Debutterà a febbraio dell'anno prossimo al festival francese Sons d’Hiver l'opera che Fred Frith si è messo in testa di comporre, un po' per via di una piccola sfida in famiglia. Poi la cosa si è fatta seria. Cast, scenografia e libretto sono già piuttosto definiti, e anche il titolo è deciso: Truth is a Four Letter Word. Manca ancora un po' di denaro, ma per quello possono venire in aiuto gli amici...

Last year I was chatting to my brother Christopher on the phone when he said, a propos of nothing much, “maybe I should commission an opera from you”. I laughed and pointed out that this would, alas, involve rather a prohibitive budget, and we moved on to other things. The following morning I received an email from Fabien Simon, the director of the French festival Sons d’Hiver, proposing that they commission an opera. To say I was delighted and astonished, both by the commission and the serendipity, would be an understatement! 

I asked my long-time compañera and co-conspirator Heike Liss, if she would be on board to do the scenography and we put our heads together, exchanged ideas, threw names around, and came up with a title: Truth is a Four Letter Word. In exploring initial ideas about the Theatre of the Absurd and our current post-truth universe I immediately thought of asking my friend, the French-Swiss writer and film-maker Julie Gilbert, for the libretto. She has created a wonderful kind of science fiction retelling of the  story of Echo and Narcissus from the strangely distorted point of view of modern-day social media (and the apparent willingness of just about anyone to believe just about anything). 

I’ve invited a fabulous line-up of some of my favorite musicians and singers to join us, all of whom touched me greatly by committing to the project without even asking about money! The group includes Lotte Anker (saxes), Alexandre Cahen (piano), Camille Emaille (percussion), Xavière Fertin (clarinets), Ada Gosling-Pozo (violin), Karoline Höfler (double bass), Garth Knox (viola), Ikue Mori (electronics), Tilman Müller (trumpet), Zeena Parkins (harp), Paula Sanchez (cello) and Gabriel Valtchev (tuned percussion), with Rupert Enticknap (counter-tenor) and Clara Weil (contralto). 

Meanwhile, it hasn’t taken long to realize that the budget we have, entirely reasonable though it appeared at the outset, will not cover certain essential elements that are emerging as we collaboratively develop our ideas - lighting design, video design, costumes, engaging extra musicians for pre-recorded sections of the work, and much else besides. This is a “pocket opera” not a huge theatrical production, and the money I’m asking for will be used to make sure all the participants are properly paid and those missing details filled in. The first performances are in France in February 2023, with further possibilities being explored later in the year. Any help, however small, will be enormously appreciated - thank you!

https://www.gofundme.com/f/truth-is-a-four-letter-word

 

Ma altre squisitezze ci porge l'occitana Thödol Records: per esempio il concerto inedito che il trio Buga Up tenne al Musique Action di Vandoeuvre nel maggio 1987. Erano insieme Tom Cora, Christiane Cohade e Guigou Chenevier: A Quick Morsel of Energy.

Thödol est extraordinairement fier de vous présenter ce live inédit du groupe trop peu connu Buga Up. Enregistré en 1987 au festival de Vandoeuvre, ce disque permet d’entendre pour la toute première fois la formation originale du groupe (le seul autre enregistrement existant est une cassette de 1988 sortie sur Nikan Ribom dans laquelle Chris fut remplacé par René Lussier durant la tournée dans l’est de 1988). On y retrouve Guigou Chenevier, Christiane Cohade et l’immense et regretté Tom Cora.

https://thodolnetlabel.bandcamp.com/a-quick-morsel-of-energy

 

Jon Rose incontra a tu per tu Luiz Gubeissi ad Alice Springs negli spazi del Rosenberg Musuem, riserva inesauribile di sorprese arcane e stupefacenti quanto le formiche mellifere del titolo dell'album: Honey Ants, pubblicato dalla francese Thödol Records.

