If you lived here you'd be home by now!

Ghosts (with apologies to Albert Ayler)

2011-11-28T14:20:00.001+11:00

Agile Argus 30" scale octave-down guitarbass > FuzzHugger(fx) AB-Synth fuzz (oscillator off) > Digitech RP50 "Short Stack" overdrive + reverb (multi-fx) > Behringer bass limiter / enhancer > Behringer octavator (multi-fx) > Drive 10 watt bass amp.

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Ghosts (with apologies to Albert Ayler)

2011-11-28T13:43:00.001+11:00

Voice_004.mp3 Listen on Posterous

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An extract of an idea for No Acronym - June 15th 2011

2011-06-15T13:33:00.001+10:00

New_Beginning_(in_progress_extract).mp3 Listen on Posterous

An extract of some layers. Building towards... something.

More to come. Nadimification and TiNAisation also yet to be done.

The end result will sound nothing like this, no doubt.

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A Christmas Gift For You (with apologies to Franz Xaver Gruber)

2010-12-22T22:33:00.001+11:00

Download now or listen on posterous

silent_(mastered).mp3 (5472 KB)

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A Christmas Gift For You (with apologies to Franz Xaver Gruber)

2010-12-21T17:39:00.001+11:00

Download now or listen on posterous

silent_(mastered).mp3 (5472 KB)

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Nadim & Bernhard - On the Fluidity of Motion (90s ADD mix) - FIXED!

2010-12-21T17:38:00.001+11:00

(edit - apparently my 90s mix included some music from the previous transmission as Nadim & Bernhard's concert started fifteen minutes late. Here is the FIXED version)

For anyone who may have missed Nadim & Bernhard's concert, or those without the attention span to endure two hours of live improvisation, I present the ADD mix - the entire show (minus the talking) compressed to a 90 second, iPod ready mp3. Enjoy

Download now or listen on posterous

Nadim_&_Bernhard_-_On_the_Fluidity_of_Motion_(edit_-_music_only_-_90s_ADD_mix)_-_FIXED.mp3 (2111 KB)

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Jesters Planet: Coolidge (Descendents cover - rough home bootleg)

2010-09-09T17:47:00.001+10:00

Download now or listen on posterous

jesters_planet_bootleg_2.wma (1454 KB)

Very lo-fi (and very low bitrate too), 1993 rehearsal tape extract. Played to blow off some steam after a song-writing session. Does what it says on the box. We rarely played this live.

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Unused saxloop from the Judy Dyble "Grey October Day" TiNA remix project...

2010-07-30T15:18:00.001+10:00

created

Download now or listen on posterous

saxloop1.mp3 (346 KB)

This first of three planned saxloops was created from the opening phrase of the saxophone solo in the original song.

We decided against using it, and tried to create our own samples to use with Simon McCabe. The other two saxloops didn't even get made, and nothing from Simon's session made the final cut either.

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The complete 'Grey October Day' TiNA remix saxloop session...

2010-07-27T13:26:00.001+10:00

All takes played simultaneously...

Download now or listen on posterous

combined_(mp3).mp3 (6049 KB)

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The New Point Moot trio (Duo): 8ctvfnk (22 April 2010) - edit

2010-04-23T11:47:00.001+10:00

Now here's an (insert adjective of your choice here) thing...

- The New Point Moot Trio -

Owen Keenan: ugly old bass guitar

Simon McCabe: expensive new tenor sax

TBA: person who hits things, or makes noises in a similar fashion by other means

- '8ctvfnk' -

Bass groove written by Owen a bloody long time ago as an excercise in on-beat, off-beat and between-beat phasing within a steady groove.

Searing improvised soloing by Simon because he can do that sort of thing.

Enjoy!.. or go and have a cup of tea.

Download now or listen on posterous

8ctvfnk_(22_April_2010)_-_edit.mp3 (4476 KB)

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Orange Whip - for Ovation Magnum 1 stereo bass + others

2009-09-10T16:05:00.001+10:00

New video, old song - 'Orange Whip'

Comments appreciated!

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The Point Moot Experimental One Minute Bass Solos Project.

2009-08-11T17:18:00.002+10:00

http://pointmootsolo.bandcamp.com/

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://pointmootsolo.bandcamp.com/album/bass-solos-volume-1"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;solo15a+ by Point Moot (solo)&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Announcing the Point Moot Experimental One Minute Bass Solos Project.

