July 21st
Get a call from the director in the morning telling me that it all worked perfectly and thanks me profusely for my work.
Drive out to see JohnThirkle. John is a terrific bloke and a brilliant trumpet player that I got to know well whilst on tour with Level 42 back in 1990. John now owns the label that has released the recent Schizoid record and is putting out ‘The Bruised Romantic Glee Club’.
We finish our highly enjoyable and successful meeting and I get in the car to drive back down the M40 to London.
Suzanne Barbieri, Richards’s wife, calls me on the mobile to tell me she’s just arrived at the station. She’s 45 minutes early and I’m 40 minutes away from London.
Chris Porter asked if I could find a singer for one of Cliff’s tracks that I also sing on. I ask Suzzane as she’s very good, very quick and great fun. She agrees as long as she can do it anonymously. I agree, but fail to mention that I may write about it in my diary.
The weather, as anyone in England reading this will testify, has been unbearably hot. Recording in the studio with shoddy air conditioning has been, at times, absolutely horrific. Recording with 2 people!!! Not good. Suzanne, being the great pro that she is, deals with effortlessly.
The phone rings at 6:30. It’s the agency. They can’t get publishing clearance. They have, however, come up with a suitable alternative tune that is no longer in copy write. They send me some mp3’s of ‘Dark Eyes’. I don’t know this one. I listen to the version by Django Reinhardt. He steams right into improvising to the point where I can’t hear what the tune is. Manage to track a version down played on an accordion. They want me to retain the vibe and arrangement of the Hawaiian guitar version of ‘Mack the Knife’ and apply it to ‘Dark Eyes’. The new tune is much darker. Lots of minor chords. It’s also about twice the tempo. Still I give it a go and do my best.
Get a call from the director in the morning telling me that it all worked perfectly and thanks me profusely for my work.
Drive out to see JohnThirkle. John is a terrific bloke and a brilliant trumpet player that I got to know well whilst on tour with Level 42 back in 1990. John now owns the label that has released the recent Schizoid record and is putting out ‘The Bruised Romantic Glee Club’.
We finish our highly enjoyable and successful meeting and I get in the car to drive back down the M40 to London.
Suzanne Barbieri, Richards’s wife, calls me on the mobile to tell me she’s just arrived at the station. She’s 45 minutes early and I’m 40 minutes away from London.
Chris Porter asked if I could find a singer for one of Cliff’s tracks that I also sing on. I ask Suzzane as she’s very good, very quick and great fun. She agrees as long as she can do it anonymously. I agree, but fail to mention that I may write about it in my diary.
The weather, as anyone in England reading this will testify, has been unbearably hot. Recording in the studio with shoddy air conditioning has been, at times, absolutely horrific. Recording with 2 people!!! Not good. Suzanne, being the great pro that she is, deals with effortlessly.
The phone rings at 6:30. It’s the agency. They can’t get publishing clearance. They have, however, come up with a suitable alternative tune that is no longer in copy write. They send me some mp3’s of ‘Dark Eyes’. I don’t know this one. I listen to the version by Django Reinhardt. He steams right into improvising to the point where I can’t hear what the tune is. Manage to track a version down played on an accordion. They want me to retain the vibe and arrangement of the Hawaiian guitar version of ‘Mack the Knife’ and apply it to ‘Dark Eyes’. The new tune is much darker. Lots of minor chords. It’s also about twice the tempo. Still I give it a go and do my best.
posted by Jakko's blog at 9:28 AM
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