Violoniste, compositeur et artiste multimédia australien dont le travail est centré sur la musique expérimentale et l’improvisation libre, Jon Rose a été décrit par Tony Mitchell comme "sans aucun doute le violoniste le plus aventureux, imaginatif et iconoclaste qui ait vécu en Australie." Cet album est le fruit de la rencontre avec le contrebassiste brésilien d’origine syrienne Luiz Gubeissi et explore les possiblités des différents instruments, recherches sonores explosant toutes les barrières. Il compile une série d’enregistrements, improvisations hebdomadaires, qui ont eu lieu au Rosenberg Museum à Alice Springs.

https://thodolnetlabel.bandcamp.com/honey-ants

 

Con Rhapsody & Filigree giunge a compimento il geniale progetto in quattro volumi cui Brian Woodbury ha voluto dare il titolo Anthems & Antithets, e che presto sarà disponibile anche in un box onnicomprensivo. Lo si può prenotare in sottoscrizione presso ReR Megacorp. Cutler raccomanda senza esitazione anche quest'ultimo capitolo: "The fourth and final volume of Brian’s epic songwriting project, unique in its breadth and ambition. On this volume Brian stretches into complexities of various kinds, knots and - as the title suggests - filigrees which (like Van Dyke Parks) reward repeated listening or make your jaw drop as they cross or combine genres in unexpected ways - or take sudden turns, or skip through passages of instrumental or lyrical brilliance. There’s nothing out there like this. If you like your limits stretched, your expectations undermined and your brain exercised, this is for you. Impressive musicianship throughout from an extraordinary collection of participants (about 38 of them); and beautifully produced."

https://brianwoodbury.bandcamp.com/rhapsody-filigree
https://tinyurl.com/AnthemsAntithets

 

Risolto - o perlomeno aggirato - il problema che a lungo ha ostacolato la normale distribuzione presso utenti e appassionati in Europa, ReR Megacorp si rifà viva con un aggiornamento al catalogo e nuovi titoli in sottoscrizione. Con l'avvertenza ai più distratti di prender nota che da tempo il recapito email è cambiato.

http://www.rermegacorp.com

 

Ci sono al completo i quattro concerti di addio al celebre locale newyorkese da cui fu tratto Fillmore East-June 1971, c'è la piccola eternità con John & Yoko già nota - sotto altra luce - in Sometime in New York City e Playground Psychotics, un singolo rarissimo (Tears Began to Fall con Junier Mintz Boogie) e alcuni esilaranti spot promozionali radiofonici fatti in casa, compresi scarti e parti tagliate. Nessuna traccia audio relativa al disastroso rogo di Montreux del 4 dicembre, in cui il gruppo perse l'intera attrezzatura, però c'è per intero il concerto al Rainbow Theatre londinese di pochi giorni dopo, inclusi i drammatici istanti dell'assalto a Zappa da parte di Trevor Charles Howell. E in tutto cinque diverse esecuzioni (integrali) di Billy the Mountain: The Mothers 1971, uno scrigno di tesori per gli amanti di quelle Madri.

https://www.zappa.com

 

E per l'amico Paul Plimley, scomparso improvvisamente pochi giorni fa, John Oswald confeziona in quattro e quattr'otto - con collaudato metodo plunderfonico - un originale omaggio: "This has all happened so quickly that Paul & I had not come up with a title for the album. So for now it is eponymously Paul Plimley. It was conceived, augmented (with 14 newly composed tracks) & packaged in 24 hours. Paul Plimley and I have touched bases once in every blue moon over the past 5 decades. The very short pieces were all plunderphonicized as glimpses of each of the tracks on Paul's solo album Everything in Stages with the hope that intrepid listeners will seek out the originals."

https://johnoswald.bandcamp.com/paul-plimley
http://pfony.com/index.html
https://paulplimley.com/obituary

 

Un nuovo affettuoso ricordo di Danilo Terenzi è quello che Mike Westbrook ha voluto offrire durante un bel 'dietro le quinte' al Cheltenham Jazz Festival lo scorso primo maggio. Con lui Dominique Pifarély, Chris Biscoe e Marcus Vergette: Blues for Terenzi.

https://www.youtube.com/BluesForTerenzi

 

'I loved him and I will always love him.' Philippe Auclair sottolinea con dolore la scomparsa pochi giorni fa dell'affezionato amico Cathal Coughlan, cantante e autore di canzoni emerso negli anni Ottanta e Novanta in Microdisney e Fatima Mansions, titolare in seguito di diversi album a proprio nome, fautore di numerose collaborazioni - spesso nuovamente a fianco di Sean O’Hagan - e più recentemente dell'avvio del progetto Telefís: "Cathal Coughlan has died; died, not 'passed away', as he wouldn't stand for euphemistic bullshit: he was the truth. He was an extraordinary singer, lyricist and composer; he was also one of the most beautiful human beings I've ever met. Adieu l'ami."

