The Mahagonny project was I suppose a second incarnation of Fuchsia. It was a story of urban decay and exploitation, a story told through 'black humour' and satire, of a society divided by wealth and poverty, as its protagonists go about securing their livelihoods in any way they could.
The end comes as the masses eventually take up arms. Michael Gregory from Fuchsia played drums on the demos, while other players were friends I was working with at the time, or students from the Royal College of Music, London. I wrote and Somewhere In The Night - Grant Green - Jazz Profile (CD) the songs over about twelve months. Being part of a theatre production, the aim was to secure Arts Council backing in the UK supported by a record deal. One major label was interested in signing but the deal was never done.
Perhaps not too surprising as punk rock was emerging as the new 'big thing' in London. It was around this time that I recorded the next 2 songs with my good friend Bob Chudley in a small London 8 track studio. He wrote "Me and My Kite" on the Fuchsia album, and some other really good stuff, but never got the publishing deal he deserved. I love John's vocals. Thanks to all the great people who made this music possible by contributing so much to these projects.
Special thanks to my good mate Gianpaolo, at Night Wings Records. After the premature ending of the Fuchsia experience, Vanessa played briefly with an unrecorded band called Touchstone, and Tony Durant went on playing for a while around London with Michael Day and Michael Gregory. Tony then joined the hard blues oriented Punchin' Judy led by 'leather-larynx' Barbara O'Meara who previously sang with Old Nick, one 7" on Decca in Whilst the band had an album out on Somewhere In The Night - Grant Green - Jazz Profile (CD) Transatlantic record label it had all but disbanded.
So Durant and Gregory filled the gap and Punchin' MK2 toured England and Holland where a single was also issued and also recorded some interesting demos for an eventual second album but the album was never recorded.
Tony, Michael, Robin and Keith became the de facto 'house' band for Transatlantic, helping out various new signings to the label. They became part of pop-reggae Somewhere In The Night - Grant Green - Jazz Profile (CD) Greyhound for a brief time, culminating in one excellent live performance for the Jimmy Saville Show in Tony continued to write, and in began toying with the idea of writing some songs for a theatre show based on the two Brecht works.
In Tony Somewhere In The Night - Grant Green - Jazz Profile (CD) work on the "Mahagonny" project. Five songs were recorded and these follow the three Fuchsia demos on the CD. Even if the musical direction was far from the first Fuchsia LP, you can clearly hear their shared heritage. Tony and Michael were joined in these recordings by friends Keith and Robin.
Jan's sister Angela both are the elder sisters of Nigel, bassist with rock stars Bush, and Jan went on to tour with the Thompson Twins and write songs for Cindy Lauper and a friend, Philida Ahearn, formed the string section. It's odd to note that, as happened with Jonesy's fourth album also issued for the first time by Night Wings Records init was again Richard Branson's Virgin who missed a good opportunity.
They were out of luck, but the beautiful "The Band" and "Ragtime Brahms" show they still had huge potential. Then we hear a track from their first demo, probably the only surviving acetate, sent around the record companies by Tony and his mates, which secured them their original contract.
The second track on the demo, "Shoes and Ships", was unfortunately too damaged to be recovered in its entirety, with a slightly different arrangement including a French horn part not included in the album version. Next up are the Mahagonny demos, followed by two great songs by Bob Chudley who also co-wrote "Another Nail" on the first album.
After having occasionally worked with Chris Cutler his and Tony's old pal in psychedelic band Louisethis underrated songwriter continued to write without finding a publisher. Luckily, some of his songs were recorded with Tony, these demos being Bob's last venture into serious songwriting.
The song was composed with other incidental music for a film production called "The Golden Medallion". By chance he met Dave Warner, an emerging Australian punk songwriter, and they recorded some demos in London. There was a lot of interest in this band around the London 'scene' and EMI provided some studio time. Zero Zero produced a good single but no follow up, even if an album worth of material was recorded.
Tony produced the band's first album, 'Mug's Game' and it moved up the charts. When back in London, Pete Farndon of the Pretenders contacted Tony through some mutual friends, Aussie folk icons the Bushwackers who Farndon had previously been playing with in Australia.
The Pretenders were then an unsigned band and Pete Honeyman Scott was considering leaving. Farndon was looking for a replacement but Pete made the right decision and stayed with the band. Tony flew back to Australia where Warner was riding a wave of success and based himself in Perth. The collaboration with Dave lasted for two years before Tony moved on into production, jingles and advertising.
