Document 26674

"I remember rehearsing 'Next Time Might
Be Your Time' withBlue onthepiano and
really working hard togetall thelyrics of
one linesung in time to take a breath and
plunge intothenextline. He laughed
when I pointed outhehadn't left me
much time to take a breath, saying he
hadn 't thought about thatbecause his
fingers didn't have tobreathe from one
measure to thenext!"
Patrice Manget
Hey Baby,
Hey maybe I'm forgetting to say
That I stayed with you because I wanted to
And you were sovery kind
You listened to mytroubling mind
Said leave all thathist'ry behind
And deal with lifeasit's offered you
Dear Companion ,
We could be inArizona or France ,
What will theworld be like when we see each other
Free of all circumstance?
What difference does it make?
Why don'tyou take a break from
Whatever puts the pressure on you?
Hey Honey,
You know we'll treateach other justfine
Oh, if we make thespace
To have thegrace of a natural scene
I will listen to you
You wiII listen to me
And make it up in ourown time
Oh , listen,
Can you move back to before you were born
To thistime and place and
Having to trace who you are day after day?
There must have been the light
Before thestories took away thesight
We're notattached or separate in space
You know the next time might be your time
To "love and honor", to take the bother
To see thisthing through
Isthatwhat friends are here for?
Lyrics by "Blue"GeneTyranny (Robert Sheff), first performedat the Trust in Rock concert, Nov. 4 - 6, 1976,
Un iversity Art Museum , Berkeley, California.
Patrice Mangel: Vocal
Tony Johnson: Drums
Karl Young:Tenorsax
Maggi Payne: Flute
"Blue" Gene: Fender-Rhodes & RM I electric pianos, polyMo09 synthesizer
Steve Bartek: Electric and acoustic guitar, bass
Peter Gordon:Alto Sax , tenor sax solo
ArthusStidfole: Bassoon
"I firstmetBlue when I was a graduate student at MillsCollege. Although Blue was onthefaculty, I never
took a course withhim, but wewere partof thesame musical community andwere friends. This was an
environment steeped in experimental music, but weboth hadperformed overtheyears in various rock
music groups. This was clearly a partof ourmusical psyche, but was keptsubdued within thenewmusic
environment, which was conceptually driven andrather austere from thelistener's perspective.
We produced a concert in November 1976at theUniversity ArtMuseum in Berkeley which was titled
'Trust in Rock'. Over a period of three days, wepresented compositions by 'Blue' Gene, Craig Hazen
andmyself which was performed byan ensemble withrockinstrumentation, andincluded songs and
extended pieces.
When Lovely Music Records invited 'Blue' Gene andmetocontribute albums for theirfirstsetof releases,
much of thesource material was themusic from 'Trust in Rock'. (My ownalbum, 'Star Jaws ', was
recorded around thesame timeas 'Out of theBlue ', uses thesame musicians, andwas released concurrently.)
Regarding myrole asco-producer: Blue hadbeen a recording engineer in themultitrack studio at Mills, in
addition to performing his faculty duties. A longtime practitioner of electronic music, Blue is also a master
recording engineer andmixer. 'Out of theBlue', features hisgorgeous music, butis also a cleardemonstration of hisstudio artistry. Asco-producer, myjob was tohelp conceptualize, to encourage progress
andmake gentle suggestions, to help findthemusicians, and, mostly, tolet themusic flow. "
Peter Gordon
This composition is one of several in which popular music style material was expanded with
newmusic techniques - including the songs in "No Job, No Warm, No Nothing" (1974), music
for Phil Harmonic's "Stars Over San Francisco" (1976), and the music for Robert Ashley's
opera-for-TV "Perfect Lives" (1978 - 1982). The initial instrumental, scored for tenor, alto,
and baritone saxophones, woodwinds (flute, clarinets, bassoon), electric guitars, bass, drums,
clavi net, keyboard synthesizer and tack piano, is a mixture of contrasting musical sections
(discursive, tender, and aggressive) which are combined in various ways. This mixof emotions, notoften copacetic norcomplementary, was inspired bya reading of footballer David
Kopay's coming-out-of-the-c1oset book.