Dal suo fitto catalogo Philippe suggerisce di riascoltare God Bless Mr X (da Black Riverfalls), You Won't Get Me Home (da Against Nature) e Are You Happy? (da The Clock Comes Down the Stairs). Jonathan Coe sceglie invece The Drunken Hangman (da The Sky's Awful Blue). E così consiglia François Ribac: "Écoutez la musique de Cathal, vous y trouverez du folk, de la musique industrielle, des mélodies pop insensées, des brusques changements d’accords à la fin d’une phrase, des échos de Weill/Eisler, de country, un pianiste qui groove, un orfèvre de la texture musicale et des sons électroniques, une galaxie de personnages et de paysages, une inquiétude quant au devenir du monde, un souci des autres et une voix unique."

https://cathalcoughlan.com
https://en.wikipedia.org/wiki/Cathal_Coughlan

 

Klimperei - cioè Christophe Petchanatz - con Madame Patate in un'occasione pressoché unica (finora) di vederli in Italia: allo Spettro a Brescia, lo scorso 20 novembre.

https://www.ursss.com/klimperei-madame-patate

 

Mike Cooper in concerto presso il centro culturale Mo.Ca a Brescia lo scorso 13 marzo, per iniziativa degli organizzatori del festival We Insist!

https://www.ursss.com/mike-cooper

 

Steve Beresford con Pierpaolo Martino e Valentina Magaletti dal vivo a Torino lo scorso 12 settembre: Frequency Disasters.

https://www.ursss.com/frequency-disasters

 

Ed è un ricordo del compianto Simon H. Fell (1959-2020) l'album 3​+​3​+​2 che Confront Recordings ha tratto dalla prima serata dei concerti in suo omaggio tenuti al londinese Cafe Oto lo scorso febbraio, una riuscita - e toccante - interazione dal vivo di Rhodri Davies e Mark Wastell con due precedenti registrazioni del trio IST.

IST was formed by Simon Fell in September 1995. In so doing, he brought together the then unknown talents of Welsh harpist Rhodri Davies and London based cellist Mark Wastell. The trio rehearsed frequently throughout the remainder of the year and early the next, finally making their public debut at Club Orange, London on 23 April 1996. Simon revelled in the unusual chamber-styled instrumental lineup of the group and the fact that it threw up stark contrast to his other regular trio of the period, the powerful Hession Wilkinson Fell. From is roots in the London club scene the trio went on to perform on stages across the globe, made a couple of TV appearances, released numerous albums and formed a long standing performing relationship with Derek Bailey. At the time of Simon’s death, IST were making plans to mark their 25th anniversary with a series of concerts. In 2021, Mark Wastell’s Confront Recordings label released a 5 CD box set which showcased archive recordings of the trio’s early years covering the period 1996-2000.

3+3+2 was premiered on Night One of Simon H. Fell: A Celebration at Cafe OTO, London. The piece uses two previous IST concert recordings (3+3), one from London and the other from Berlin, as a backing track. Rhodri and Mark (+2) improvise and interact with the track to create a deeply interwoven acoustic string soundscape.

https://confrontrecordings.bandcamp.com/3-3-2

 

E' un ricordo della scomparsa Jewlia Eisenberg (1971-2021) - non tanto un omaggio personale, quanto il compimento del suo importante lavoro su Leone e Natalia Ginzburg, vittime in Italia del totalitarismo fascista - il nuovo album di Charming Hostess per Tzadik: The Ginzburg Geography.

The Ginzburg Geography is an examination of the lives and work of Natalia and Leone Ginzburg during World War II. As with her other Charming Hostess endeavors, Jewlia Eisenberg plunged deeply into research and created songs inspired by their life, love and writings as well as including songs of protest and cultural significance from the time. Jewlia laid down vocals and oversaw the recording of the majority of band tracks but was not able to finish. Since her passing, her longtime collaborator Marika Hughes has completed the album consistent with Jewlia’s vision based on her notes and past performances. Tzadik is deeply honored to present this historic and heartfelt final project by the endlessly creative force that was Jewlia Eisenberg.

https://www.tzadik.com
https://youtu.be/l9Te6to6ejY

 

