On Jacob Collier’s Moon River

Thank God for music and messengers of good will. Its in the light of melody that I often retreat when confronted by the indifferent and desensitised world of polar extremes. Like many, I discovered Jacob when he first started posting videos on youtube. How time has flown. He is now rightly acclaimed for his limitless musicality. I knew from the jump that he was a different level of musical possibilites than I had encountered in this young century. Its not like there hasn’t been virtuosos on the scene, but I don’t know if there are many or any with the depth and breadth of Jacob’s savant like gift. And where harmony is concerned, his innate ability is uniquely bewildering.

Today was a heavy one for a myriad of reasons. The load management of pain that is expressed in the phyche of the community can be overwhelming. I was giving moments of thoughtful reflection on lives lost and the present suffering. I was remembering dear Zainab and little Jeremiah. And I tried to stretch my mind and heart to things that I lack in understanding. All of life is seemingly politicised within constructs that are layered. Peeling the skin to get at the wounds within, it takes more than the bridge of well meaning words. Perhaps making sense of some things is beyond the relm of reason and so I find in music a gifting of discernment and sage wisdom in melodies. One such melody is Henri Mancini’s Moon River. The words and music of this composition are very special to me. The chords are so in tune with my heart. I remember how Audrey Hepburn’s plaintive rendition blanketed my heart when I watched Breakfast At Tiffanys for the first time. Its still a favourite. Then I experienced Terence Trent D’Arby’s spellbinding a capella rendition at a gig about 17 or 18 years ago. That was unforgettable. From time to time I go on YouTube and watch the late crooner, Andy Williams, wrap his velvet tone around the lyrics. And then we come to Jacob’s arrangement which I have listened to today. In his own way he has reached into his heart to pour out the wisdom and medicine of Mancini’s humanitarian aid to the broken hearted of the world. Its a blessing. A small mercy for the walking wounding, stunted and immobile.

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Film Score

I wrote a film score last year that I put away. One of several things I wrote in a prolific writing and recording period. Its just what I do in between my real life which is spiritually, physically, mentally and emotionally labour intensive. But I digress. I didn’t have a title for it till today. Often the music will take the lead in the naming ceremony. After listening for a concentrated period, it began to suggest its ideal and ideas. Sonically its as harsh and as blunt as its subject matter till it opens up with a bit of colour after four minutes. And as I started to think about the contrast of sharp and pounding intensity of monolithic rhythm like a plantation field that shadows the soul, the humming dabs of colour stained the picture like droplets of sweet water on the tongue. And like a drop of blood mixed with sweat, landing without a parachute on the soil of that tethered soul. On one level its about the slavery that masters the body, which is mastered by desire or beauty or something else. Everything is a slave to something. Everything is mastered by something. So Its called ‘The Slave Who Masters The Mistress’. The recording has not yet been mixed and mastered.

Chords

Its the year 2005. I’m in Hamburg, Germany. I’m staying with my uncle. He has a spare room in his apartment which is the epitome of simplicity. In this little room there is a bed and not much else. There is a modestly priced keyboard that most likely belongs to one of my cousins. Its crucial in that moment of my discovery of it that it is not a high end keyboard. Its functional. Thats gold enough. I am alone. I have played something and recorded it to tape. I am in a different environment but there is a feeling of comfort from two chords which find me through this instrument. And a third. Yes chords do the finding and hands make the leap of faith which ultimately funds belief. Hands are not much different than hearts when it comes to loss. To be found is the price and the prize. And chords know us better than we know us worse. Seeing chords in colour is a luxurious vantage point, and what one lacks in sophistication is not necessarily lost in translation. So it was to be that I would be found by the melody of ‘The Pulse Of Life’, which would travel with me, faithfully, through years of iterations. Its been a patient process of reclamation.

 

 

Curtis

Curtis’s hands were important. Not more than his heart. When he recorded his last album he had only the use of his neck and the head attached to it which housed his genius mind to do the work of breathing out hope into a world that had tasted too many losses to inhale the optimism extolled through music. His heart still functioned effectively and the evidence of soul and spirit was still audible. Lying on his back he recorded one short phrase at a time.¬†Phrase by phrase, a word became a line of lyric. Phrase by phrase, a line of lyric became a verse. And then a chorus. And then a bridge. Curtis’s hands remained still and silent through this process. The eyes watched and waited for something that the hands knew would never happen again. Curtis could not find feeling in the physical form of hands that had mastered a style of guitar playing that was unique to himself. Hands that shaped sounds for Hendrix and Marley to study. Hands dramatically and unwillingly put to rest. And this is why those hands are a great teacher. In their absence of use he martialed the figurative hands that survived the destruction of his body, from the neck that shouldered the weight of his head, with a voice which expressed his deepest feelings in song. A lifetime’s worth of wisdom and openess to the mysteries of life. I remember listening to New World Order and being humbled by Curtis’s generosity of spirit, and in awe of what he accomplished in terms of sonic life affirmations in such desperate circumstances. The testament of the spirit when it intersects with the divine is all one can hope for when one puts in the work of exhalation. Curtis Mayfield’s musical soul holds the hands that raise up the weary hearted head of hurts. Unbowed.

 

Baldwin

Today is a wedding ceremony. A marriage of possibilities. My cousin has exchanged vows and time will study and tell what it has seen, heard and known under God. Black life like black bodies have long been a surrealistic feast for the voyeuristic eyes of fetishists and fantasists. Joseph Conrad could not open his eyes even behind the safety of his pen, to straddle his imaginative reconstructions of the monolithic burden bearers in the heart of darkness situated in the continent of his mind’s perception.

