Word: chimes
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...context. "All these people here are mere bells on the duncecap of God," remarks one character (the parts are pretty much interchangeable, as near as I could tell, except for the impressive individualization the Cambridge Ensemble occasionally imposes on the writing). The others, as they often do, chime in with repetitions of important questions which no one ever attempts to answer. There's been no previous mention of bells, or duncecaps, or God, or for that matter these people here, and the remark is neither in nor out of character, it's just there. So it goes...
...could be the melodies at the beginning, and maybe even the ecstatic double-stopped trill at the end--just because they all felt they'd enjoy singing together. The music reminds me of the scene at the end of Kubrick's Paths of Glory, where the doomed French soldiers chime in with a German girl's singing, or Matisse's dancing nudes, or a vision of primitive communism, or Melville's description of the Fiddler...
...Listen to the Lion." Morrison communicated in low guttural sounds here he communicates imagery as though by ellipsis repeating "Way out in the distance/Cable cars/And I hear the church bells chime." I suspect this passage is ad libbed, yet it is the vision's essence. The band stretches out over a basic bass riff, everybody taking off at once, three instruments for every phrase, bare unity. Platania and Labes weave phrases, while the vibes hold a mood. The album's finest moment is Morrison's coaxing of the bassman into a riff he verbalizes, once, twice, three times before...
...unsteady alternative in the "Footnotes" piece, but warmed up to a more constant and precise performance in "The Myth" and "Pain." Joan Lombardi, a firm, blue-skirted figure, added noteworthy strength and form to the selections. Yet even after all the refined play and posing, the bells chime and "Footnotes" blurs into gossip behind a water-colored fence. It's a Tom Sawyer delight...
...chime of wineglasses . . . Crow spraddled head-down...