muldoon – review
This new dazzling collection of poetry, full of shifting semantics and shrewd allusions, will rock your world

Maria Johnston
guardian.co.uk
Friday 11 January 2013

With its double-sided title, the latest release from poet, professor and occasional rock guitarist Paul Muldoon, Songs and Sonnets, immediately sets in motion a dizzying dance of definitions. The word "sonnet" derives from the Italian sonetto, meaning "a little sound or song", while "song" can mean "any poem that is suitable for combination with music". For "sonnet", read "song". Definitions in Muldoon always give way to the indefinite, a fact compounded by that compound title, which reprises the Songs and Sonnets of John Donne – who was, argued the writer and director Jonathan Holmes recently, the "Cole Porter of his day". Porter, Tin Pan Alley's showiest wordsmith, has long been the leading light for Muldoon as he infiltrates the American songbook. Donne, in turn, leads us to Muldoon's 2006 elegy for Warren Zevon, "Sillyhow Stride", which locates the deceased rock musician on Grammy night, "as incongruous / there as John Donne at a junior prom". That Zevon's songs were, as Muldoon wrote, "inextricably part of the warp and woof" of his 1983 poetry collection Quoof amplifies the interplay of words and music across Muldoon's extensive oeuvre right up to the "round songs", as Muldoon has termed them, of his most recent poetry collection, Maggot (2010).

"I welcome the idea of poetry … taking in the song tradition from which it sprang," Muldoon said when called upon in 2008 to evaluate Carla Bruni's settings of WB Yeats. He constantly reiterates the root of lyric poetry: as oral recitation performed to the accompaniment of a lyre. Introducing his selection of Donne's verse for Faber, Muldoon is attuned to the metaphysical poet's complicating "play on the homophonic Sun and the Son of God", and the same punning possibilities on "liar"/"lyre" seem to go to the dissembling heart of Songs and Sonnets. He riffs on shifting semantic variations, on the relation between art and artifice, illusion and elision, energy and entropy. Craft, here, encapsulates concealment and coercion, forgery and feigning, harmony and distortion.

In "Shoot 'Em Up", we see only through the "sugar-glass" windows of cinematic simulation as the piano, never "quite in tune", plays the time as out of joint. A mention of the "varmints" leads to "Pip and Magwitch", a split sonnet that hinges on the deployment by al-Qaida terrorist leader Anwar al-Awlaki of Charles Dickens's Great Expectations to conceal an explosive device in 2010. It is perhaps significant that the word "rime" can also mean a "rent, chink or fissure".

As well as following false trails, we may unearth some genuine leads: "Le Flanneur", for Flann O'Brien, calls across to the sonnet "Honey", as O'Brien's employer at the Irish Times, RM Smyllie, smiles knowingly to Buddy Holly's coroner, RE Smiley. "Dent" remembers the critic Michael Allen for having "taught us to admire / the capacity of a three-legged stool // to take pretty much everything in its stride", and that "three-legged stool", the mainstay of Yeats's sonnet in his "Two Songs of a Fool", may be the sonnet itself, that most capacious of forms with its striding, enjambed lines. Coordinates and fixed reference points float free to exhilarating effect in the linguistic adventures of the sat-nav sonnet "Recalculating". "One needs extreme difference to make metaphors", Muldoon has quipped in relation to Donne, and in "Giraffe" the mind strains to find any degree of likeness that might connect the two dislocated halves of this sundered sonnet, mimetic of how the "mouth's out of sync / with her own overdub".

As always with Muldoon, it is at the level of form – where end-rhymes become open-rimes at the poem's pressure points – that the lines blur and fret. "Given just how much pressure you've applied / As you've tried to make / Everything fit / And follow in the world / Because you've taken note of it", the singer serenades his muse in "Continuity Girl", only for the divisive, discontinuous device of broken rhyme ("No gennapoleonic / Officers perempt- / Orily ordering gins and tonic") to give the lie to the surface meanings, just as the visual effects of broken rhyme throw eye and ear out of sync. When Christoper Ricks, comparing Donne with Bob Dylan, asserts that "alliteration and rhyme are ways of having one thing lead to another", he could be commenting on Muldoon's lyrical strategies in Songs and Sonnets.

Fans of Muldoon's band, Rackett, will recognise "Mad for You", "Good As It Gets", "11 o'Clock" and "Resistance" as song lyrics from their 2007 album Resistance, but anyone who listens to Muldoon's captivating reading of "Hey Rachel" will hear how these songs need no musical support. "I was delighted to see that Leonard Cohen performs Byron's 'We'll Go No More a-Roving' as a poem-song", Muldoon enthused in a recent lecture for the Poetry Society – and perhaps that hyphenated category "poem-songs" best describes these songs and sonnets. They are complex, charged performances that vibrate in the interim between one thing and the other. They'll rock your world.

http://www.guardian.co.uk/books/2013/jan/11/songs-and-sonnets-paul-muldoon-review