Baldwin generously invested the deformed and fragmented faces of exotica with the unusual idea that they were worthy of being depicted as fully human, even in a foreign land. The continent is not a country. And a country in this context is not a geographical destination. The poetry of Baldwin is not merely the words sentenced to a page but rather the lives affirmed by his words dancing to the tune past the margins of hate and redeemed by love. In his writings love is the great pacifier even when it sets fire to our expectations and challenges our notions of who is worthy of grace, and the horrors that transgress the invisible inhabitants who are generational custodians of a manifested multifaceted curse with wings.

Barry Jenkins painted the poetry of James Baldwin beautifully in ‘If Beale Street Cold Talk’. Next week lovers around the world will serenade each other with cards, gifts and kisses flavoured with wine and chocolates. Babies will be conceived. Lies will be ever more creative. Truths with be earnest and unsparing. Death will still be in business. Card or no card. Life will go on. Love in its bittersweetness covers the multitude and will endure the fall out. A torn page is the pity that a chapter can afford to lose.

“Love takes off the masks that we fear we cannot live without and know we cannot live within. I use the word “love” here not merely in the personal sense but as a state of being, or a state of grace – not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth.”

РJames Baldwin, The Fire Next Time

Wettest Eye

Wettest eye watering skinned brother on the inside, arachnid crawling out, side eyed, hunger bites the heart of fear, and the killer, mother knows best, knows not the fright that drives him to stomp small creatures and their secrets, like vaporous confessions that rise up with death.

Smoke city. A body burns, like nations, like bodies burning nations. Iraq hid in flames of refutation.

Web swinger, entrapped in the ganda, hung to dry on the rope that pulled him up to the measure of Spider men, climbed into company love of misery and a tail wagged for the milk of magnesia and human kindness, as mythical as the love that murders with good intentions to broadcast.

Charity. Just spare me the charity of words like the vain in life who speak of the ignoble dead, fishing in blood rivers. Dead as purpose of Pompey. Restless in peace.

Patriots

Patriots are foreigners too. Like poets. Dead ones seem to outlive the living. Their words are the ideas that dreamers cling on to for a fictive future.

The living are dreamers at dawn. Walking on corn toes. Curved. Running the zig zag. They are pragmatic with crayons. And they laugh loud and unclear like the noise they speak.

Home is where the heart is heavy. If you cut through the chatter and chit it’s all bullsweat. Now if you knew where to bury the living, I’d hand you a shovel. No words. No songs. No honour to purchase.

They’ve got that one day exclusive on offer. Get your love at half the pain. All foreign currencies accepted. Faces are guilty but eyes are blameless.

Not Yet

Black bodies. Gold plated hope behind second skin. Black holes for weeping bullets, scream behind screens, unheard trauma scares dreams into a silence so loud that it hurts to hear. No fears to trace, to find the trail of tears that triggers the trigger of cowards and all that we choose not to see. All the cows we milk as they moo. Not yet found like Mother’s love. Away from home. Cold meat on a warm climate. Touch it. Pull. Tear it apart. A human lives behind it. Gold for skin, not cuddled, so dark as to be unseen. So much of night lives in you. Lights up your days. A paradox of mourning. You have known all your life how bright invisibility is. So shiny you didn’t need virtue to polish the skin that hides your identity. When is a human a being? In the womb of contemplation is a seed travelling the possibilities of being alive in a world not yet born.

 

Michael

Picture a world uncaptured that doesn’t own you, but pays no more and no less than what it owes you. A world without music. A world without light. And picture a boy with a shyness that transforms before your eyes into the magic realism of a world of your own imagination. Paint it with tears. Paint it with the sweat of toil that labors feet that know the joy married to pain, in repetition. Paint it with the blood of experience which betrays our imagination. Paint it with the love of song and dance that flies on the light of a smile returning home from the miracle of being born in the weathered land that is ours to tear up and reimagine. Not a song. Just a chord that strikes once or twice in time.

Lady Of Mystery

Some years ago, I spent a considerable amount of pounds to get my hands on a first pressing of this record. It wasn’t the first nor the last time I would splash out for Aretha rarities. I spent beyond my means on many occasions for Aretha records, and I didn’t regret it because I loved her. Its a perculiar thing to say, because my relationship with her was strictly through her music. But I know why I loved her and always will. It goes without saying that she was set apart when she emerged into mainstream consciousness. She was of a tribe and community but yet she was different. Unique. Singular in her genius. She was the Mount Olympus of popular music singers in what is sometimes referred to as the Rock era. Her sound was and is both ancient and future, so the era which she is associated with, could not hold her captive.

I have been reading two books about Aretha in recent months. One is about her album, Amazing Grace, and the other is about the warts and all of her life. I put down one of them and stuck a pile of books on top. I’m slowly advancing through the other. I recognise people in Aretha. People that I love but who will forever remain something of a mystery. There is no book that can be written that will quell the intrigue or reveal her more precisely than her voice and rendering of songs. Lady Soul and her voice belong to the mystery and the wonder of faith in the divine. God gifted we often say. Death is a mystery as is life. And so is love. And so is God. When Job cried out in indignation, he was confronted by that mystery. So it is love and God, the mystery of mysteries that I hear when I listen beyond the pain and pleasure of death and life in her voice. Life affirmed. Resurrected from death. The pleasure coiled around the pain. The sensuality of life. The fragility. The indomitability of the spirit that hollers. The soul that bleeds. Loud. She resembles my mother in a lot of those late 60s to mid 70s images captured by publicity departments and press. Old photographs are things of wonder. And my mother’s face in her youth is as beautiful, vibrant and full of possibilities as Aretha’s voice. All that history is interwoven with all that future, which we can only live to know. Aretha Now. That was not just an album title. Taking heed of a moment on a journey that is still ahead. With hope in God.