Non è ancora del tutto calata la polvere sollevata dalla pubblicazione del'inedito al CBGB's del 1987 che la Cuneiform ne ha già pronta un'altra per i Curlew, dieci anni dopo, ancora dal vivo in due distinte occasioni: Phantasmagoria 1998 + WFMU 1997. La formazione stavolta è quella di Fabulous Drop: George Cartwright, Davey Williams, Chris Cochrane, Ann Rupel e Kenny Wollesen.

https://cuneiformrecords.bandcamp.com/phantasmagoria-1998

 

Intanto Andy Partridge si riappropria di sue quattro canzoni concesse nel tempo ad altri - Seesaw, Let’s Make Everything Love, Come On Back e Love Is The Future - invitando comunque a ulteriori nuove interpretazioni: è il nuovo mini-capitolo, il secondo, nella deliziosa serie My Failed Songwriting Career.

https://burningshed.com/andy-partridge_my-failed-songwriting-career-2

 

Torna in circolazione in vinile uno degli album più amabili ma all'epoca negletti degli XTC, esibendo per la prima volta - e disorientando un po' chi di colpo ha pensato ai Residents - la copertina intesa in orgine: Mummer.

Freed from the constraints of ‘the road’ Mummer presented XTC in widescreen - experimenting with songs, arrangements and the expanded sonic palette that studios can provide when there is no afterthought as to how to reproduce the material in a variety of theatres, university halls and other venues few, if any, of which were built with rock groups in mind. And, just as the Mummers’ plays involve people travelling from place to place in a village enacting tales of the cycle of life (albeit in disguise), XTC travelled the best of the UK’s studios recording, mixing and re-mixing their songs cycle to exacting standards.  

Released as the follow-up to their most successful UK album to date - English Settlement - and with a new record label in America, band and record company hopes were high - three of the album’s first four songs were issued as singles - but were to remain unfulfilled. Fans loved it, the press was positive but radio was changing, especially in the UK, and with no touring it failed, as sometimes happens with bands adopting a new approach, to cross over to that wider audience.  

As also happens with such records, its reputation (and sales) have, over the years, grown far greater than its initial reception indicated and it can now be seen, in retrospect, to have been an important first step towards the sort of expansive approach to writing and recording that would yield much greater commercial results later in the same decade with Skylarking and the albums that followed.

https://burningshed.com/xtc_mummer_vinyl

 

Qualche attimo tratto dai concerti di ieri e oggi a San Francisco dei Residents nella nuova versione di God in 3 Persons è apparso in tempo pressoché reale su YT, assieme a brevi scene di festosa partecipazione del pubblico. Meno bene è andata la campagna su Indiegogo per co-finanziare la realizzazione delle riprese video, ma il dvd si produrrà ugualmente e sarà pronto dopo l'estate.

https://www.residents.com

 

Il ricordo di Richard Lyons, uno dei fondatori dei Negativland, è affidato invece a un film che ne ripropone la voce registrata appena in tempo negli ultimi giorni di vita, poi pazientemente rimontata dai compagni sulle immagini di Alan Resnick: I Didn't Know I Was Dead.

"The vocals for this track were recorded by Richard as he was dying from nodular melanoma, and were discovered by us after his death. Since the cancer affected his ability to speak, there was take after take of him reading his text as he tried to get through each sentence without slurring the words. The vocals were edited together posthumously by Negativland, and blended with our electronic sounds and The Weatherman's stomach noises. The words are from the point of view of a frightened Christian boy having a terrible dream, and reflect both Richard's own upbringing, his typically darker than dark sense of humor, and that he knew that he didn't have much longer to live. He died on his birthday, April 19, 2016."

https://negativland.com/i-didnt-know-i-was-dead

Il ricordo di Victor Schonfield (1940-2022), appassionato conoscitore e sostenitore di musiche sperimentali e jazz d'avangardia in Regno Unito negli anni Sessanta e Settanta, nelle parole affettuose e riconoscenti di Veryan Weston, Ed Baxter, Christopher Hobbs e Gavin Bryars ('Where would we all have been without Victor?'). E una miniatura gentile di Steve Beresford oggi dedicata a lui, per il Lonely Impulse Collective.

https://www.thewire.co.uk/victor-schonfield
https://lonelyimpulsecollective.bandcamp.com
https://www.facebook.com/634579673
https://www.youtube.com/beresford-schonfield