The three dynamic types exist asa behavioral language "for David K." to take onwhen engaged in thefootball world, butobviously heis notstuck withthem for hisactions and speech.
The initial title of the song , "David Kopay (Portrait)" , seemed to imply thatthose dynamics are
him, and since that is notthe case, thetitle was changed.
Using the same musical material, a "version for memory and memoryless keyboards" * was
created in 1996. Various gestures, short phrases from the melodies, repeating harmonies,
and soon, are spontaneously chosen in live performance, and played (inputted) to a computer
sequencer keyboard. These elements then continue to loop in a contrapuntal, hocketing
manner (like an obsessive, rhythmic memory) while the soloist improvises spontaneously ona
"memoryless" piano. This combination creates a rich contrapuntal duo that can be directed by
a single performer onto many emotional and conceptual pathways.
"Blue" Gene: Clavinet, tack piano, polyMoog synthesizer
Steve Bartek: Electric guitars, bass
Peter Gordon: Clarinet, alto sax, tenor sax solo
Arthur Stidfole: Bassoon
Maggi Payne: Flute
Chuck Clark:Tenorsax
Steve MacKay: Baritone sax
He is in the blue distance
He is getting nearer
She is in the blue distance
She is getting soclear
(I don't know wheretheycame from
I don 't know how we gothere
I just turned myback and suddenly
You were here)
Oh boy, sometimes it seems like it takes forever
And then with your friends
It takes no effort at all
Oh it could be a past hurt
That makes distance betweenme
Leading a double life
On the other hand , you know
It takes some language
An agree ment forthe moment
Making dreams ring true
So with theresistance
Comes an angel's assistance
Bringing it closer and closer
Leading a double life
She is in the bluedistance
She's a visitingwonder
He is in the bluedistance
He's a dream come true
(Am I sleepingandwaking
Or just turning over
A cellular wonder
Leading a double life?
A cellularwonder
Leading a double life?)
Lyrics by "Blue" GeneTyranny (Robert Sheff), first performed at theTrust in Rockconcert, Nov. 4 - 6, 1976,
UniversityArtMuseum, Berkeley, California.
"Blue" Gene: Piano, polyMoog synthesizer
Lynne Morrow, soprano
JaneSharp, soprano
Scored for voices and electro-acoustic instruments. This piece is a procedural score with
harmonic, melodic, rhythmic, and verbal materials that may assemble in different ways.
The first realization (1976) was made for this record . The uniting structure that underlies both
textand music is the Doppler Effect (simultaneous amplitude, phase, frequency and time modulation) presented asa metaphor for thedevelopment of consciousness (with the unchanging
sense of presence as "home base"). This first recorded version begins withthe sound of a
train passing that exhibits all the characteristics of the Doppler Effect; various acoustic instruments were added to emphasize thetranslation from natural to acoustic sound.
The text, written bythe composer in the lighthearted style of a letterfrom an unnamed friend,
discusses the development of consciousness over three "sizes" of time: (1) over thousands
of years (based on theworkof Julian Jaynes), (2) within a person's lifetime from childhood to
adult perceptual illusions (based onthe workof Jean Piaget and others), and (3) at micro-levels (e.g., involuntary events, sudden feelings/thoughts). An echoing chorus samples parts of
the spoken textand "sets them to music". There are jokes about playing in bands, about not
being able to geta tune outof your head, about illusions likethe clock which seems to slow
down or speed updepending onyour mood, and soon.