Sunday, 13 January 2013

Sherman Alexie - Blasphemy review


Blasphemy: New and Selected Stories by Sherman Alexie – review
These vibrant short stories are a timely reminder of Sherman Alexie's genius

John Burnside
guardian.co.uk
Thurdsay 10 January 2013

"Fool me once, shame on you; fool me twice, shame on me." So goes the old saying; but when an entire people comes up against a culture whose capacity to cheat and deceive seems infinite, shame quickly turns to systemic grief. Sherman Alexie's characters are more aware of this than most: "I know enough to cover my heart in any crowd of white people," one character says; another longs to be called "a Coeur d'Alene as a description, rather than as an excuse, reason, prescription, placebo, prediction, or diminutive". Indian drivers are subjected to routine shakedowns by traffic cops who then tell them to move on because they "don't fit the profile of the neighbourhood", while more genteel white folks regard "the Grand Canyon, Niagara Falls, the full moon, newborn babies, and Indians with the same goofy sentimentalism".

Throughout, Alexie's Indians are waiting to be treated as "eccentric and complicated", rather than as stereotypes, not only by the whites they encounter, but also by their fellow Indians – and by themselves. (Aboriginal American peoples are referred to as Indians throughout, as opposed to "Native American", generally seen here as patronising and euphemistic.) Yet beneath this desire to be seen for what they are, they continue to bear the grief and shame of having endured genocide and ecological disaster. "If you had broken into my heart," one Spokane man says, "you could have looked inside and seen the thin white skeletons of one thousand salmon."

Blasphemy, a collection of 15 new stories and 16 previously published works, is a timely reminder of Alexie's genius. It includes many of his finest stories, master lessons in economy such as "The Lone Ranger and Tonto Fist Fight in Heaven", whose throwaway last line punches a beautiful, sad hole in what we are usually prepared to take for "the real world". That narrative economy is present throughout, but may best be illustrated by the new story "Green World", which compresses into just over four pages the essence of shame and grief. At first sight, the piece seems little more than an anecdote. It tells of a white man who has been hired to dispose of the "hundreds … possibly thousands" of birds killed each year by a small windfarm on an Indian reservation. He feels lucky to have found the job: "The tribe had wanted to hire an Indian. I am not an Indian. But they hired me because nobody else wanted the job. Or rather, three or four Indians had been hired but had soon quit because of the terrible amounts of blood and gore. Frankly speaking, if one comes near enough dead birds, one begins to smell like dead birds. It is not an odour that can easily be washed away."

For our white narrator, then, the blood on his hands is a nuisance, but he does not understand its greater significance until he meets an old Indian in the midst of the carnage. The Indian is carrying a gun and singing a death song – and when he sees the white man, it seems that he is about to shoot him. Then, having reconsidered, he kneels down and gathers up the remains of a bird so ravaged and mutilated that it is beyond identification. By now, he is weeping:

"'My tribe built these windmills,' he said.

'I know,' I said.

'We started this,' he said.

'I suppose,' I said.

'This is just the beginning.'"

From this point on, anecdote shifts into tragedy, both individual and political, as the old Indian sets the dead bird aside and begins shooting at the nearest windmill. "He stepped forward and closely studied the shotgun blast in the windmill, as if he expected the machine to bleed. Then he stepped back and shot the windmill again. He reloaded, shot, reloaded, shot, reloaded, shot, and then stepped back and looked up at the windmill. It was still moving, working, and ready to kill birds. It was impervious."

In this extraordinary moment the entire history of the white man's trickery is re-enacted in one futile gesture, along with the long and desperate history of futile resistance to an impervious, bloodless foe. It would have been a white corporation who sold the tribe the turbines; that corporation might well have used some goofy and sentimental Native American slogan to greenwash a product it knew to be environmentally destructive – and once again, having made a seemingly honourable treaty in good faith, the Indians have been duped. For the white man, the dead birds create a bad odour that clings to the skin; for the Indian, complicity in this mass killing is a matter of irredeemable shame. The power of "Green World", as with so much of Alexie's work, is that it obliges us to enter into an imaginative pact with the old Indian's grief – for it is in the recognition of grief that we begin to recover the world from those, ourselves included, who would ignore its eccentricity and complexity, in order to avoid its pain.

http://www.guardian.co.uk/books/2013/jan/10/blasphemy-stories-sherman-alexie-review?INTCMP=SRCH


Friday, 11 January 2013

Bob Dylan - The Copyright Extension Collection Volume 1


Bob Dylan's label releases ultra-rare box set to exploit copyright loophole
Only 100 copies of the singer's new demos compilation were released to prevent the songs entering the public domain

Sean Michaels
Tuesday 8 January 2013

Bob Dylan's label has made only 100 copies of his latest box set. The singer's new demos compilation, The 50th Anniversary Collection, is apparently designed to exploit a European copyright loophole.