An ever-expanding set of experimental one minute electric bass solos with a heavy emphasis on spur-of-the-moment ideas laid down with little through-thought and a commitment to embrace any errors that occur in the recording process. Improvisation and glitch processing play a part, as well as more conventional musical construct concepts. Each recording should take a maximum of 45 minutes from concept to finished track. When there are 80 or so that I'm happy with I will press up a few discs to sell to anyone interested.

NOTE: The sequencing order will change as new tracks are added into the mix. I may also rejig the entire order as I see fit at any time.

http://pointmootsolo.bandcamp.com/

A sneak peak at the New Point Moot Trio (Duo)

2009-08-07T20:51:00.001+10:00

Download now or listen on posterous

2009.August.07 NttB-edit.mp3 (4403 KB)

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How to destroy a ten watt bass amp: a practical demonstration

2008-08-19T18:18:00.003+10:00

Here's something totally new, and (shock, horror!) electric.

It's a bit epic, so be patient please. I think it's worth it!

The first half of the piece, Bottletop Skedaddle, lasts just under three minutes, is equally inspired by the grooves of Tortoise and Motorhead, uses rapid cross fingering (which I'm still perfecting, hence the timing snafus) and false flypicking (corner of fingernail), and the little amp's natural overdrive (I almost killed it filming this).

The second half of the piece, Sanshin Soliloquy, was written with the Okinawan three string banjolike Sanshin (like a Shamisen, but different) in mind, uses an appropriately "eastern" sounding scale, and complex combinations of hammers, pulls and slides. Then it builds and builds AND BUILDS into white hot noise (including some bad, distorted flamenco runs). I also get a bit too into this and start to shake and twitch toward the end. Yow!

All sustain and overdrive are natural. No effects are used.

It's all open fingered too. No picks here.

The bass is around 30 years old, the strings only slightly less so, the player a bit more

<a href="http://www.youtube.com/watch?v=_IIqnAENQMA" target="_blank">http://www.youtube.com/watch?v=_IIqnAENQMA</a>

NOTE: Higher resolution available at youtube (link just below the vid on the youtube page)

I think I'll go take some paracetamol now.

Buckley (abridged)

2008-07-25T15:56:00.002+10:00

In 1996 I formed a short-lived duo project with vocalist Myra Thurner. We went under the name Thar She Blew!, which I still think is a great name for a music project. Thar She Blew! was mainly an exercise in what I called "collaborative composition by correspondence", meaning we'd both write and record independently, with collaboration in mind, and then work on each other's pieces with little influence from each other. Usually this involved me writing and recording something akin to a standard song format piece, complete with verse and chorus sections etc, and dropping a tape in her letterbox, Myra would then work on her bits, then we'd get together a week or so later to hear the result. And that's exactly how this song came together. We did only one gig, a small art gallery opening for the Nova Fringe Festival, but it was a very worthwhile endeavour regardless of lack of live exposure.

One of the challenges of this project was trying to translate duo singer/songwriter type music for a bass guitar and the piece here was one of my first attempts at chordal style playing in an attempt to get over that hurdle.

This piece, Buckley was written the day of Jeff Buckley's death, May 29 1997. The title was obvious once it was written, however it was not directly conceived as a tribute, hearing only of the news shortly after. The original complete song was longer, repeating the verse and chorus sections to fit the lyrics. Without vocals (or another melody instrument) I prefer it short and sweet to avoid too much repetition. Imagine someone singing over it to get an idea of what Thar She Blew! sounded like.

And I flub a few bits, but who cares.

Hedging Your Bets - an original composition in memory of Michael Hedges

2008-07-23T08:22:00.001+10:00

Literary Baton 123

2008-03-18T10:05:00.007+11:00

Blogger Nadim recently passed Literary Baton 123 my way. The rules, as they stand, are simple.

Find the book closest (as in proximity) to you at the moment.
Flip to page 123.
Find the fifth sentence.
Post the next three sentences.
Pass the baton to five other bloggers.

It's a rather unusual “game” and one I have trouble seeing the point in to be honest. Unless I am reading the rules wrong the end result is simply many blogs posting random sentences, achieving what exactly? However, if a continuous dadaist storyline were to be developed by this method the result would be much more interesting in my opinion.

So, with this in mind, the next three sentences from me would be...

Central Africans drink it in immense quantities: in Unyamwezi the standing bedsteads, covered with bark-slabs, are all made sloping so as to drain off the liquor. A chief lives wholly on beef and Pombe which is thick as gruel below. Hops are unknown: the grain, mostly Holcus, is made to germinate, then pounded, boiled and left to ferment.

