Yesterday afternoon's "Masterclass" at Salford University: this overstated my capacity - mastery is a very considerable achievement. I have no idea whether the M/C was of use to the students, and if so how. From where I sat, the foreign students appeared to be most involved. If so, this would confirm my long-held opinion that I don't have a voice for England. The class began at 14.05 and continued until 15.45. Students who found it not useful were invited to leave after 45 minutes, and several departed honourably.
Overall, the "presentation" was Q&A, my own preferred approach. The questions were comparable to questions on the first evening / day of a Guitar Craft course, and mainly lacked brevity, definition & burning necessity. The students were patient & polite. One brought a guitar, but when 2 days of a full residential GC course is unable to make an impact on a player's hands, I doubt that 5 minutes in a full class in front of others without guitars would achieve much of value.
Sid Smith has two more e-enquiries in my mailbox today, regarding different Crim periods. The Sidney is probably better placed than anyone to make judgements on (at least) the early period of 1969-74 because firstly, the period spoke most personally to that adolescent, crab ridden & wart encrusted Geordie youth; secondly, because nearly all the members have spoken more fully to Sidney than (I believe) any other single person; thirdly, Sidney is engaging with critical & impartial goodwill - he has no axes to grind, and loves the music.
Sid regularly sends enquiries asking me to confirm details, offer comments on wild rumours & unsubstantiated legends, and provide hard data. I have been eagerly awaiting the publication of Sid's book, in the hope that acknowledgement of detailed individual contributions may sweeten grapes which otherwise exude more than a whiff of the sour. Sid walked into the Crimson minefield, an innocent in search of the One he loved, and discovered squabbling ex-suitors arguing over which of them owned the One the most completely, and which of them was most favoured in Their eyes.
Today at DGM World HQ we have received a letter from a member of the original Crimson. He is an unhappy boy, with essentially the same grievances expressed by the original member whose concerns have placed Club 12 in limbo. The concerns of today's letter will be addressed again, this time by David, and my own preference is for the debate / discussion to made public. Many of the concerns have already been answered in this Diary, in any case.
I doubt that information is enough: the enquiries & commentary are hostile. DGM & its Venal Leader are guilty of many sins. Accordingly, in the absence of goodwill, interactions are tainted by animosity, in some cases hostility, resentment & long-held grudges; even the simple desire to "stir things up" and "have sport" takes the place of straightforward exchange, and colours what might otherwise be a clean, if not close, relationship.
Andrew Keeling's arrangement of "Pie Jesu" brings me back from earth. I'm surprised that there hasn't been more comment on the Guestbook or Reviews of Andrew's album "Quickening The Dead".
A few possible transitions & bridges, and now Bartley Butsford's Earthworks. Bill's drumming fits this so well, and is convincing. Bill has arrived where he spent a long time going, and sounds right in that place.
"Commitments are to be honoured."