The compilation's official subtitle says it all: The Copyright Extension Collection, Vol 1. Delivered to a handful of "random" record shops in the UK, Germany, France and Sweden, according to Rolling Stone, the four-CD set comprises 86 songs recorded in 1962 and 1963, around the time of Dylan's debut album. The packaging is plain, the liner notes almost non-existent. But fans are treating them as the rarities they are; bidding on eBay has topped £650.

According to sources at Sony Music, this compilation isn't really meant for mass consumption. It's essentially an attempt to keep these tracks from entering the public domain. Although the European Union has extended copyright terms from 50 years to 70 years, the extension only applies to recordings that have been released during the 50 years after they were made. Sony was therefore forced to release these songs – albeit in limited form – before the end of 2012, when their half-century was up.

"This isn't a scheme to make money," a source explained to Rolling Stone. "The whole point of copyrighting [this material] is that we intend to do something with it at some point in the future. But it wasn't the right time to do it right after [Dylan] released Tempest."

Perhaps Sony will eventually reissue Dylan's 1962 debut with a series of outtakes, or collect decades of demos in another box set. Perhaps they just want to thwart the opportunist labels who can now legally sell any unreleased material from before 1963. The only thing that's certain is that some British, German, French and Swedish Dylan fans got very, very lucky.

http://www.guardian.co.uk/music/2013/jan/08/bob-dylan-box-set-copyright

Thursday, 10 January 2013

Last night's set list

At The Habit, York (The Elderly Brothers): -

Bye Bye Love
To Know You Is To Love You
Hello Mary Lou
The Price Of Love
Proud Mary

A great night of open mic mayhem - a most diverse bunch of players - just magic!

Wednesday, 9 January 2013

Alfred Hitchcock - The Mountain Eagle


Austrian village holds out hope for lost Hitchcock film
The Mountain Eagle, the director's second work, was filmed in Obergurgl but disappeared 90 years ago

Kate Connolly
guardian.co.uk
Friday 28 December 2012

Alfred Hitchcock arrived in the Tyrolean village of Obergurgl in October 1925, clad in knickerbockers, hiking boots and a felt hat, scouting for a location that resembled Kentucky. When he left several months later after completing his second film, the British-German co-production The Mountain Eagle, it's fairly safe to assume locals were glad to see the back of him.

Not only had he ordered the alpine meadows to be cleared of snow, caused a roof to collapse and become stricken by some sort of altitude sickness, he caused offence by declining to stay in the village inn and complaining about the guttural sound of their dialect.

Years later his sins have been forgiven, and now the Tyroleans are far more focused on what happened to the film, which, though released in 1927, has been considered lost for the best part of 90 years. Some fear it may have been destroyed because of its highly flammable nitrate base, but many still have faith that the picture, which has been ranked at the top of the British Film Institute's (BFI) "most wanted of the most wanted films", is still to be found in a fireproof safe or a film buff's attic.

Hopes were raised earlier this year by the discovery of 24 still photographs in the archive of one of Hitchcock's closest friends. The stunning shots were auctioned in Los Angeles earlier this month for $6,000 (£3,700).

Johannes Köck is among the hopefuls. "Wherever I go in the world talking to people from the film industry, I always appeal to them to go and look in their cellars, their attics, to call me any time of day or night if they find it," he says. The head of the Tyrolean film commission, CineTirol, whose job it is to lure filmmakers in search of dramatic alpine landscapes, Köck has been searching for the film since the celebrations of the centenary of Hitchcock's birth in 1999, when he first stumbled on evidence that the film was made in Obergurgl.

"Hitchcock came to this God-forsaken place simply on the basis of finding a postcard of the romantic Oberburgl landscape that he had picked up at a kiosk in Munich," he said.

Köck went to LA where he found Hitchcock's notebooks, in which he described in detail his gruelling journey from Munich to Obergurgl, first by train, then horse and cart, and finally on foot.

"Coming to Obergurgl then would be the equivalent today of heading to a village in the Himalayas – remote and without any modern transport or proper roads," says Köck.

The film project started rather inauspiciously, with Hitchcock waking up on the first day to find the meadows covered in snow. After waiting in vain for four days for it to thaw, he employed members of the local volunteer fire brigade to blast the snow away with their hoses. But in the process, a woman's roof was destroyed. The mayor demanded compensation from Hitchcock of one schilling, but he gave her two.
Filming was interrupted after Hitchcock suffered a bout of vomiting, which he later described as a physical reaction to his dislike of the guttural sounds of the Tyrolean dialect. Although he was a German speaker, he failed to understand the local tongue.

Such discomforts were somewhat offset by the bottle of Cointreau, a few bottles of whiskey and the lemons he had in his luggage. "Hitchcock had brought a whole sack of lemons with him, so at least he did not have to go without his favourite lemonade," says Köck.

It is though that the poor box-office success of the film, which was known in the US as Fear o' God and in German-speaking countries as Der Bergadler, may have had something to do with its obscure subject matter. Its plot revolved around a wicked father, a crippled son and a teacher. Both father and son fall in love with the teacher who flees to the mountains following the father's advances. A recluse falls in love with her, marries her, and there is a final showdown in which the father is accidentally shot.