As I am at work I have no appropriate book handy. Lots of manuals, and a few magazines, but no books. So I decided to go to the top listed online book in my favourites folder. The complete 1000 Nights and a Night (Vol 1 Burton translation) as found at http://www.wollamshram.ca/1001/index.htm.

Unfortunately, as with most online texts there are no page numbers, so instead I took these sentences from the 123rd footnote! I hope that keeps in spirit with the original game well enough.

Now, somebody needs to track back to find the route of this literary baton prior to it reaching Ingo (who passed it to Nadim) to find the complete storyline, and given the German provenance a good translator is going to need to be found too.

Tracking back a few links and using a dodgy online translation service presents this extended snippet from a most surreal book.

The nordic hair fell in long curls to the rear. And how Chipsey announced, had to show it actually scar, at least a visible hurled, that nearly a few passed to cleanly under the left cheek bone. Although its face was hardened to an indifferent grimace, it seemed to follow attentively to Claires words, pointed there and again itself even an amused twitching around the mouth angle around on.

It would buy yet more of the lovely powder it the sting of St. Clements Dane, take it out of the frame and carry under its overalls home. It would become Mr. Tear Charrington the remainder of this poem out of the memory.

If one closes the stores of its heart, one takes himself only even aware, and then one observes himself endlessly. One pleases or hates himself, but one exposes himself, one fragments its being and becomes more incapably then ever to grasp the connection and in the end the unit of the things. The Eremit never is pulsates alone, for even the air that it breathes, before life, and through it that it receives it, changes it it into even more intensive life, that it exudes again into the universe.

“I wish my father had told me that,” I say.

“And when my child is older,” says Eckhard, happy now in my approval, “I will read him the poems I love. Then he will love them too.”

“Your child will be a boy?”

There's an interesting novel in this for sure.

Rather than nominate specific people (though I'll probably poke a few of you directly anyway), I ask if anyone is up to the challenge of continuing this? If so, please respond here as well as posting to your own place. I want to know what the potential next three sentences could be.

Cheers!

The guard of the tower

2007-03-19T14:01:00.000+11:00

Yesterday it was decided that the Point Moot Lighthouse needed a guard dog.

Presenting Royoni Jack's Hope, or as we like to call him; Sunny.

That should scare the baddies away!

Move along now, nothing to see here...

2007-02-07T22:00:00.000+11:00

... but there is something to see at the new Sounds from the Mootmobile blog which I've finally launched.

Check it out.

Toodles!

A break is as good as a wink to a scrambled horse.

2006-05-27T22:40:00.000+10:00

This blog is in hiding.

A protracted hiatus continues.

The only consistent factor is change.

Champagne, Storms and a New Commission

2006-01-29T01:48:00.000+11:00

... we apologise for the delay, normal service will resume, um, immediately...

Ah, what a month! A spectacular time was had by all for the silly season. Merriment and frivolity balanced equally with threatening disaster and impending doom!

Following the usual, yet always wonderful, holy-for-some days (traditionally celebrated in my household by trying to gain as much weight in as short a time as possible) the year ended well enough with a sublime evening with my darling wife and a few friends and relatives (but sans children) by the majestic Capital City Waterway. Corks flew and mobs cheered "Champagne!" as 2005 packed up its bags and set on the long journey into the history books.

Then 2006 woke up in a nasty, post-party mood to let us know that it isn't a year to be trifled with.

Wind blew and hail fell as a mighty maelstrom made mischief across the map. On attempting to make my way to retrieve my girls from the care of Mopsy and Popsy, the news came through that the Bananarama Valley ferry service had been suspended. After waiting several hours I managed to get through (on a temporarily re-opened ferry) to find Mopsy and Popsy under threat from rising waters. Whilst watching the waters rise news came through that Point Moot by the sea was also suffering with at least half a dozen houses washed away!

Let me assure you that it is a surreal, yet unpleasant, experience to watch one disaster with your very own eyes, whilst listening to news on the radio about another in your home town.

But, we were safe, and we all made it back to The Point in one piece to find our humble abode still standing with nary a water mark to be found.

Since our return I've been extremely busy keeping the Lighthouse duties under control and have found little time for musical interaction. However, a leftover, temporarily forgotten, idea from an abandoned project has just been resurrected in a new commission for the Point Moot by the sea Community Music Project Contemporary Progressive Orchestra (CPO for short). The CPO is no ordinary orchestra; membership is open to all instrumentarians of high enough calibre. So, if you play a stylophone or spoons or minimoog or ukelele or any instrument whatsoever to an exemplary level then feel free to come down for an audition. We know no boundaries.