 

L'universo scintillante di Bing Selfish esplorato del tutto - o quasi - in un concertino pomeridiano intimo e acustico a Vienna il novembre scorso. In compagnia di amici da atmosfere e orbite affini, tipo Murphy Working Stiff e Frank Chickens: Lonesome Andi Haller e Kazumi Taguchi.

https://youtu.be/G3eqcmcV-8s

 

E che sia il flusso di idee nella fase più concitata di creazione del nuovo album dei Pere Ubu a portarlo a sanguinare in testa è David Thomas stesso a volerlo far credere. Smentito però, bonariamente, dall'inseparabile Kiersty Boon: insieme hanno offerto l'altra sera in diretta via Bandcamp - dopo il litigio con YT per la messa al bando di Chinese Radiation - una gustosa sintesi delle loro periodiche trasmissioni su Patreon: Greatest Hits.

http://www.ubuprojex.com

 

Che l'esposizione a musiche innovatrici e creative possa ingenerare reazioni avverse o spingere a gesti inconsulti è cosa che anche Martin Archer teme, e ci tiene a metterci in guardia: "Discus Music is unable to accept any responsibilty for the result of an unexpected or unplanned encounter with creative music. Please be aware that playing any Discus Music release to a friend or colleague who dislikes creative music may produce an adverse reaction for which the musicians or label cannot be held liable."

https://discus-music.co.uk

 

Da vedere (per credere) quel che si sono inventati alla Cuneiform per il lancio del nuovo Bubblemath, Turf Ascension...

https://youtu.be/ecmVvPWIrwk

 

Da sentire tra i mille programmi in streaming della newyorkese WFMU c'è la serie Ridgewood Radio dedicata a musiche non convenzionali, sperimentali e di ricerca proposta settimanalmente da David Weinstein, che molti ricorderanno in attività al fianco di Shelley Hirsch, Jim Staley, Nicolas Collins, Elliott Sharp e John Zorn tra gli altri. Numerose le rarità e i materiali inediti trasmessi, spesso provenienti da collezioni private, non istituzionali, o dagli archivi del celebre Roulette, di cui proprio Weinstein è stato tra i fondatori e dove tuttora cura il restauro e la conservazione dei documenti audio e video originali lì prodotti.

Ridgewood Radio features concert recordings by adventurous bands and experimental musicians and restored archival tapes from private and institutional collections captured at venues large and small across the five boroughs of New York. It is produced by David Weinstein and Outpost Artists Resources operating out of the Ridgewood section of Queens, NY, where you'll find more yellow bricks than on the road to Oz and the cemetery of your choice is never more than a few blocks from home.

https://wfmu.org/playlists/RH

 

Da seguire è la nuova serie Song Talk appena inaugurata su YT da Dave Stewart e Barbara Gaskin allo scopo di ripercorrere e commentare alcune fasi salienti della propria carriera insieme e al contempo preparare al sospirato concerto del prossimo 9 luglio al Kings Place a Londra. Nel primo episodio, cui interviene anche il fedele chitarrista Beren Matthews, vengono ricordati i tempi degli esordi - galvanizzati dal travolgente successo di It's My Party - con l'ascolto di This Is Human Speech, Waiting in the Wings, The Emperor's New Guitar e Henry & James.

https://www.davebarb.com

 

E in omaggio a Phil Miller (1949-2017), suo compagno di vita, giungono nuove parole di Herm Mew a ribadire l'importanza della pubblicazione dell'album postumo Double Up 2, con registrazioni effettuate a suo tempo dal compianto chitarrista in duo con Fred Baker: "When somebody you love dies there is usually nothing more you can ever do for them. Listening to this CD for the first time made us feel we had done something for Phil that his death had prevented him from doing himself."

