Word: musicalization
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Dates: during 1970-1979
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Mick Jones, who writes most of the Clash repertoire with Strummer, hopes that their music can be "an il lumination." Such an ambition might seem unsuitably lofty but for the fact that the group comes from a tradition that uses music not only as an outlet but as a force, an effective instrument of social change. "The record company's making out we're politicians, and that's a load of stuff," sneers Strummer, but Jones may cut a little closer when he recalls the title of his school song, Servants of the State...
...teacher, says, "I used to steal a lot and run with a gang," and figures he would be in stir today if he had not beat out 205 other drummers at a Clash audition. Out of the pieces of a shared precarious existence, the Clash has fashioned music of restless anger and hangman's wit, rediscovered and redirected the danger at the heart of all great rock. - Jay Cocks
...when the music began, the sound was a far cry from Sousa. Separated by staccato commentaries from the cathedral's pipe organ, densely dissonant sonorities clashed and blended over the listeners' heads. Full-throated blares, splintery muted phrases, the crooning tones of the soprano trombone, the rumble of its contrabass relative-all seemed to accelerate in a circular motion, spinning into the cathedral's 190-ft. cupola like an earthly echo of the music of the spheres...
...quintet, or the orchestral piece Antiphony One (1963), which requires five conductors, he deployed musicians all over the boxes, balconies and aisles of the hall instead of clustering them solely onstage. Greater complexity and expressiveness are his aim. "It's easier on the nervous system to have the music spaced," he says, "because you don't get it in a compact blast-you get it fragmented from different sources...
...most ambitious formations yet. Many of the performers belonged to a San Francisco trombone choir called the Bay Bones. Reinforcements included the entire trombone sections of the San Francisco and Oakland Symphonies and the San Francisco Ballet Orchestra. One musician came all the way from Florida. Brant's music is fairly frequently played by major ensembles, but he has no illusions about the practicality of a work for 80 trombones. "I think no further than the first performance," he says. "Probably when Berlioz wrote his Requiem, which needs four brass bands, it didn't appear practicable either...