The new CPO commission is based on two concepts which are still in the early stages of development.

The first concept involves a variable score, wherein each instrument, or group of instruments, can simultaneously start at any of a variety of places within the overall score. Think of a score written on a cylinder, with each instrument line being able to be rotated independently of the others and you might get the idea. A round, or canon, effect is the result, yet the permutations add a certain amount of chaos. Further to this, each instrumental line will feature a recurrent motif, or "head" for you jazzers, scattered unevenly throughout the piece. It is these motifs that determine the starting point for the piece in performance, and, because they are scattered unevenly, describe the phase patterns possible.

For instance, lets call our motif A and imagine a piece of music ten times as long as our motif, with A occuring four times throughout. This piece of music could be symbolised thus:

A/x/x/x/A/x/x/A/x/A/

Of course, that is not the only possible example, but it will do for now.

Now, treating the structure as cyclic, take each motif A in turn as a starting point to determine the various phases possible. i.e.

First (root) phase: A/x/x/x/A/x/x/A/x/A/
Second phase: A/x/x/A/x/A/A/x/x/x/
Third phase: A/x/A/A/x/x/x/A/x/x/
Fourth phase: A/A/x/x/x/A/x/x/A/x/

This example is particularly interesting as by combining all four possible phases we end up with a score which contains the motif A in at least one line continuously throughout. In other words, the "head" will always be present somewhere in this mix.

At the present stage I am working with modified nursery rhymes (Pop Goes The Weasel is my current favourite) in this model as a study, but the intention is to write an expanded score for a performance of between 45 and 70 minutes for at least twelve instrument groups.

Once the score is complete the final performance arrangement will differ according to which phase each instrument group plays. I am yet to decide how this should be determined, but it could be something as simple as rolling dice (as many as necessary to cover all phase variations in the final piece) for each instrument group on the night. eg. Trumpets play phase nine, tuned percussion plays phase six etc.

For the final stage of the commission I hope to convince the sponsors to pay for recordings of each permutation possible, although with a lengthy score feature tens of phase variations and a dozen instrument groups the possibilities are too massive to contemplate!

The second concept for the CPO commission is to integrate "isorhythmic mapping", as defined by ethnomusicology, within the score. In this definition an isorhythm is a strict rhythmic pattern to which is plotted (single or multiple) melodic series. Many indigenous cultures use isorhythmic mapping in storytelling chant, where it is more important to preserve the rhythm than hit the right note/say the right word at any defined rhythmic point. For isorhythmic mapping to be effective it is often beneficial to have the melodic series longer or shorter than the rhythmic cycle. A modern example of this effect is in the bass line for the King Crimson piece Virtuous Circle (AKA part of The Power To Believe part II) where a seven note melodic series is established over four "beats" (in a count of seven as 2+2+2+1) creating a continuosly phasing strict pattern of notes in constant rhythm.

Phew! That took a lot out of me just to explain! I think I need to have a rest before trying any actual composition.

'til next time!

A novel idea

2005-12-18T18:06:00.000+11:00

Well, that's not good. Has it really been almost a month since my last posting here?

Tut tut tut.

The last few weeks I've been preoccupied sketching down a rough storyboard for a novel. I can't say too much at the moment, as storyboards are necessarily transient by nature. That's why I refer to it as a "sketch".

But here's a very rough skeletal plot outline as it currently stands for those who need to know:

Protagonist A stands trial for treachery against the combined forces of a subversive organisation at the height of a civil disruption. A protracted battle of words progresses as A first falls, then through various strategies regains some control of the situation (this is the bulk of the text using various plot devices to examine the (in)humanity of opinions, and differences thereof). As the trial ends with no verdict or sentence Protagonist A comes across inside information revealing that the subversive organisation has now attempted to enact in the very way which led to his charges. In the end it should be apparent that the civil conflict is based on no real principles, and could have been resolved years ago with only a little thinking. Protagonist A's fairly minor actions on which he is charged (which are never 100% detailed or explained) have led to an opportunity for resolution of a national conflict, but in a typical act of pseudo- military auto-destruction the opportunity is quickly wasted. What need is there for a subversive organisation if everyone gets along well enough? Futility reigns supreme. The war must go on... and on... and on...

Comparisons with Vonnegut's Mother Night and Heller’s Catch 22 (amongst others) will be forthcoming no doubt. Feel free to lambast me for my unoriginality by replying below.

