I think this is my favorite. I think...💚

The long, long river
A single line
On the snowy plain

haiku by Nozawa Bonchō https://en.wikipedia.org/wiki/Nozawa_Bonch%C5%8D

picture by Isaac Chou https://unsplash.com/@kurzheck\

For more information visit http://www.naviarrecords.com/about/naviar-haiku

föhn gall

halF lonG [naviarhaiku375]

Written by Terry Reeves, 2013 
Image:   Wylie Gustafson   https://www.wyliewebsite.com/ 

When I first wrote this song I was a little bit concerned that the person about whom it is written (let’s call him ‘CG’) might possibly be a little offended. He is a very good friend of mine who always had the uncanny knack of achieving successful outcomes in what at first appeared to be totally lost causes.  

For example, he had a long argument with the local authority over unreasonable parking ticket offences in Whitton (a district on the outer edges of Greater London)  and although it took a not inconsiderable amount of time and application, he eventually proved that  the local authority’s action was totally illegal. They not only had to return any monies charged (albeit on request) but also apologise for any difficulties and stress caused.

We became work friends in 1985 and spent far too many of our lunchtimes in a variety of the local pubs. He was very interested in my involvement with Root Division and I eventually invited him to one of the recording sessions at my brother Brian’s flat.  It completely captured his imagination. He was very knowledgeable about many music genres (for example, the intricacies of bands and their history), so it was no surprise at all that some years later I saw him playing bass in a pub band. It was also no surprise that he recorded an album and appeared at some very highly regarded venues.

This song is a tribute to his ability of triumphing in seemingly impossible situations, always going that extra mile to right the wrongs he saw happening all around him. I think we could all do with a slice of CG in us to help occasionally turn the world in favour of the underdog.  Like the ‘Lone Ranger’, he was a shadowy figure (definitely a case of “Hi Ho Silver, Away!”) but once seen, never forgotten.  He will always be my Whitton Cowboy.  CG, this is for you.  (Terry Reeves)

Need also to say how honoured Terry and me are to have such a trio of top class musicians involved in the making of this song. Sincere and exceedingly grateful thanks to Drew Ford,  Axel Weiss and Gernot Baur for their generosity and consummate musicianship. The same applies to our producer / engineers Nik Paravatos and Camillo Tirados at the TLSS Recording Studio, Homerton Hospital for their unshakeable patience and encouragement.  You're the best, my friends. (Gary Reeves)

Have you seen The Whitton Cowboy walking down the street?
Not looking for a gunfight but it's you He wants to meet
He don't even mind if you have nothing to say
He don't even mind he will talk to you anyway

He really wants to show you
How to live The Whitton Way
He really wants to feed you
The local news each day

Have you seen The Whitton Cowboy riding in his car?
Avoiding all the potholes He already wears the scar
He'll tell you the tale of the ambush and the fine
He’ll also try to show you how to fight the council line

His electronic wisdom
Is there for everyone to see
Displaying His Achievements
On communicating screens

He's The Whitton Cowboy - He fights for everyone
He's The Whitton Cowboy - He doesn't need a gun

Have you seen The Whitton Cowboy, looking at his peak
You might think He wants to kiss you, but only on each cheek
He wants you to hear The Whitton Angels on the wing
He also wants you to hear Fairport Convention as they sing

The King of Cowboy Disco
Now a memory of the past
He used to be the fastest
But now He's proud to be the last

Have you seen The Whitton Cowboy, standing tall and proud
A man of many facets but only one of them's ALOUD
He will never see any hatred on the street
He can't even see past His Stomach to His Feet

He's The Whitton Cowboy, The Greatest there has been
He's the Whitton Cowboy, The Gil Man always on the scene

Terry Reeves: Vocals/ Rhythm Guitar
Gary Reeves: Drums
Drew Ford: Banjo/ Dobro/ Lead & Tremolo Guitar
Gernot Baur: Harmonica
Axel Weiss: Whistle
Nik Paravatos: Bass

The Whitton Cowboy  (Cripple Club collab with Drew Ford, Gernot Baur & Axel Weiss)

High Tension

Ancient Fire

Quarry

All Kinds of vibes along the way take a ride on this wave!!!

Remanence (Prod. AudiOFlame)

Soul Filter

Counterfeit

Our cover of "Totally Wired" by The Fall.
Hear the original: https://www.youtube.com/watch?v=sk1TP5EkLS4

Totally Wired

Un poco de música, "Mariposas". Un vals

La portada del vídeo es de Ilse Harting
www.artstation.com/artwork/xDexR

----------
"Butterflies". A waltz

The cover of the video is by Ilse Harting
www.artstation.com/artwork/xDexR

Butterflies

Commissioned and premiered by the Kaleidoscope Chamber Orchestra, Laura Arganbright and Robert Walker oboes.

Video of this performance here: https://www.youtube.com/watch?v=fRWutfyY2eo

During the Baroque era the double oboe concerto was somewhat of a genre, especially among Italian composers. Alessandro Marcello wrote two, Antonio Vivaldi wrote four, and Tomaso Albinoni—who seemed really taken by oboe—wrote eight. Over the last few years, I too have grown to adore the instrument. In fact, I’ve become such an admirer of the oboe and other double reed instruments that in 2017 I wrote a piece for double reed sextet called Extra Fancy. The sextet is an exploration of “extra fancy” techniques that these instruments can produce, particularly multiphonics. Multiphonics are produced when the performer uses a technically incorrect fingering to create a distorted, complex sound with two or more pitches. Multiphonics can sound bizarre (if not foul) to some listeners, but I’ve always found them to be enchanting and, for lack of a better term, misunderstood.

Though the pieces don’t share any musical material, I think of Extra(ordinarily) Fancy as a bigger and better sequel to the sextet. While the concerto again explores the melodic potential of various multiphonics, it also works as a whimsical exploration of duality; while one oboist is focused on sounding ordinarily fancy, the other oboist is determined to prove the extra fancy virtues of multiphonics. After a short Vivaldi-esque introduction that establishes the main melodic ideas of the piece, the oboists go at it. They mock each other, squawk at each other, and even talk over each other. The orchestra observes and joins in as the oboists continually bicker back and forth, all culminating in a reconciliation where the once-hesitant oboist learns (and even enthusiastically performs) a few multiphonics alongside the other oboist.

This piece was commissioned in 2019 by the Kaleidoscope Chamber Orchestra and is dedicated to oboists Robert Walker and Laura Arganbright.

Ancient Fire

Green Mountain Metal Detecting

Recent comments

Nan Sea

canigetausername

Robin

Related tracks