I came across this yesterday and was astounded by Jeff’s straightforward honesty. He survived an event impossible for any of us to imagine, unless one were there, with a great dignity.
By Ceri Jackson, BBC News
Here, also, are a few small samplings of music from Aberfan. The first, “Rain Sequence”, an excerpt from our first, recent studio session.
Second, “First Hymn”, a demo excerpt, yet to be properly recorded. The singing of this hymn, as I understand from the news article above, was postponed as “they would sing it before they went home”.
“Rock Sequence”, at the time of the collapse:
Last, an excerpt of “Altered Rain”, the impossibility and hope of life forever altered.
In deepest honor.
Aberfan (7 pianos, percussion, voice and tools of rescue) is a sponsored project of New York Foundation for the Arts (NYFA). Contributions are tax deductible.
Photo courtesy of Alan George
Many thanks to The United Congregational Church of Conway (Massachusetts) for their $100 contribution yesterday to Aberfan.
This generous gift, in combination with my posting yesterday about a completed grant application, made me once again appreciate the necessity of donations of all sizes. Grants for thousands of dollars are highly competitive, and therefore uncertain. Individual donations like this one, however, form the backbone of everything I am trying to do. Each one gets us closer to being able to actualize this project.
For centuries, patrons have been essential to bringing art into the world.
A difficult and singular endeavor that has carried itself through me over years (and will continue to do so) would be impossible to realize without the help from those for whom Aberfan resonates. For everyone that gives to this undertaking, know that its enduring and significant impact is now also in your hands.
If you would wish your contribution to be publicly shared, as did The United Congregational Church of Conway, I would be happy to do so.
For giving to Aberfan, please go to tinyurl.com/FundAberfan.
After months of preparation and not a little stress, another application made it out. What astonished me, in finding answers to questions on the application , was to realize the deep thread that has been running through my work all along. A great gift to find meaning.
Here is an excerpt:
“Aberfan articulates a broadening and deepening of practice far beyond what I’ve experienced before, yet inclusive of everything before it. What began on my knees, crouched in a narrow darkened tunnel cut towards a far away light opening into vast space, over years has been the search for my own creative voice in composition. Aberfan became symbol of the greater, where time and form are permeable — where opposites are contained and held together in agonizing fusion, irregular shapes of risen cadences into a whole.”
Deep thanks to Ian Smith-Heisters for his part in helping mwith the application.
To contribute to the recording of Aberfan, please go to www.tinyurl.com/FundAberfan.
I have always loved working with pencil and paper to draw my own scores. Now, learning to create the digital kind, too.
To contribute and become a part of making Aberfan happen, donate here: www.tinyurl.com/FundAberfan
Many thanks to Hillary Hoffman, Jay Lord and George for advising me on this latest grant application for Aberfan. For their clear minds and guidance as I dug my way from the poetic to the precise. Here’s a little bit:
‘Aberfan is an elegy not only for the people of Aberfan who suffered the loss of a generation and the “wounded soul of the Welsh” who saw “their beautiful country being destroyed when the coal mines came to the valleys”, (BBC Radio 4) but for our world, besieged by an unbridled industry pillaging the land and capitalizing on its riches for individual gain. The tragedy of Aberfan and the music it informed manifest the abject sorrow and rage resulting from the devastating human and environmental impacts of the fossil fuel industry, more recently embodied by mountaintop-removal coal mining and fracking to extract natural gas. This project confronts and aims to disrupt our complacency.
The penetrating quality of musical vibrations in synergy with photographic art, resonating where words cannot, evokes a greater world where all are connected as living beings on a living earth. In bearing witness to the single atrocity of Aberfan, one can begin to question the arrogance of “progress” built on destruction, absent the soul.’
For the performance or installation of Aberfan, we need money to create a studio recording and develop a design for the visual element.
To participate in helping make this project happen, contribute here: www.tinyurl.com/FundAberfan
BBC Radio 4 program produced by Maggie Ayre.
To participate in making the recording of Aberfan happen, make your tax deductible donation here: www.tinyurl.com/FundAberfan.
9/8 bar – Trauma – 2nd Altered Interlude
“The dreadful calamity of the Aberfan landslide disaster remains perhaps the most poignant and memorable disaster in the UK since the Second World War. The combination of a failure of responsibility by the relevant authorities, the dreadful events in the moment of the landslide, the heroic but mostly futile rescue attempts, and the appalling behaviour of some parties in the aftermath of the disaster created an extraordinary mix…” AGU Blogosphere
Large art projects like this cannot be done without your contributions. To ensure that Aberfan is recorded, make your tax deductible donation here: www.tinyurl.com/FundAberfan.
(Pantglas Junior School, Aberfan, 1966. Photo courtesy of AGU Blogosphere)
Takuma and I met several years ago when I was looking for players for my trio. As synchronicity would have it, earlier on the same day of our first meeting, I was having lunch in Boston with Michael Farquharson, a professor / producer at Berklee College of Music. I mentioned I’d be going to meet a drummer after lunch. “Who’s that?” When he heard Takuma, he said “He’s the one I use for recording my studio projects!” There was no doubt left in my mind.
Shortly after my first rehearsal with Takuma, I had a dream in which the most beautiful, fluid percussion surrounded me. Not unlike my experience during rehearsal, cushioned in the most wonderful wash of sound, I felt I was in another world, the place where my music was originally created. http://www.takumaanzai.com
At some point, I knew we would work together again. I am so grateful he will be with me for Aberfan.
To contribute to the making of our recording, please donate here: www.tinyurl.com/FundAberfan
Photo by Shuhei Teshima