'NINE
SKETCHES' As a performer and composer
I've noticed how much where you play can influence what you play.
Acoustics, climate, people, indoors or outdoors, time of day, history,
all play their part. I decided to be as open as possible to these
influences in this project, firstly by choosing to record myself
in nine different locations around the country, improvising freely
without preconceived structure or harmony, rhythm or melody (though
they all end up playing their part). From these recordings I have
selected and transcribed the nine sketches. I chose the nine locations,
which are both indoors or outdoors, either for their personal or
more generally observed significance; or in some cases both.
Nine Sketches was Premiered
at The Purcell Rooms, South Bank London SE1, at 8:00 pm on Sunday
10th November 1996.
What
the press say |
| 1:
Glastonbury Tor |
| A noteable landmark with an interesting history. The
site of a monastery where St. Patrick was reputed to have retreated
to after evangelising Ireland. An abbot of the monastery, Richard
Whiting, was hanged, drawn and quartered in 1539. The Tor has also
served as a focal point for Pagan beliefs since Bronze Age times to
the present day, and is believed to be a major junction of 'lay lines'
- lines of energy. It commands spectacular views of the Isle of Avalon
from all sides. |
| 2:
Threadneedle Street, City of London |
| 'Excuse
me Sir, you can't play here'. A centre of another kind
of energy. The heart of the banking world in the capital city featuring
the Bank of England and the Stock Exchange. |
| 3:
The Pier Head, Liverpool |
| A famous riverfront landmark, the Pier Head lies on
the north western seaboard of the country and was, in the recent past,
one of the great shipping/trading centres of the world. Liverpool
was my birthplace and I travelled across the river most days of my
school life. It was also the Western European centre of the slave
trade in the 18th century. |
| 4:
King George Dock, Hull, & Rudston Monolith |
| 'Life
is sacred'. A very large and busy working modern dock on
the north eastern seaboard of the country.
(photo Roland Box) |
| 'Life
is sacred'. I also recorded next to the Rudston Monolith,
a 25ft high standing stone 30 miles north of Hull, situated next
to the parish church of All Saints Rudston. The stone was probably
a Bronze Age monument of worship.
(photo Roland Box) |
| 5: Pengreep
Wood, Stithians, Cornwall |
| A private woodland where the project was conceived
as a result of daily practising there in the summer of 1995. The echo
of my saxophone from the trees revealed new directions for me. |
| 6:
The Maze, Island of St Agnes, Isles of Scilly |
| 'Finding my Father'. I
have spent a lot of time on this island, and during a two week stay
in 1993 I wrote and rehearsed the music for
'Silence Between Waves', a project which was recorded on the
CD album of the same name. St. Agnes is the most westerly inhabited
island with a seafaring history stretching back to Phoenician times.
Like the other islands, it was a burial ground for Bronze Age kings
and has several standing stones. The Maze, which is really a labyrinth,
has a centre reported to be another junction of lay lines. |
| 7: Railton
Road, Brixton, London |
| Scene of the 'front line' in the Brixton riots and
a local landmark. |
| 8:
Richmond Park |
| 'Dialogue with Dog'. A
piece of semi-wild countryside surrounded by the western edges of
the capital city. I spend a lot of time in Richmond Park, which is
near my home. |
| 9:
606 Club, Lots Road, Chelsea / Ronnie Scotts
Club, London |
| 'On a Saturday Night'
Two seven-nights-per-week jazz venues with audiences
on a Saturday night which I have played to many times during my career,
and which have a distinct character on a Saturday. BACK
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What the Press Say
'Saxophonist Tim Whitehead has always allowed his
music to be especially open to the spirit of place. But in his
current solo project, Nine Sketches, he has taken the process
to its logical conclusion. Choosing nine locations of personal
or historical significance, from Richmond Park to the Rudston
Monolith north of Hull, he has recorded a spontaneous improvisation
in each which, once transcribed, serves as the core for a concert
performance.
Skilfully avoiding the more
obvious pitfalls of such a method at the Purcell Room Whitehead
managed to invest all his pieces with just enough specificity
to conjure up their inspirations without stifling the improvisational
spirit needed to spark an audience. Utilising a folkish, keening,
anthemic sound for the spiritual meditations, a bustling, bluesy
stridency for the urban scenes, and a delicate echo effect to
evoke the slightly eerie reverence instilled in visitors to St
Agnes's Maze. Whitehead more than justified his growing reputation
as one of Britain's most thoughtful composers and improvisors'
Chris Parker (The Times)
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