Hitchcock was never happy with the film, referring to it in an interview with the French director François Truffaut as awful.

But fears that the picture – made years before Hitchcock's huge successes like Psycho, Vertigo and The Birds – might turn out to be disappointing have done nothing to deter cinephiles.

"Is it the great lost masterpiece?" asks Bryony Dixon, BFI's silent-film curator. "Probably not, but it's a Hitchcock, isn't it? So it would be sensational if it turned up."

Theories as to where it might be range from New Zealand, which in the 1920s was typically the last destination in the worldwide distribution chain, to Russia, where, as one belief goes, it may have ended up as war booty.

Yet experts are united on one aspect of the story: the Tyrolean landscape.

"That is its saving grace," says Dixon. "Hitchcock was very aware of the power of a good location, knowing that it sells your film for you."*

It also helps Köck bring filmmakers to the region. "When they hear Hitchcock was here, their eyes often light up with delight," he says.

If the film ever turns up, Köck would love it to be shown in the now 400-strong community of Obergurgl, these days a buzzing ski resort.

"Then again, if it ever did turn up," he says, "it might be something of a disappointment that this beautiful, enduring mystery is no more."

http://www.guardian.co.uk/world/2012/dec/28/alfred-hitchcock-lost-film-austria?INTCMP=SRCH

* even though he liked to (re)create it in the studio...

Tuesday, 8 January 2013

David Bowie - Where Are We Now?



David Bowie: the most forward-looking of singers returns to his past
The nostalgic feel to Bowie's new single has fuelled speculation as to whether his first album in 10 years will be his last

Michael Hann
guardian.co.uk
Tuesday 8 January 2013

The return of David Bowie had, perhaps, been expected – but not in this fashion. Not with a song booted out into the world without pageant or fanfare. Where was the grand stage? The big gesture? That's what had been predicted this summer, when rumour held that Bowie would make his return to live performance at the Olympics closing ceremony, only for fans to sigh at the anti-climax of filmed footage of Bowie appearing in the show's whistlestop tour of British pop history.

And if the nature of Bowie's return as he reached 66 was unexpected, so too was the song with which he came back. Where Are We Now? proved to be the thing this most forward-looking of singers has always avoided: a look at his past. "It's about Berlin in 1976 and 77," said Bowie's biographer, Paul Trynka. "He namechecks all the places he used to hang out with Iggy Pop and Martin Kippenberger. That's significant because he's always eschewed nostalgia."

That very nostalgia is certain to fuel speculation. Are these recordings – Where Are We Now? is to be followed by The Next Day, his first album in 10 years, in March – to be Bowie's last? Is he looking back because the end is nigh?

Rumours about Bowie's health have circulated since he suffered a heart attack backstage at the Hurricane festival in Scheeßel in Germany on 25 June 2004, immediately after coming offstage. He cancelled the remaining 15 dates of his tour, and has not performed headline shows of his own since, though he's hardly been a recluse – he performed in New York with Arcade Fire in 2005 and 2006, with Pink Floyd's David Gilmour in London in 2006, and curated an arts and music festival in New York in 2007.

But pop abhors a vacuum. So the absence of any substantive projects fuelled rumours of serious ill health, and Bowie's own legendarily unhealthy past fed into them – during the recording of his 1976 albumStation to Station he reputedly existed on a diet of peppers, milk and cocaine, giving rise to his Thin White Duke persona.

Trynka, however, was sceptical about the stories of serious illness. "There would have been rumours whether or not he was actually ill," he said. "He got such a rude awakening to his own mortality with his heart attack, and I think that was a major shock." Trynka said it was likely Bowie had simply decided to spend more time with his daughter Alexandria, who was born in 2000, having failed to be a constant presence in the life of his son, Duncan, in the 1970s and 80s. "That would be one of several major factors in his absence, I expect," Trynka said. "He didn't spend a lot of time with Duncan, which he regretted."

Certainly, his return has been met with wild enthusiasm. By noon on Tuesday, Where Are We Now? stood at No 2 on the iTunes singles chart, kept from the top only by the omnipresent will.i.am, who promotes himself rather more heavily than Bowie. But then Bowie didn't need to promote himself – the very existence of the song was enough to generate coverage across all media, with even the Today programme, not always at its most sure-footed when dealing with pop culture, reporting on the release. Then, inevitably, a new spate of rumours began – would Bowie be playing Glastonbury, or its nearest US equivalent, Coachella?

If Bowie were to return to the stage, then a series of high-profile, lucrative festival appearances would be the easiest way to do it. In recent years, though, a number of his near comtemporaries – notably Leonard Cohen and Bruce Springsteen – have been revitalised by taking on the kind of touring schedules that many a younger artist might balk at. And given Bowie's famously electric stage performances, he might actually want to tour – the jaunt to promote his last album, 2003's Reality, lasted a year before it was cut short. Even if he does not tour, though, his profile this year will be bigger than at any time since his heart attack – he has opened his archive to the Victoria and Albert Museum in London for the exhibition David Bowie is, which runs from March to July.