The music develops through a tree of "branching harmonics": the basic progression (I , V, IV, I,
11#, IV) is constantly transformed asthe harmonic of one fundamental root becomes the new
fundamental root and generates newharmonics (and chord voicings), and soon. This process
seems to beone of natural growth and spacetime distortion. These harmonies are heard
both in theirsteady development and in non-metric "smears" - increasingly longer "trains" of
chords that pass through the stereo space (emulating theactual train heard at theoutset of the
From these harmonies, simple signature melodies are generated, and gradually more
complex rhythms are generated (in "current" and "accumulating" modes), and the emotional
"meaning" or tension of the constant drone changes as it is surrounded by newharmonies.
There have been several other realizations of this score since theoriginal. In 1986, a new
rhythmic textwas tried outwith stories in three sizes (biographical , historical, micro-level)
with tableaux vivante (kitchen scene, sitting ona ranch fence, etc.) beautifully staged bythe
Otrabanda Theatre Co. In 1991 , an instrumental version for piano, marimba and vibraphone
was made using the melodic, ascending harmonic, and rhythmic material. Also in 1991 ,
a kind of rock version for piano and two electric guitars playing the "current rhythm" and
"accumulating rhythm" parts was created. In 1996, the chart of "branching harmonics" was
used asthe wellspring for a piano improvisation with dancers Trisha Brown and Steve Paxton.
In 2002 this same chart was the basis of a piano improvisation onthe CD Take Your Time.
Currently, a "compressed/flash" realization is being assembled viacomputer.
Kathy MortonAustin: Narration
Lynne Morrow, soprano
Jane Sharp,soprano
Peter Gordon:Alto Sax, tenorsax
Magg i Payne: flute
BobDavis: 12-String guitar
Barbara Higbie: Fiddle
E. Jedidiah Denman:Acoustic bass
Joel Ryan: computer pattern
"Blue" Gene: Clavinet, RM I electric piano, synthesizer,matrix processing, outdoor sounds
* Memoryless keyboard
simply means non-synthesizer or computer
keyboard(acoustic piano,
organ, etc.). An instrument
that doesn't have memory
Memoryless playing is
completely spontaneous
perform ance in which a
musicianusing simple
materials (afew tones or
even just sounds in no
fixedrelationship) reveals
the music of the subconscious, avoiding habitand
playing only in the present.
There are many ways to
achievethis and it takes
nerve, buttrust develops
over time that this built-in
musical unfolding will
show its ability to always
amaze the performerand
consequently the audience
also. Inmy mind, this is
the finest kind of music
making, better thana socalled religious experience
because you don't have
to believe anything to
"get there". Just intense
attention and listening like in a goodconversation. The role of composers in encouraging this kind of spontaneousplaying is to provide the
simple materials - theirslogan could be "We make the cars butwedon't
tell youwhereto drive them."
"You arebringing back some oldmemories. I doremember youworking onthealbum and, afterall
these years, I could still sing youwhole sections of 'Next Time MightBe Your Time'! Oddly, I can't
remember theactof recording thenarration, andnothaving a record player (isthatwhat theyused
tocall those things?), I can't verify thatI was actually present andfunctioning at thetime it was
recorded. I guess one needs proofof pastexistence, andI'll lookforward tohearing there-issue for
thatreason, as wellas forthemore obvious pleasure of hearing yourmusic again.
Mymemory ofyouduring theproject isyourfocused energy at work at theGGM console, mixing over
many hours anddays, sometimes withthedoor open, allowing thebeautiful music of thealbum to
waftinto thecorridors, down thestairwell andeven, perhaps ona good day, asfaroutasthepond. I
was deeply impressed, as weall were, howyourmusic was unlike anyother, butat thesame time,
hada natural universal appeal thatcould move people, andcould very likelysend youto thetopof the
charts. We all knew, through thatintense period of bringing thealbum tolife, youwere putting your
heart andsoulintoit. It's exciting thatit's coming back tolife again, andwill waftbeautifully through
thecorridors of oldandnewminds."