Belated thanks to Hans for his lonely suggestion re the forthcoming Rhythm Workshop. Initially I was hesitant to take his suggestion on board fearing it was primarily a percussionist's issue, though I quickly realised that his point is valid for rhythmic playing on any instrument. Noted and included. Thanks to you Hans!

Also regarding the Workshop, below is an example of an extract of an original transcription (copyright asserted) drawn using a modified method based upon the principles for the Rhythm Workshop. Barlines are drawn between the staves, rather than within them, to enable easy tying of notes in their relevant phrase/pattern groupings, without the need to fit nicely in the bar. This is particularly handy for using with music in polymetre. It's also very easy to read (once you get used to it) as it uses the standard western transcription methods in virtually every other respect.

So, without any further ado...

CLICK HERE TO VIEW LARGER

Although the musical example above is a bit complex for a workshop situation, it should be a sufficient template.

Elsewhere...

The Point Moot Lighthouse was in chaos the other night when one ship caught alight as it enetered the harbour. For a moment the blaze outshone even the beacon itself. Fortunately nobody was hurt, though much damage was done, with the entire evenings movements thouroughly disrupted.

Outside of "real work" and my Point Moot by the sea Community Music Project dealings many enjoyable distractions have kept me occupied. A highlight of this year, as it is most years, was watching my eldest perform for hundreds at Little Bend's "Dance and Drama" festival. A prouder father there never was... or at least that's how I feel!

And the festive season approches rapidly. A trip away is planned, with much time in the company of in-laws out from the islands. It's always a treat to catch-up with those dear ones from overseas. A brief visit to Point Moot last week will be followed up with some better quality time in the surroundings of common relatives. Also beckoning is a brief visit to Mopsy and Popsy in The Bananarama Valley, and then dog-scaring and gunpowder-wasting in Capital City before The Point beckons us home once more for the new year.

But hopefully I can manage a new report before then!

Charge ye glasses! There's drinking to be done!

A theory of rhythm

2005-11-25T20:01:00.000+11:00

Apologies for the delay...

I've this week been busy preparing a workshop on rhythm for the Point Moot by the sea Community Music Project. My intention is to try and "untrain" the musicians so that they can freely abandon (when they want to) the often restrictive concept of Time Signature for a more cross-spectrum understanding of "open" concepts such as beat, pulse, pattern, phrase & groove and the possible ways of constructing rhythmic music through the interactions of each.

These concepts may be explained thus:

BEAT: The smallest necessary counting unit. Best explained using "box-notation" for cross-rhythms.
PULSE: The foot-tapper generator. Much slower than beat, and (almost) always steady & regularly spaced like a heartbeat. Not necessarily an aural part of the music.
PATTERN: What is actually played. Each note in a pattern is separated by any defined number of beats. IE 2-2-1-2 is a single line pattern over 7 beats with notes struck on beats 1, 3, 5 & 6.
PHRASE: Related also to melody. A phrase is a statement on top of a pattern, but not necessarily of the same length. IE In the pattern above there are four notes over seven beats. A six note phrase could be played over this repeated pattern isorhythmically, giving a series of phrases that phase between 2-2-1-2-2-2 and 1-2-2-2-1-2 beat cycles. This would give a "phrase pair" of eleven plus ten beat lengths. This is an example of 3 pattern cycles phased against 2 phrase cycles. (Note: This concept has to introduced gradually to avoid confusion)
GROOVE: The relationship between the pattern/phrase structure and the pulse. A strong groove occurs where the pattern and phrase reinforce the pulse. No real rules exist for creating a strong groove, and each musician may feel a groove in different ways. Some tweaking of phrase and pattern structure often helps strengthen a groove. IE the rigid pattern and phrase as defined above may need to be modified by shortening or lengthening a note of a pattern, or entire phrase every now and then to help the development of the groove. Note that weak grooves may sometimes be more effective than strong ones.

It is intended to spend part of the workshop introducing a modified notation system where each of these concepts can be readily identified within any transcription.

I am hoping to be able to construct a suitable analogy to give each participant a visual reference as a mnemonic device. A concept map may be handy as well.

Suggestions for the above would be appreciated. As would comments/criticism of my definitions and theory in general.

Elsewhere...

The Point Moot Lighthouse has claimed its first victim with one employee failing to make the grade for our increased workload. The poor fellow. Luckily I passed my assessment with no worries and am now settling in to my newly redefined position controlling two harbours.