Arguably the biggest question about his return, though, is why a pop singer releasing a pop song should have provoked such a response. "Isn't he the last of the greats?" Trynka suggested. "Where are the people who formed a lot of our cultural landscape? Elvis is dead. The Beatles are gone. This isn't just a single – it's the latest event from someone who has defined our culture."

Monday, 7 January 2013

Dennis O'Driscoll RIP


My hero: Dennis O'Driscoll by Seamus Heaney
'Dennis was beloved by his friends for his originality as a poet and his courage and merriment as a man
Seamus Heaney
guardian.co.uk
Thursday 3 January 2012

Early on he wrote to Enid Blyton and WH Auden and received replies from both. In later years he conducted correspondences with George Mackay Brown, Michael Hamburger and Les Murray, although he was equally in touch with poetry and poets in eastern Europe and the United States. Dennis O'Driscoll, who died suddenly on Christmas Eve aged 58, was utterly devoted to the art. Not only was he constant in his dedication to his own work, he also acted as mentor and sounding board to beginners and established figures alike. Modest to a fault, he would have shrugged off the hero word.

Yet there was heroic virtue in the man, in the way he answered the demands of his day job as a civil servant and then devoted what ought to have been free time for his own work to responding to the work of others. He was like Yeats's "man of a passionate serving kind", never self-promoting or seeking the limelight but constantly being sought. Recently, for example, he devoted years to collaborating with me on a book I needed to write but one that, without Dennis as interviewer, might never have got written.

He once described himself as "Lord of the Files", alluding to his long years in the office, but the title also described a poet whose work took cognizance of a new Ireland, a country moving from Sunday Mass to the shopping mall, from the divine presence to the Dawkins absence. The life of the commuter, the treadmill of the bureaucrat, the preening of the new developer class, the world of the business conferences and executive lounges – all this was common in experience but uncommon in books of Irish poetry until he devoted himself to it.

Dennis was beloved by his friends for his originality as a poet, his acuity as a critic, his probity and courage and merriment as a man. He was also one of the very few worthy of the tribute Auden once paid to Eliot: "So long as one was in his presence one felt it was impossible to say or do anything base."

http://www.guardian.co.uk/books/2013/jan/03/dennis-o-driscoll-seamus-heaney?INTCMP=SRCH

Sunday, 6 January 2013

Jazz Funeral for Keith Crombie...

New Orleans send off for 'Jazz Man' Keith Crombie

Coreena Ford
Sunday Sun
6 January 2012

NORTH jazz icon Keith Crombie will be given a New Orleans-style send off by his music mates.
Nicknamed “The Jazz Man”, Keith ran the Jazz Cafe in Newcastle, which has become one of the region’s best loved music venues and a mecca for visiting celebrities over the last 20 years.
But the popular figure passed away last Saturday, just days after falling ill.
The 74-year-old had been taken to Newcastle’s Royal Victoria Infirmary with a lung infection on Boxing Day, but he lost his fight for life three days later, while he was surrounded by some of his close musical friends.
And those pals will give him a send off worthy of a jazz king next week, when he will be given a New Orleans-style funeral through the city where he became such a well known figure.
Early on Monday, January 14, Keith will leave the Jazz Cafe one last time and he will be taken by horse-drawn carriage through the city, accompanied by a marching band, to the Church Of Saint Thomas The Martyr, at the Haymarket.
Scores of his grieving friends and family, including many musicians and entertainment bosses, will follow his coffin as they snake through the city centre to pay their last respects.
Born in Seaham and raised in Newcastle, Keith built up the Jazz Cafe, which recently celebrated its 20th anniversary, into one of the region’s leading jazz haunts.
Keith, who leaves one sister and a god-daughter, picked up an ambition to run his own jazz bar in the 1960s when involved with Newcastle’s legendary Downbeat Club.
And over the last 22 years a fantastic list of performers with visiting bands and theatre groups have come to love to the Pink Lane venue, either to relax at the late-night cafe after performances elsewhere, or spontaneously soloing or jamming with local musicians.
Singer Lindsay Hannon, a regular Jazz Cafe performer who was at Keith’s bedside when he died with other loved ones, recalled many magical moments.
The 32-year-old, of Summerhill, Newcastle, who will be performing at the venue tonight in a special jamming session, said: “He would be secretly rather pleased at his funeral plans.
“So many amazing people have come there over the years – while I’ve been there I’ve met Harry Connick Jnr, actors like Robert Powell and Martin Freeman, who had a great time there, and Roger Lloyd who was Trigger in Only Fools and Horses.
“Russ Abbott came in too, and randomly got up and joined in. He played the drums.
“The place is legendary with visiting theatre groups.
“Keith was half belligerent, half hilarious and beneath the curmudgeonly exterior was a very generous man.”
Pal Lance Liddle, 74, of Hebburn, South Tyneside, who runs the jazz blog Bebop Spoken Here, said: “I’ve known of Keith since the 1960s but the last five years I knew him personally. He was a larger than life character, he spoke his mind and didn’t suffer fools gladly. But if he decided that he liked you, you were a friend for life.”

http://www.chroniclelive.co.uk/north-east-news/evening-chronicle-news/2013/01/06/new-orleans-send-off-for-jazz-man-keith-crombie-79310-32551763/

Thursday, 3 January 2013

For Patti Page...