Kathy Morton Austin
text from A LETTER FROM HOME, for narrator and sampling chorus
- The sound of a railroad train crossing from side to side. The Doppler effect it produces is
imitated bythe sounds of acoustic instruments, a country fiddle, cello harmonics, etc. The
following text is accompanied (electronic keyboards, guitar, expanding analog sequencer) by
the gradually "branching harmonies" from thefundamental resonance (adrone on Gwhich is
held throughout the piece). The Narrator delivers the basic letter in a free speaking style while
the Chorus samples thattext, sets it to music, and re-assembles the words to give them new
meaning. Later this same Chorus begins to anticipate the words of the Narrator. -
Dear Blue Gene,
As I sit here writing you this letterI'm listening to thesound of the midnight train as it moves
and changes across the hills. It reminds me of you as it travels to the back of mymind. Now
that'sa pretty weird idea.
I don'tknow whyit should remind me of you - sometimes I just listen and it doesn't remind
me of anything. It seems to create the space and time in which it moves ... it comes from
nowhere. Anyway I'm getting off the subject. I really wrote to tell you the barwe used to play
at has changed hands again . Do you remember howeveryone gottogether and danced until
dawn? Justlikea religion. It tookan hour to getthetunes outof ourhead.
The we gotstoned and in that presence we'd talk about ourcrazy ideas. I remember you
said that a child growing up, the growth of thefeeling of being inside yourself, and the sound
changing over space and time were similar experiences - theirmotions had thesame shape.
Oh boy.
Hey Blue Gene ... moving across mymindagain ...
Hey Blue ... midnight train leavin' ...
Across my mind...
Hey Blue whydoes it remind meofyou? ...
Mymind .
Hey Blue whydoes it remind me...
why does it remind me?Blue ...
Hey mind moving mindagain
Leavin' on .
Hey Blue Gene ...Ieavin' home ...
mymind... Blue ...Ah...
Speaking of younger people, your cousin is growing upfast. When he was fouryears old ,
he was sucking histhumb and waving hisarms. And aftera year, hewas grabbing hold of
blankets and rugs pulling things toward himself, seeing howclose hecould get. We must
have seemed like pictures on TV. Soon he started talking and opened his mouth wide to
describe something big , breathing heavily in and out. To him, each breath was likea thought.
When he was one year old , someone would yawn in the room and he wouldn't. He described
things that weren't anywhere near him. An idea he heard one day, hewould describe as his
own on the next.
When he was two, or three-and-a-half years old , he'd talkto hisimaginary companion . Now
he'stwelve and imagines everything connected to everything else. The more defined a situation gets, the more hespaces out. I guess hewonders if his life is supposed to be a story. Of
course, he was fivewhen outof the blue, hestarted to speak Polish and recall hispast lives.
That certainly wasn't in the books.
Sometimes you imagine you're in the music and sometimes you're apart from it. I remember
thetime the band gave you your name "Blue" Gene. There was thefeeling thattrouble was
builtintoyou, likethey say, in your genes. Both you and I know, you're no victim of circumstance.
- electronic imitation of train crossing -
Hey Blue ... leavin' circumstance ...
doyou... doyouremember?
Do ... you... mind?
Circumstance ... dancing ...
andthatmeans ... a long winter ...
took youanhourto get the tunes
outofyourhead ...
Hey Blue ... is that the onlyway?
the tunes inside of you...
circumstance tunes the inside ofyou...
is thatthe onlyway?
someone thinking howbeautiful
outofyourhead ...
one tune blue tune ...
out there .
- instrumental interlude -
You getyourname anddescribe inside yourmind.
Of course, you dogetobsessed and at those times whatyou want to know gets toward you.
How close can you get? (Ghosts appear mostly in February.) How doyou describe something which is invisible and unknowable? When thetrain goes by, what should I pay attention
to? The sound, or what I see, or what goes on in mymind, or maybe all three of them at
once? (Three guesses - a coincidence, a connection outside, a connection inside.) It's so
beautiful to see someone thinking .
