Tosh Berman For ARTBOOK / D.A.P. : "The World's Worst: Portsmouth Sinfo...

"The World's Worst: A Guide to the Portsmouth Sinfonia" Edited by Christopher M. Reeves & Aaron Walker (Soberscove Press)

ISBN: 9781940190235

Off the top of my head I'm going to presume that this is the only book on the legendary Portsmouth Sinfonia. A combination of a scrapbook as well as a series of interviews by people (musicians?) who were involved with this English orchestra. Which included Brian Eno, Gavin Bryars, and Michael Nyman, among others. What makes Portsmouth Sinfonia unique is that they did the popular classics we all love and know, but they couldn't play. If they were musicians in the orchestra, they played instruments that they didn't know how to play. The conductor, couldn't read a music note if his life depended on it. Still, they manage to play at the Albert All among other classical orientated concert halls and made three albums. What seems to be a joke to some is in actuality an art practice at work. The thing is everyone involved with the orchestra was serious in doing the best that they can to perform the music. For me, it's another way of looking at the classics. It's interesting to hear these familiar works in punk or at the very least, a new way of approaching music. The book expresses the joy of being in the Portsmouth Sinfonia as well as its importance to the avant-garde music world.

"Property of Ronald Kane" by Tosh Berman

I went to Rockaway Records this week, and I purchased two albums: the late Ronald Kane owned Gavin Bryars' "The Sinking of the Titanic" (Obscure Records) and "The Joe Meek Story" (Decca).  I know this is true because there are stickers on both albums that says “The Property of Ronald Kane.”  One on the back cover, and another on the record label itself.   I may have met Ron Kane when I worked at Licorice Pizza music store chain during the 1980s.  He was the import record buyer for the entire chain, and it’s considerably possible that I met him perhaps at a Christmas party for the store, or when we had to get together for work meetings.   Then again I worked at the West Los Angeles and Reseda stores, so, for instance, I never went to their Glendale headquarters.  At least, I have no memory of going to the main offices.   That would be where Ron Kane worked, and now, I only know of him due that he passed away not that long ago.  

Ron built up his record collection over the years, and like me, it seems he has visited Japan numerous times to buy and searching out recordings.  I have my favorite record stores, but oddly enough, for the past 25 or so years of going back and forth to and from Japan, I always find a new place to shop for vinyl.  A collection is very much an activity that shows one who you are, and what your obsessions are.  It is just as truthful as if finding one’s DNA on a murder weapon - it can’t help itself in not telling some history or narrative through one’s collection of objects or things.  Ron Kane, right before he passed away, sold his entire collection of vinyl to Rockaway Records.  

Going through the new arrival bin at Rockaway, I see that Ron had a thing for European prog rock, or bands/artists that error on the side of experimental made music.  The sense of exploration on his part is awe-inspiring to me.   It would be interesting to know if he kept notes or a journal regarding his record hunts throughout the world.   What I see here is a man of intelligence and curiosity.   There are focuses on countries, such as Italy, as well as France, that put out numerous experimental/prog albums throughout the late 1960s to the mid-1970s.   When you are a fan of a particular artist or group, you become interested in what part of the world that they came from.  Which leads one to study that culture that would produce such an artist.  

I’m not the most excellent collector in the world, but I suspect Ronald Kane was one, in that he spent his life being intensely focused on the issues of records and where they came from.  The vinyl albums here in the store are all new looking.  Nothing tattered or torn, and every piece of vinyl, when I open the package seems in perfect shape.  The only alteration is the sticker with his name and that he owns the object on hand.  I often wonder why people put their names on albums.  For one, you can presume that they loan out to friends or institutions, and they want to make sure that they get their record back. Or, the essence of owning an object, you want to make sure there is some physical sense of ownership of that object.   Signing one’s name to an object or a collection is very much the same as an artist who signs their own artwork. 

So, with my memory, I’m not entirely sure if I met Ron Kane or not.  As an employee at Licorice Pizza during the 1980s, I purchased a lot of vinyl that came through the central office of licorice Pizza from the U.K.  Mostly due to the buying power of Ron through the store.  Although I never met him face-to-face or at the very least, a mere passing perhaps being in the same room together, his work had affected my record buying (with discount) adventure.   I’m a believer in museums to obtain a collection or one’s holdings.   I don’t know the number of albums owned and sold to Rockaway Records by Ron, but I have to imagine it was at the very least a few thousand titles.  As time goes by people will come to the store and more likely purchase a brilliant album with the sticker on it saying “The Property of Ronald Kane.” 