Patti Page RIP

With record sales estimated at more than 100m, which included more than a dozen million-selling singles, Patti Page, who has died aged 85, was one of America's favourite popular singers of the 1950s. She was dubbed "the Singing Rage", and her alto voice was often double tracked, on hits such as Mockin' Bird Hill, (How Much Is) That Doggie in the Window and, her signature song, Tennessee Waltz.

Wednesday, 2 January 2013

Keith Crombie of Newcastle's Jazz Café RIP


Image from http://www.flickr.com/search/?w=54153230@N00&q=keith%20crombie

Newcastle Jazz Cafe icon Keith Crombie dies aged 74 

Kim Swan
Sunday Sun
30 December 2012

A RENOWNED North jazz icon has passed away in hospital.

Keith Crombie, owner of Newcastle’s famous Jazz Cafe, died yesterday at the age of 74.

Known to many as “The Jazz Man”, Keith was a distinctive figure on the local music scene.

Over the years, he handed out thousands of leaflets to students at Northumbria University advertising his popular venue on Newcastle’s Pink Lane.

Mr Crombie was taken to Newcastle’s Royal Victoria Infirmary with a lung infection on Wednesday but sadly lost his life.

Born in Seaham and raised in Newcastle, he built the Jazz Cafe into one of the region’s leading music venues. Popular with visiting celebrities, it recently celebrated its 20th anniversary.

Mr Crombie picked up an ambition to run his own jazz bar in the 1960s when involved with Newcastle’s legendary Downbeat Club.

Former Sunday Sun editor Peter Montellier, a friend of 20 years, last night paid tribute.

Peter said: “Keith was a one-off. What he brought to Newcastle was something that was entirely different.

“There was nowhere like the Jazz Cafe. People used to come from across the world to go there. Just last week there were people from Russia and Korea there saying they’d never seen anywhere like it.”

Star musicians Wynton Marsalis and Harry Connick Jr were known to relax at the late-night cafe after performances elsewhere, sometimes spontaneously soloing or jamming with local musicians.

Peter added: “The Jazz Cafe was really popular with famous people who were in Newcastle.
“Actors at the Theatre Royal would always go in for a drink.

“The Royal Shakespeare Company also loved the Jazz Cafe. They would have two nights there every time they were in residency.

“Keith was genuinely on first-name terms with some of the greatest actors of our generation.

“There will be a lot of people who are sad to see him go.”

http://www.sundaysun.co.uk/news/north-east-news/2012/12/30/newcastle-jazz-cafe-icon-keith-crombie-dies-aged-74-79310-32515001/




Friends Pay Tribute To Jazz Legend Keith Crombie
By Joe Daunt

A man who once turned down The Beatles but went on to become one of the most respected men on the Newcastle music scene has died aged 74.

Tributes have been paid to “Jazz Man” Keith Crombie, who died at Newcastle's Royal Victoria Infirmary after suffering a lung infection.

Mr Crombie was best known for running the Jazz Café on Pink Lane in Newcastle, and would often be seen handing out flyers for his business close to the university campuses.

Born in Seaham and raised in Newcastle, Mr Crombie picked up an ambition to run his own jazz bar in the 1960s when involved with Newcastle’s legendary Downbeat Club.

He built the Jazz Cafe into one of the region’s leading music venues. Popular with visiting celebrities, it recently celebrated its 20th anniversary.

His pulling power saw the Rolling Stones perform in of his bars in the 1960's - when he claimed also to have refused to book The Beatles.

Close friend Shianne Sporr said: “I will miss Keith immensely. He came to my graduation and also gave me away at my wedding.”

Other jazz musicians have also paid tribute to the Jazz 'Legend'.

There will be a jamming session at the Jazz Café on Sunday January 6 in his memory.

Tuesday, 1 January 2013

Robert Powell reads M. R. James' The Mezzotint

A ghost story for New Year's night:

Image from http://mscorley.deviantart.com/art/The-Mezzotint-335378310?moodonly=158





Happy New Year from all the Friday Night Boys!