Consider 4 billion people walking around with slightly different things in theirheads at
any given moment. When you're in this country, all images that support living in thecity
The day before you leftonthat midnight train was the day we made upthat weird theory
about a history of consciousness. Of course it was just asarbitrary asanyhistory, and
started 12,000 years in the past - the people are peaceful, there is nogovernment, and
nothing is an example of anything. There are nowords for past, present, future or madness. It's always thefirst time.
However, there is a voice that appears to each of them, barely distinct, softly in-between
theother sounds of living - one side of the brain in each person is slowly sending pulses
through to the other side. It is inevitable, according to this ordered-up theory, that an
imaginary space somewhere in the back of your mind is occupied bysomeone called "I"
thatfloats around in the same space it has created.
Then we skipped a few thousand years to watch that unidentified inner voice become
embodied in the voice of the ruler. Statues were in the center of town just liketoday images of ancestors with large eyes. Eye to eye contact. Time ceases to exist. A younger
and older man, a younger and older woman. Eye to eye contact. Mother and child. When
you talk about love, everyone's anauthority.
Eye to eye do... 1... mind?...
Eye to eye when you were born .
Eye to eye time ceases to exist .
Eye to eye what's yourname? .
Eye to eye ... heywhat's the story?
Do youexist? I'm inside andoutside
Difference is anillusion ...
Younger ... older ... crazy
Sunlight in frontof youreyes ...
Sunlight inside .
Tell the future .
Sunlight , rain on the water ...
Flashing inside ...
December's past...
- instrumental interlude -
8000 or maybe 6000 years ago when young women were possessed oracles and older men
were hot-blooded prophets foretelling thefuture, their message was delivered in steady rhythmic verses - always the same rhythm no matter whatlanguage. From one side of the brain to
the other, from invisible heaven to foggy earth. This was sunlight inside and outside without
yawning or blinking. You can send your consciousness anywhere.
And in the prophet's eyes, the ideas on the periphery of hisvision frame whathe sees - the
possibilities are beads of lightconstantly changing intensity. He imagines the experience is
always the same and always entirely outof control ... somewhere outthere. (Every 11 and 11
hundredths years, there is a cycle of increased sunspot activity. Every 11 and 1/1 Oths years,
there is a cycle of mass human excitability. If something went one way and the space were
somehow closed off, the idea was that something had to gothe other way. There are so many
cycles, you could just aswell see the changes as random .)
Someone called it peaceful co-existence, the way the waves travel through the same medium,
the water, and crossed through each other, transparently without destruction.
The restof thestory, Blue, was thatthe outside voices began to be heard inside 4100 or maybe
3700 years ago. People started to write laws down, and make treaties. The word was pictured
in sets of two, and the ideas of history, motives, and strategies were dreamed up. These went
along with war, life stories, and authorities from outer space.
On the periphery of this country, someone made upthe notion that you could change yourselfbychanging your consciousness, without connections, beyond contradictions. (His blood
pressure was highest at three in theafternoon, and lowest at three in the morning. When he
started singing with hisfriends, someone would remember justthe words and someone would
remember justthetunes.)
(Two points in space, and three types of connections.) When they wentoutona date, each
of them imagined his and hermom and dad had come along. A steady structure, a complete
decision with only four moves. Yes and noonthefirst possibility, yes and no onthe other one.
Did he need that image outside to have thatfeeling inside?
Ooooh ... oooh ... oooh
centered in space .
happy to bedoing .
one more time to write ...
centered in space ...
centered andstruggling and
changing your mind...
who doyou talkto?
Who you talk tois
what's ever a tune ...
centered andchanging ...
heywhat;s yourname?
Wanting a vision beyond
consciousness, ...
centered andchanging
heywhat's yourname?
Do yousee it coming?
Up to the sun .
Here we talk .
is thata separate sound?