Ships everywhere! Lookout mermaids! Owen's in the tower...

A report of some kind

2005-11-21T19:09:00.000+11:00

Well, 'tis done. The newly renamed Point Moot lighthouse now has control over two harbours.

Strategically positioned between the mouths of two rivers, Point Moot by the sea has long held an important place in maritime business. With the township spreading wide along the banks of Little River, the Little River Lighthouse has stood tall over the village for nigh on three centuries. It is our beacon, both literally and metaphorically. A guiding light that is close to the heart of all village residents.

As a contrast, Big River, to the South, wends upstream to the oh-so-obviously-named Capital City, and that is the reason why the "Capital City Waterway" Lighthouse has long been regarded as an older sibling. Indeed, a lot of the best Little River Lighthouse employees have ended up working there. Some have even regarded this town as merely a stepping-stone to promotion.

But times change.

The discovery of precious minerals at Yellow Bend 27 Miles upstream from Point Moot led to an exponential increase in shipping traffic starting six years ago, and suddenly The Little River Lighthouse was seeing more traffic than its big brother.

And then the powers-that-be decided it would be logical and economical to rationalise the two locations, and lo-&-behold Point Moot reaps the rewards. The folks in Capital City are furious! Though they will calm down with time.

So, a bottle of finest Thalan D'ow Nun-Däghrian Champagne was broken on the walls of the lighthouse (now named after the town to avoid confusion as to which harbour it controls) on Sunday, and all is changed forevermore.

Nerves were high for that first shift, and will continue to run high over the coming weeks until we acclimatise to our new role. Luckily for me I will be easing into this newly redefined position over the next week. So far, however, everything looks as though it will be just fine.

The Harbour Masters seem to be adjusting swiftly though, and that is the main thing. God bless those on the ground! We depend on you up here in our ivory-coloured tower!

Elsewhere...

Unfortunately all this real-job business is distracting me from the Busking Ensemble. And they need my help desperately at the moment. Apart from a couple of tentative (possibly hoax) offers from some foreigners I've had no luck finding the musicians I need to complete the line-up.

And it's not just the Busking Ensemble who are feeling my absence. My entire role as Artistic Director of the Point Moot by the sea Community Music Project (CMP for short) is under pressure and I will have to work very hard to ensure the integrity of the CMP is not further compromised.

Very hard indeed.

A bright pink letter day

2005-11-19T19:09:00.000+11:00

Tomorrow is a red letter day.

Well, more of a bright pink letter day really. My personal red letter day isn't for a week or so, but with tomorrow begins the final stage of preparation. Most of the others involved have to dive in at the deep end, but I get to wade with my floaties for a bit.

Lucky me, eh?

Point Moot by the Sea will never be the same again.

A report of some kind will follow no doubt.

To scratch an itch

2005-11-18T19:54:00.000+11:00

MackJay-o'-the-Moors asked for a photo of this author. Not wanting to upset either the punter himself or anyone's stomach contents I offer this image of part of me (left) as found in an online archive. I hope that scratches his itch satisfactorily.

Elsewhere: The entire nation of Thalan D'ow Nun-Dägh is in celebration today following a man's ability to move his leg forward with precision. "Hooray!" says I.

Still looking for those elusive musicians. I have considered rowing the boat out to sea and posting a notice for expressions of interest on the offshore lands, though the natives are somewhat heathen savages. However, I believe with thorough dedication on my behalf they may be broken in enough to meet the group's requirements.

All offers will be considered.

Moving forward!

The Point Moot Amateur Busking Ensemble (Training Band) needs you!

2005-11-17T12:35:00.000+11:00

Today the almost forgotten sounds of the Point Moot Amateur Busking Ensemble (Training Band) gently woke me from my slumber.

Joining the group for breakfast (Poached Haddock and Eggs Benedict with a Halal Galangal & Chickpea salad) I was struck with a vision. This group needs a Trombonist and a reed player, possibly a Bass Clarinetist or a trio of Shawms, before they will be ready for public launch. Unfortunately I realise that I may have to look beyond the village limits for suitable players of such instruments, even possibly venturing as far as Moot Central City itself.

Applications can be made to the usual address.

The future beckons.

“When a man is wrestling a leopard in the middle of a pond, he's in no position to run.”

2005-11-16T11:04:00.000+11:00

Words of infinite wisdom from Cary Grant. Follow this advice and everything else will seem simple.

Oh, and I just started this blog. Its use will become apparent over time... hopefully.

Cheers!