In the early '90's Tony moved to Sydney with a new Polygram publishing contract. The band, Cat's Crafty went on to produce some great music, but never signed a record deal and eventually folded. All songs written by Tony Durant except where indicated. Just Paste. Monday, September 27, Fuchsia - Fuchsia uk, elegant prog folk rock, edition. I was born in London, Palmers Green, a first generation post war baby boomer! Somewhere In The Night - Grant Green - Jazz Profile (CD) family returned to England when I was Then boarding school, Dover College, a middling English public school.
I started playing drums at school, then guitar when I left school, and during the '60's found myself caught up in the progressive psychedelic music thing. From to I played in a band called Louise in south London, with Robert Chudley and Chris Cutler later with Henry Cowdoing some pretty weird stuff, original songs "Another Nail" resurfaced years later, while a recording of "Look at the Sun" could still exist somewhere! With the end of the '60's, the band was going nowhere and I felt a need to do something quite different, so I went to Exeter University to escape music for a while.
Two weeks into University, and I had started writing music again, this time for a night of poetry based around Ferlinghetti's poems, on Goya's pictures of the Napoleonic wars of all things, and with a general anti war theme. From memory the bass player could have been Mick Day. What's your driving music, or favorite killer live albums with a vibe? Answer in the comments Let's talk more about me. I just posted a little technique video in response to a forum conversation.
Someone was confused about the meanings of the stroke types, and wanted evidence of my competency to speak on the subject. With that handy visual reference, let's talk a little bit about technique. Also see my Three Bloggers post about technique, and my other long post Somewhere In The Night - Grant Green - Jazz Profile (CD) it. I do a quick demonstration of the level system stroke types, then flams, an open roll, and Swiss triplets, because that's what the cat wanted:.
Something about those Remo pads makes me always revert to 80s power drummer mode. I don't play like that normally; it's a detriment to the playing I do on the drum set. First, notice the stroke types: full, down, tap, up.
I'm more picky about these than most people. I do the strokes fast, especially the lift after the full stroke and the up stroke. Fast hand movement. You'll notice I don't lift the stick before the stroke— most people habitually lift the stick when attacking a note, even when the stick was already at the height you wanted for the next note.
It's totally unnecessary, and it can't be accomplishing anything but slowing you down and making it harder to play the dynamics you want. I attack the note by directly moving the stick downward. I've talked about this before. It's all wrist, my hand never opens up. My grip is controlled but light. The up stroke is also important— you have to pick up the stick. When practicing technique I always do that motion as fast as possible, regardless of the timing of the notes.
The more practice you get doing a very fast lift, the more prepared you'll be for playing flam rudiments fast, and anything else requiring a fast upstroke, like a shuffle. On the flams, notice that I don't lift the grace note— maybe very slightly, because my hands are not real conditioned at the moment— the stick is already in position after its downstroke in the previous flam, so any lift in the stroke only makes the grace note louder than I want it.
Mastering this no-lift thing was the major thing that finally gave me real control over my dynamics. I play the open roll slow-fast-slow, which I never do when practicing. I want to be practicing everything in time, so I'm against that in principle. I may start doing it just to see what happens, though. At the slow end I'm playing each double as two full strokes, all with the wrist.
As we get into actual roll speed, there's a rebound happening, but I'm not changing my grip. I'm not opening up my hand or using fingers or anything. Just the motion and the natural flex of your hand creates those powerful doubles.
At the fastest speed the doubles are getting a little crushed because my hands aren't conditioned and I'm a little tense, and my left hand seems to be slicing somewhat. Generally my stick heights are all over the place. That isn't really acceptable if you're trying to polish your technique, or are playing in a drum line, or whatever serious purpose.
For day to day life as a jazz musician The Swiss triplets: I feel like I haven't practiced a Swiss triplet in five years, so I'm surprised they didn't fall apart at the faster end.
I don't have a lot to say about them. They're possibly good conditioning for open rolls— they'll often turn into an open roll when you try to play them faster than you're able. I'll repeat what I've said elsewhere, this controlled grip needs to be done carefully, so you don't stiffen up. Light grip, well articulated wrists— it's hard for a lot of people to actually move their wrist joint.
Emphasis is on a fast motion, all strokes, quiet or loud, moving at the same speed. Prestige, Gene Ammons — Brother Jug! Prestige, B. The Biographical Encyclopedia of Jazz.
Oxford University Press US. Retrieved Get Locked. Alfred Publishing. Modern Drummer. Retrieved 10 August Retrieved 1 April Archived at the Wayback Machine Retrieved 1 April The Beatles as Musicians. Oxford University Press. ISBN Premium Publishing The Rough Guide to the Beatles.
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