- My homage to Ronald Kane, and collecting - Tosh Berman, January 8, 2017

"Irma" an opera by Tom Philips. Music by Gavin Bryars. Libretto by Fred Orton (1978) Obscure Records. Produced by Brian Eno.

"Irma" Obscure Records, produced by Brian Eno

"Irma: An Opera by Tom Philips.  Music by Gavin Bryars.  Libretto by Fred Orton" (1978).  Obscure Records.

April 28, 2015

I spent the day on the ninth floor of the federal court building on Temple and Spring.  I was on jury duty in a murder case, and I didn't get chosen, due that I wasn't paying any attention to the case on hand or the procedure or rules.  For one, I had a flask with me, and was drinking from it from the jury box.  The Sheriff took the flask away from me, and at one point I was falling asleep while being questioned by one of the attorneys. It was kind of embarrassing if I think of it, but like other unpleasant experiences, I like to store them away in the back of my head.   As soon as I was dismissed (they kept the flask), I walked towards the library on fifth and Flower.  On the way there I went to the Last Bookstore, not for their books, but their vinyl department.  My timing was perfect because I found a perfectly fine used disk of "Irma: An Opera by Tom Philips" in stock.  The price of the album is $19.95, and I immediately took the recording into my arms and paid for it.  Once I got home, I put on my "audio-technica air' headphones on, and went into another world with this album. 

The album is on Obscure Records, which are a label started by Brian Eno, during the mid 1970s.  He produced 10 albums for the label.  Now it doesn't exist.  If one is a collector, there is a need to have all ten albums.  If nothing else, for the design.  All of them are fantastic albums, and my favorite one of the bunch is "Irma."  

"Irma" is an opera by Tom Philips, but it seems when it came to the recording, Gavin Bryars took over, not only the opera, but also had Fred Orton write the libretto.  So, I'm not sure what is left of the Philips' version.  All I know is that Philips wasn't pleased with the results of the album that was released on Obscure Records.  Then again, Philips based his opera on a visual motif - 93 random phrases from the 1892 novel "A Human Document" by W.H. Malloch.  On the other hand, the album is excellent.  

The composer, Michael Nyman is on the record, and his piano playing to me is always uniquely his.  He can only play 'charm' that is his signature on a recording.  To me, he's the Noel Coward of serious (sort of "ha") music.  His playing is always witty and quite sophisticated.  "Irma" of course is all sophistication.  Although Obscure Records are thought of as releasing 'experimental music, ' there is nothing really experimental about "Irma," at the very least, the Obscure recording headed by Gavin Bryars.  Perhaps a touch eccentric, but what isn't eccentric in the works of a British citizen? I imagine if Lord Berniers was alive, he would be part of the Obscure Record label world. 

I was called back into Jury Duty, and beforehand, I made a MP3 of the album, so I can listen to it while in the courtroom.  The case, if I'm not mistaken, is about a police shoot-out with some other gang or another.  Not to my taste, really.  So hearing this album makes the time go faster and forces the tedium of a long arm of distance. The thing is I have to make sure the deputy or the judge does not see my earplugs.  

Portrait of Brian Eno by Tom Philips

As I watch (I really didn't listen) witness after witness giving some sort of tedious information, I started to think more about this recording of "Irma."   I find the music to be very soothing, but not in the 'new age' way - more in tuned with the beautiful melodies that are within this piece.  Tom Phillips wrote the opera as a conceptual piece, but Gavin Bryars turned that concept into a beautiful piece of music.   When you hear the word "opera" one thinks of a staging or a theatrical experience - but as far as I can tell, "Irma" is a music piece - and it is performed as a concert work - but not with actors -unless one thinks of the vocalists as acting out the libretto by Fred Orton.  The libretto was taken from the victorian novel, it has a romantic feeling, although one is not sure if that is the purpose of the piece or not.  The way I listen to "Irma" is totally emotional, and I'm impressed with the romantic sweep of its emotions.  Overall, when I hear a work by Bryars, it is usually emotionally tainted, in that it conveys a sense of romance and lost.  

Gavin Bryars

I have been listening to this album over and over again.  I never tire of it, and I often sing the phrase "love is help mate."   To me, it sounds like Joy Division's "Love Will Tear Us Apart."   Both equally doomed, and therefore music that is essential to one's health and being.  On the other hand, I suddenly noticed that the lawyers on both sides of the case are starting to look at me with some sense of contempt.  The judge's eyes are like darts aimed towards my heart.  Other jurists are looking straight ahead and pretend that I don't exist.  The lawyers are called to the bench, and I suspect that I won't last for more than three minutes.