Archive for the Robert Wyatt Category


Posted in Bill Laswell, David Bowie, Evan Parker, Fred Frith, George Lewis, Keith Richards, Lester Bowie, Robert Wyatt, Rolling Stones on November 25, 2010 by candymachine

In my previous post,  I suggested that musicians tend to be wide open to the musical universe while listeners en masse are inclined toward a narrower focus. Today, I’d like to offer a follow-up illustration.

In the previous post, I used three references to three musicians to suggest this openness. Those musicians were Keith Richards, George Lewis and Robert Wyatt.  At first glance, these three musicians – titans in their respective fields – might seem like a wildly incongruous mix of musical characters. In a sense, they are. And yet, even though they are at home in  different genres, they turn out to be close neighbours.

I like the notion of ‘six degrees of separation;’ that any 2 individuals can be linked together via 6 other individual contacts. I think we can take this notion and map it onto the world of musicians and indeed link any 2 individuals through 6 (or 5 or 4 or 3) others.  Let’s take a closer look at our seemingly incongruous three musicians above. Keith Richards might seem light years away from Robert Wyatt to some, but Richards’ Rolling Stone bandmate Charlie Watts also runs the Charlie Watts Big Band, which lets Watts indulge his love of jazz.  Radical saxophonist Evan Parker has been a part of Watts’ band, and Parker has also appeared on record with Wyatt, most notably on Wyatt’s great ‘Shleep.’  That makes for a separation of merely 2 musicians between Richards and Wyatt. In fact, I’m sure there is an even more direct connection between the two musicians that I’m not aware of.

How about George Lewis?  Lewis has played with Evan Parker too, so he is situated on the same line we just traced. I know Lewis has also played with Fred Frith and Chris Cutler, who in turn have both enjoyed a long, friendly history with Wyatt.  As for connecting him up to Richards, off the top of my head I know that Lewis has worked with bass maverick Bill Laswell, who also produced one of Mick Jagger’s solo outings. Jagger has, of course, an acquaintance with Richards.

We could do this all night.  How about George Lewis and late 60s/ early 70s teen idol David Cassidy of Partridge Family fame? The AACM seems light years from old schlocky TV sitcoms.  However, David Cassidy once tried to shake off his candy floss idol image and stake a claim for himself as a reputable musician by hooking up with Mick Ronson to produce a solo album. Ronson, of course, had been a guitarist with David Bowie’s band, circa Ziggy Stardust, and Bowie had invited his namesake Lester Bowie (of the Art Ensemble of Chicago) to bring his trumpet along to Bowie’s ‘Black Tie, White Noise’ sessions. In 2006, Lewis released a recording, titled Sequel, which was dedicated to the late, great Lester. So, that’s just 3 musicians separating George Lewis and David Cassidy.

We could do this all night.


Posted in George Lewis, Keith Richards, NOW Orchestra, Robert Wyatt, Spool with tags , on November 22, 2010 by candymachine

1st vignette:

 In his newly released memoir, titled “Life,” Keith Richards writes:

 “They [schoolmates at art school] sometimes got at me because I still liked Elvis at the time, and Buddy Holly, and they didn’t understand how I could possibly be an art student and be into blues and jazz and have anything to do with that. There was a certain “Don’t go there” with rock n’ roll, glossy photographs and silly suits. But it was just music to me.”

 2nd vignette:

Up until a few short years ago, I was involved with the CD label Spool. We were in the midst of putting together a CD with trombone great George Lewis and the NOW Orchestra (The Shadowgraph Series: Compositions for Creative Orchestra). At the time, Spool was running three different music series, loosely divided into improvisation, contemporary composition, and the rather vague new media / new form series. I was explaining to George the differences between the three series with respect to where the Shadowgraph CD was going to end up. I remember vividly the questioning stare I  was getting from George as I broke down the classifications. It wasn’t that he didn’t understand what each series was about. Rather, he couldn’t get why all the music would warrant three different series. To borrow from the Richards reference above, it was all just music to George Lewis.

 3rd vignette:

Robert Wyatt, one of the greatest vocalists singing in the English language, was asked what kinds of music he liked, to which he replied –in true Wyattesque fashion –  that he only knew of two kinds of music: good music and bad music. He liked the former. For Wyatt too, it was all just music.

What these vignettes point to, I hope, is the general tendency on the part of musicians to be wide open to the musical spectrum. It’s a big musical universe out there, and musicians find it friendly. Sure, there are some musicians who don’t follow this tendency, but generally I find it to be true.

But here’s the rub, I would suggest that the opposite tendency holds sway among  music fans / listeners. Most listeners insulate themselves into niches and pigeon holes. They carry the torch for specific genres in contraposition to other genres. We all know the jazz or classical snob, the head banger, the folkie, the punk, the Prog Rocker, Hip Hop heads, etc. Here too, I am generalizing; there are listeners out there who have a voracious appetite for a wide range of music, but they are vastly outnumbered by the listeners who plow a narrow field.

 Why should this be the case? What makes listeners, generally speaking, narrowly focused on music? I think a lot of it comes down to self-identity formation. I think a lot of people use music as a way of stating who they are, what they are about. In its worst form, it’s part of an exercise in  prefab ‘life-style choice.’  Music becomes an accessory, a constituent element of personal brand.

 Which actually just begs the next question, why do we need to do this? Why do we use music in this way? Is this music’s primary use value? It’s true that the music one likes and gravitates to says something of who one is, but at worst music also becomes a commodity used to articulate the persona we want others to see us as.  A lot of this ‘need’ to ‘self-identify’ –  the need to be ‘me’ through a barrage of commodities, including music, is driven by commercial interests through media, of course.  If we could get past the music-as-image and music-as-me aspects, perhaps we could get to Robert Wyatt’s place and be left with just choosing between good music and bad music.