R.I.P Neil Aspinall

Neil Aspinall died today at the age of 66.

A childhood friend of Paul McCartney and George Harrison, he remained a friend and confidante of all 4 Beatles throughout the group’s working life (he drove them to the infamous 1961 Decca audition) and beyond, eventually becoming head of the Apple Corps group of Beatles-related companies, and thus effectively the manager of the Beatles trademark in the post-1970 era.

Aspinall was instrumental in the compilation of the Beatles Anthology series of records, books, videos, cds and DVDs, producing a fantastic financial windfall for the surviving members in the 1990s.

In the Anthology films Aspinall himself appears, filling in bits of biographical detail here and there, whenever the memories of the leading protagonists fail. In these films he revealed himself to have the same likeable brand of scouse wit as his employers. I’m quoting from memory here, but one anecdote that he told particularly amused me - he recalled an occasion in the late 60’s when he got a panic call from George Harrison to tell him that the Drug Squad had just arrived at Harrison’s house with a search warrant. Aspinall asked Harrison if there were any drugs in the house. George said that there was some ‘grass’. Aspinall calmly counselled the Beatle just to hand that over.

Aspinall’s eyes were rolling in his head when he said, “George then hands over a block of cannabis this big” (extending his arms as wide as possible signifying something the size of a wide-screen television set).

Neil Aspinall was undoubtedly a significant character in the now nearly 50 year drama of the Beatles - most of the main players have now left the stage and on one view of it, only two, Paul and Ringo, now remain. On another view, which we’ll hear soon enough, only one remains.

In fact, that other view sometimes develops into Neil and Paul (or Paul’s replacement) being one and the same. Go here to see photographic ‘evidence’

(I apologise for the last couple of paragraphs which are designed simply to head Douglas off at the pass).

Random Cuts - Number 68

For reasons which I’ll come to in a moment, Miles Dewey Davis III is the entree to the world of jazz for many brought up exclusively with pop and rock music.

Miles is generally recognised as one of the most influential musicians of the 20th century, a pioneer in many radical and new developments. He was at the forefront of almost every major development in jazz from World War II to the 1990s. He played on various early bebop records and recorded one of the first cool jazz records. He was partially responsible for the development of modal jazz, and jazz fusion arose from his work with other musicians in the late 1960s and early 1970s.

He played, at one time or another, with many of the giants of 20th century jazz including Charlie Parker, Gerry Mulligan, Lee Konitz, Gil Evans, Sonny Rollins, Jackie McLean, Art Blakey, Horace Silver, Thelonious Monk, J. J. Johnson, Percy Heath, Milt Jackson, Ahmad Jamal, Cannonball Adderley, Bill Evans, Herbie Hancock, Wayne Shorter, Joe Zawinul, Keith Jarrett, Charles Mingus, John Coltrane…….to name but a few. Indeed many of these artistes became famous names because of their association with Miles.

He recognised no musical barriers and thought nothing of developing a ‘fusion’ between jazz and rock when he himself was approaching his fifties, at a time when many of his contemporary jazz musicians considered rock music to be barely music at all. Even up to the time of his death he was still rattling traditionalist cages by extensively featuring songs by Cyndi Lauper and Michael Jackson in his live shows.

It is not for nothing that Miles was inducted into both the Jazz and Rock’n'Roll Halls of Fame.

The jazz rock fusion was inaugurated by LPs like Filles de Kilimanjaro, and carried on by In A Silent Way and Bitches Brew. This sort of music appealed to rock fans because it so obviously had affinity with the music of the likes of Hendrix, Sly, and James Brown.

The rock fans who caught on to the new Miles electric sound were in for a pleasant surprise when they ventured back into his jazz catalogue, because there amongst other things, they found the 1959 album Kind of Blue, which is now widely regarded as one of the greatest records ever made, in any idiom. It is frequently cited as the favourite jazz album of people who don’t even like jazz.

Kind of Blue must feature in any self-respecting collection of 20th century music, and if you don’t already have it, get it tomorrow.

But the track I’m featuring here is from the electric funk era Miles. This is from the 1972 album On The Corner, or at least it’s an out-take from that recording session - this was so funky and rock-oriented that it provoked fierce disparagement from many critics, with one British critic noting: “I love Miles, but this is where I get off.“

Funnily enough, this is just about almost exactly where I got on.

Judge for yourselves.

This is Miles Davis - On the Corner (Take 4)

I’m Dreaming of a White………

I was at work today (somebody’s got to keep the wheels of industry turning while you lazy bastards lie in your bed). It was a bit chilly for the time of year. My good friend John sent me this snap, taken this morning near Lanark, which rather sums up the unusual meteorological conditions.

Real Radio Wind-Up

This is TOTALLY UNSAFE FOR WORK WITH LOADS OF VERY CRUDE SWEARING

Andy Smillie has a run-in with Andy Cameron at Ibrox - Real Radio are on the case, phoning Smillie in the guise of Cameron’s solicitor -

Conceptual Continuity

This video from youtube neatly combines my recent rants about Scotrail and an appearance by Des ‘Tommy Sheridan’s ma big brar’ McLean.

THIS IS DEFINITELY NOT SAFE FOR WORK AND SHOULD NOT BE VIEWED IF YOU ARE OFFENDED BY VERY SWEARY SWEARING