"The posthumous release of this album was a very poignant event. During the 40 years we spent together Phil was always at work on his music, always in his studio with his guitar and his computer. He had a lot of things on the go at the same time, some of them stretching over long periods of time. The work he and Fred Baker put in working on the music for this CD started soon after the release of the first Double Up CD. He and Fred were very close and Fred was a frequent visitor. Although he lived in Derbyshire he was a frequent visitor to London. As a member of In Cahoots there were plenty of rehearsals for upcoming gigs and tours and Fred always stayed with us in Dalston. The duo recorded the material for this CD on these occasions over the years. As you can read on Fred’s notes in the CD booklet Phil arranged some of this material for the band and they became part of their repertoire but these pieces can be heard in their original duet format on the new CD along with brand new, never before heard pieces. When Phil died in 2017 Fred and I agreed we would find these recordings and complete the work that Phil had left unfinished so that it could be included in his body of work. Benj Lefevre, Phil’s long standing faithful friend and brilliant sound engineer worked hard to rescue these old tapes and mix the material. To preserve Phil’s legacy has been my driving force since his death and the website Phil Miller-The Legacy has been the vehicle, but putting together and releasing this CD has been a deeply emotional experience."

https://philmillerthelegacy.com/double-up-2
https://www.discogs.com/seller/HermMiller/profile

 

In omaggio allo scomparso James Mac Gaw (1968-2021) si è eccezionalmente ricomposto lo scorso ottobre a Le Triton di Les Lilas (Francia) il quartetto One Shot, inattivo ormai da anni ma animato per lungo tempo dal compianto chitarrista. Quel concerto ora è anche un cd, pubblicato dall'etichetta del club: À James.

Le 9 octobre dernier, Emmanuel Borghi, Philippe Bussonnet, Daniel Jeand'heur et Bruno Ruder étaient réunis sur la scène du Triton pour rendre un vibrant hommage à leur frère et tant regretté compagnon d’aventure, l’irremplaçable James Mac Gaw. Après de trop longues années d’absence qui avaient laissés les fans de ce groupe mythique comme orphelins, One Shot se reconstituait enfin, à l’occasion d’une soirée spéciale et unique, sous une forme inédite à deux claviers. Ce moment de retrouvailles entre les musiciens et avec leur public fut marqué par le sentiment totalement mystique et pourtant tellement réel que James était parmi nous, ici-bas et bien au-delà... Tout au long du set offert par ses amis, c'est bien son âme, sa fougue et sa joie de vivre qui anima les quatre artistes sur scène et qui enivra les très nombreux spectateurs venus pour célébrer sa mémoire. Au-delà du bonheur d’entendre à nouveau en chair et en os la musique transcendante de One Shot, il sembla tout de suite évident pour chacun que ce concert exceptionnel devait être immortalisé. C’est cette volonté unanime qui nous a conduit à sortir cet album live À James.

https://www.letriton.com/a-james

 

A proposito di Lol Coxhill, Scatter ripesca tra gli archivi un suo concerto del marzo 1994 in coppia con il sassofonista Mark Browne: Collingbourne Kingston Village Hall.

https://scatterarchive.bandcamp.com/collingbourne-kingston-village-hall

Resonance FM ha festeggiato ieri i suoi primi vent'anni di trasmissioni. E ai brindisi si è accompagnato inevitabilmente qualche caro ricordo... Auguri!

Founded in 2002, Resonance is a groundbreaking 24/7 radio station which broadcasts on 104.4 FM to central London, DAB to Greater London, nationally on Radioplayer and live streamed to the rest of the world. Realised by a dedicated community of volunteer engineers and programme-makers, Resonance offers over 105 creative broadcast series every week featuring local and international artists, makers and experts. Its resources are open to a wide range of artists, art forms and diverse communities. Resonance's programmes challenge, inspire and transform people's creative and listening experiences. Once you have heard Resonance, radio will never seem the same again!

https://www.resonancefm.com

 

Dopo le due emozionanti esibizioni al Ronnie Scott's londinese pochi giorni fa Mike Westbrook e la Uncommon Orchestra ripropongono oggi lo splendido On Duke's Birthday al Cheltenham Jazz Festival, ultima occasione (per ora) di sentirne dal vivo la versione per grande ensemble. Per i Westbrook l'estate riserva poi diversi altri appuntamenti, con il Quartetto ('Love or Infatuation'), un solo di Mike ('The Piano and Me') e la Granite Band guidata da Kate ('Earth Felt The Wound'). L'autunno invece rimetterà in pista il celebre Rossini Re-Loaded. Intanto, i Nostri ci sorridono da Jazzwise.

https://www.westbrookjazz.co.uk/mikewestbrook/diary.shtml
https://www.westbrookjazz.co.uk/katewestbrook/diary.shtml
https://www.jazzwise.com/mike-westbrook-interview