Monday, 31 December 2012

Ruth Rendell reads M. R. James' Canon Alberic's Scrapbook

A ghost story for New Year's Eve:
Ruth Rendell reads 'Canon Alberic’s Scrapbook' by MR James
Ruth Rendell doesn't believe in ghosts, of course, but MR James's stories, like 'Canon Alberic's Scrapbook', frighten her nonetheless

guardian.co.uk
Monday 24 December 2012

I chose a ghost story partly because I thought no one else would; and also because the Victorians wrote the best stories and MR James the best of all. I edited a collection of his, so I know them very well. I don't, of course, believe in ghosts, yet reading one MR James story when I'm alone in the house still terrifies me. I hope it will frighten you but make you want to read more – "Casting the Runes" and "The Treasure of Abbot Thomas", as well as this one, the chilling tale of poor Mr Dennistoun and the demon.

Sunday, 30 December 2012

Harry Carey Jr RIP


Harry Carey Jr., a venerable character actor who was believed to be the last surviving member of director John Ford's legendary western stock company, died Thursday. He was 91.

Carey, whose career spanned more than 50 years and included such Ford classics as "She Wore a Yellow Ribbon" and "The Searchers," died of natural causes in Santa Barbara, said Melinda Carey, a daughter.

"In recent years, he became kind of the living historian of the modern era," film critic Leonard Maltin told The Times on Friday. "He would get hired on films by young directors who just wanted to work with him, to be one step away from the legends. Some hired him to just hear his stories between takes."

Director Joe Dante, who used Carey in his 1984 comic-fantasy "Gremlins," told The Times in 2003: "You got a lot of free movie history when you cast him."

The son of silent-film western star Harry Carey Sr. and his actress wife, Olive, Carey made more than 100 films. They included "Red River," "Beneath the 12-Mile Reef," "Big Jake," "Cahill U.S. Marshal," "The Long Riders," "The Whales of August" and 1993's "Tombstone."

The boyishly handsome Carey lacked the screen-dominating star quality of his longtime pal and frequent co-star, John Wayne. Instead, Carey brought a rare authenticity to his westerns as one of Hollywood's best horsemen.

That was amply illustrated in 1950's "Rio Grande," for which he and cowboy-turned-character actor Ben Johnson learned to ride two horses while standing up, with one foot on the back of each horse.

His other films with Ford include "3 Godfathers," "Wagon Master," "The Long Gray Line," "Mister Roberts," "Two Rode Together" and "Cheyenne Autumn."

Carey also appeared in dozens of television shows, most of them westerns, and portrayed the boys' ranch counselor in the popular 1950s "Spin and Marty" serials on "The Mickey Mouse Club."

According to Dante, Carey was at his best in Ford's 1950 western "Wagon Master," in which Carey and Johnson co-starred as horse traders who join a Mormon wagon train.

"Harry was a straight-arrow, realistic person on the screen," Dante said. "It didn't seem like he was acting. He really had an aw-shucks quality."

He was born Henry George Carey on May 16, 1921, on his father's ranch north of Saugus and a 45-minute drive from Universal Studios, where Harry Sr. made westerns in the 1910s and 1920s. More than two dozen were directed by John Ford, who became a close family friend.

When Carey was born, his father, Ford and then-New York City Mayor Jimmy Walker awaited the baby's arrival by drinking a whiskey named Melwood.

From then on, as Carey wrote in his 1994 memoir, "Company of Heroes: My Life as an Actor in the John Ford Stock Company": "Every time Ford saw me with my father he'd say, 'Mellllwood … li'llll Mellllwood,' alluding to how drunk he and my dad were that night."

The young Carey graduated from Black-Foxe Military Institute in Hollywood in the late 1930s, studied voice and made his stage debut, with his father, in summer stock in Maine.

During World War II he served in the Navy in the Pacific theater, then worked in Washington on Navy training and propaganda films for Ford, at that time a naval officer.

In 1944, Carey married Marilyn Fix, daughter of character actor Paul Fix.

After the war, Carey attempted a singing career but turned to film with a small role as a cowboy in the 1946 movie "Rolling Home."

"When he went into the movies, everybody suggested he go by Harry Carey Jr., but I think he regretted that forever," his daughter said. "He just wanted to be Dobe, the nickname he always went by," and which his father gave him because his red hair matched the ranch house's adobe bricks.

John Wayne recommended the fledgling actor for the role of a cowboy who dies in a cattle stampede in the 1948 Howard Hawks' classic "Red River." Shot in 1947, it also featured the elder Carey in his final role. He died the same year at 69.

When Ford made "3 Godfathers," he cast Harry Jr. in a leading role as the Abilene Kid and dedicated the 1948 film to Harry Sr. The film's three desperadoes — played by Wayne, Pedro Armendariz and Carey — risk their lives in the desert to save a baby.

Before filming in Death Valley, Ford — who was well-known for his sadistic behavior toward actors in his films — told Carey: "You're going to hate me when this picture is over, but you're going to give a great performance."

After the first take of Carey's death scene, filmed in scorching heat, Ford cussed him out and left the actor to bake in the sun for 30 minutes. When the director returned, a near-delirious Carey delivered his death speech, his mouth so dry he couldn't swallow and with a voice that resembled the croaking of a dying man.
"Why didn't you do that the first time?" a grinning Ford told Carey. "See how easy it was? You done good! That's a wrap!"