I wonder if I have changed since I was young or has it always been this way? I guess I want
a vision beyond consciousness, the way a culture can take 20 years to catch upto whatcan
occur in a flash to one person - someone who's done histhinking before he realizes it. I can
accept the way I pay attention to things even if every 96 minutes I getan urge to talk, eat, or
kiss somebody. Yes, just anybody, Blue. And I startto pay attention to the miracles that I do
know about. You know I never setthe alarm and I always wake upontime. Even in a thunderstorm, mymother would wake uponly when she heard herbaby cry. When I playa piece
on the piano once, it goes on rehearsing byitselfand it's easier to play the next time. And
there are the coincidences and the invisible ideas that reveal themselves anytime you startto
gothrough the motions. Are they really outthere, Blue?
(Going to the center of town bycalculated spirals which run down, going to the center of
town randomly, all the energy is mysteriously conserved asthe bird flies.) From timeto
time, I feel another world growing upamong the one I experience everyday, and it seems no
conclusions can be drawn about anyone's eventual fate. Sometimes I put myfingertips on
thetop of my eyes and apply pressure slightly. Then the pressure is released, and flashes of
lightstill remain floating among theforms that are shaped likenetworks. That pressure to
move the lights is the same astaking onanyidea to move my body. One side of the brain
keeps rambling onto write you this letter, while the other side is setting it to rhythmic music,
migrating from fundamental harmonics to the harmonics of those harmonics, building its own
bridge. A particle of lightto a molecule to fluorescence to warmth to mybody and its rhythms
and back again . We are notattached norseparate in space. (Slipping in-between the pulses
of consciousness, UFOs appear mostly in April coinciding with thesudden appearance and
disappearance of stars.)
But anyway, it's always thefirst time.
Hey Blue Gene ... moving across my mindagain ...
Hey Blue ...morning train leavin' ...
Across my mind...
- sound of real train crossing from side to side once more -
- sound of digital imitation of train moving from side to side -
This train is lit bythe luminescence of thetown and thefaint morning light, and the lightit
gives off. That lightdefines the area all around thetrain just asyour love defines the way you
see the lifeclosest to you. Isthattoo corny, Blue?
Well , you know that's howwe are here.
Write soon.
Music and text by "Blue" GeneTyranny (Robert Sheff), BMI
All music composed 1976; Outof theBlueoriginally released1977 on LP by Lovely Music, Ltd. asLML 1061
"NextTime Might Be Your Time" and "for David K." co-produced with Peter Gordon
Recorded andmixedby RobertSheff assisted byAndrew Aldrich
Additional recording by Kenn Beckman, Kathy MortonAustin, Peter Gordon,Andrew Aldrich,andDavid Behrman
Tony Johnsonand Steve MacKay appear courtesy of Amherst Records
Recordedat The Center for Contemporary Music,Mills College, Oakland, California,September-October 1977
Digitally Filteredby Wes Marshall 2006
Digitally Re-mastered by TomGordon for Inspired-AmateurProductions, Imirage Sound Lab, Sparks, NV, September 2006
Cover art by Joey Fauerso, disc art by CharlesBroskoski
photo key: p.3, Patrice Mangel (credit: F. SlopFitzgerald , left;Tom Scharf,right); p.5,Blue, 1981(credit:Philip Makenna); p.?, Blue playing thekeyboard with hiselbow,
"something I amtold that I didoften inthelate60's"; p.a, Peter Gordon, 1976; p.10, KathyMorton Austin , mid-70's(credit:Pat Kelly); p.22, photos from theTrust inRock concert,
November 13, 1976(credit: Melody Bums); p.23(opposite),Blue, 1978;p.24, Blue, 1981(credit:PhilipMakenna)
Unseen Wnrlds P.O. Box644,Austin,TX78767-0644 "Blue" GeneTyranny www.bluegenetyranny. com
All rights reserved 0 197712007