‘The simple narrative line is steadily overlaid and encrusted with levels of symbolism and descriptive parabolas, and the handling of time becomes less and less consecutive and linear.’
Unsourced comment on the techniques of Malcolm Lowry.
‘The title comes from the Miles Davis recording of Wayne Shorter’s ballad ‘Vonetta’ where Tony Williams adds a surprising and very independent drum level. This composition is designed to encourage such surprises and independence. What is written is only the starting point.’
Extract from the programme note.
The performance is improvised, by the band and the director, from four Grooves – illustrated on page 307 of the book - and various Extended Pages. ‘Each [Groove has its] unique feel and [is] associated with its own specific idea, as can be seen in the descriptive tags on the manuscript. The rhythm section provides the base, and the remaining players use the given ideas to add unexpected layers above, seemingly random and each time different … Each of the Grooves can, at my discretion, be ended by going to an instrumental cadenza. This can return to the Groove, or go on to all or part of what I called the Extended Pages.’
Extracted from the jazz composer book.
Outline of the performance on directing 14 Jackson Pollocks
Section 1
Grooves and Low Horns 4.00
Bass cadenza and duet with tuba and a repeat of Groove 1.
Tuba cadenza and the first part of Groove 1 extended page.
Vonetta Factor - Gideon Juckes (tuba)
Section 2
Grooves and Keyboard 3.45
Keyboard solo and the extended page for Groove 2, with freely cued backings.
Vonetta Factor - Roger Dean (keyboards)
The remainder of these extracts can be heard on the CD.
The remainder of the performance followed this form (NB The section divisions were added for this analysis only):
Section 3
Grooves to guitar cadenza into the ballad, which is the first part of the Groove 3 extended page. 3.53
Section 4
Grooves to baritone solo + Low Horns, using the second part of the Groove 1 extended page (above). 4.23
Section 5
Grooves to flugel cadenza and solo, over the second part of the Groove 3 extended page. 3.34
Section 6
Grooves to trombone cadenza, then a trumpet solo over the second part of the Groove 4 extended page, followed by a closing unison melody. 6.42
Section 7
‘Encore’ which uses the Grooves in a different way. 0.52
Deciding which part(s) of the extended pages to use was a performance decision, which meant that some were not heard in this performance.
Full score and performance notes can be obtained electronically by emailing this website.
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