Carey is survived by his wife, Marilyn; daughters Melinda and Lily; son Tom; three grandchildren; and two great-grandchildren.

http://www.latimes.com/news/obituaries/la-me-harry-carey-20121229,0,4888843.story

Friday, 28 December 2012

Johnny Cash in a box...


Johnny Cash - Complete Columbia Albums Collection
Representing the entirety of the musical performances released by the Man in Black on Columbia Records during his lifetime, JOHNNY CASH: THE COMPLETE COLUMBIA ALBUM COLLECTION is a 63-CD treasure trove that will appeal equally to longtime Cash followers, as well as new¬comers to his timeless body of music. Featuring 59 original album titles Cash recorded for Columbia, from 1958’s The Fabulous Johnny Cash through the two Highwayman albums of 1985 and 1990 (with Waylon Jennings, Willie Nelson and Kris Kristofferson), JOHNNY CASH: THE COMPLETE COLUMBIA ALBUM COLLECTION shows Cash in command of his country & western and gospel roots, as well as the blues, straight-ahead rock and roll, traditional balladry and folk music he loved so dearly, and much more.


The box set includes:
  • 59 Columbia albums plus two new supplemental compilations make this the all-time, hands-down granddaddy of all Johnny Cash collections, period.
  • 35 titles released for the first time on CD by Columbia/Legacy in the U.S.
  • The first 19 chronological titles released in monaural (mono) sound for the first time on CD in the U.S.
  • Each title is packaged in a LP-replica mini jacket with its original artwork
  • The accompanying booklet includes a definitive 5,000-word liner notes essay by music historian and author Rich Kienzle.
  • Also included in the booklet is complete and extensive discographical information (songwriters, recording dates and cities, musicians, guest performers, producers, release dates, original catalog numbers and Billboard chart numbers for albums and single tracks, and more).
Disc listing:
Disc #TitleRec.Rel.
1The Fabulous Johnny Cash 19581958
2Hymns By Johnny Cash 1958-591959
3Songs Of Our Soil 1958-591959
4Now There Was A Song19601960
5Ride This Train 1959-601960
6Hymns From The Heart 19611961
7The Sound Of Johnny Cash 1961-621962
8Blood, Sweat And Tears 19621962
9Ring Of Fire: The Best Of Johnny Cash 1958-631963
10The Christmas Spirit 1959-631963
11Keep On The Sunny Side by the Carter Family 19631963
12I Walk The Line 1963-641964
13Bitter Tears: Johnny Cash Sings Ballads Of 19641964
14Orange Blossom Special 19641965
15Johnny Cash Sings The Ballads Of The True West 1959-651965
16Everybody Loves A Nut 1965-661966
17Happiness Is You 1962-651966
18Carryin' On With Johnny Cash and June Carter 1964-671967
19From Sea To Shining Sea 19671967
20Johnny Cash At Folsom Prison (live)19681968
21The Holy Land 19681968
22Johnny Cash At San Quentin (live)19691969
23Hello, I'm Johnny Cash 19691970
24The Johnny Cash Show 19701970
25I Walk The Line original soundtrack 19701970
26Little Fauss and Big Halsey original soundtrack 19701970
27Man In Black 19711971
28A Thing Called Love 1971-721972
29America - A 200-Year Salute In Story and Song 1970-721972
30Christmas - The Johnny Cash Family 19721972
31Any Old Wind That Blows 19721972
32The Gospel Road [2-CD]1971-721973
33Johnny Cash and His Woman 19731973
34Johnny Cash pa Osteraker19721973
35Ragged Old Flag 19741974
36The Junkie And The Juicehead Minus Me 1973-741974
37The Johnny Cash Children's Album 1971-731975
38Johnny Cash Sings Precious Memories 19741975
39John R. Cash 19741975
40Look At Them Beans 19751975
41Strawberry Cake (live) 19751976
42One Piece At A Time 1975-761976
43The Last Gunfighter Ballad 1975-761977
44The Rambler 19771977
45I Would Like To See You Again 1976-771978
46Gone Girl 1977-781978
47Silver 19791979
48Rockabilly Blues 1979-801980
49Classic Christmas 19801980
50The Baron 1980-811981
51The Survivors Johnny Cash + Jerry Lee Lewis + Carl Perkins (live)19811982
52The Adventures Of Johnny Cash 1981-821982
53Johnny 99 19831983
54Koncert V Praze - In Prague Live 19781983
55Rainbow1984-851985
56Highwayman - Waylon Jennings + Willie Nelson + Johnny Cash + Kris Kristofferson1984-851985
57Heroes with Waylon Jennings 1984-851986
58Highwayman 2 - Waylon Jennings + Willie Nelson + Kris Kristofferson + Johnny Cash19891990
59At Madison Square Garden (live)19692002
Bonus Discs:
60Johnny Cash With His Hot & Blue Guitar 1955-582012
61The Singles, Plus (2-CD)1958-852012