Larkin about
Philip Larkin , for a while, moonlighted as a jazz critic for the Sunday Telegraph in the sixties and early seventies.
He'd always liked jazz, and from a young age had collected records:
"...those white and coloured Americans, Bubber Miley, Frank Teschmacher, J.C. Higginbotham, spoke immediately to our understanding. Their rips, slurs and distortions were something we understood perfectly. This was something we had found for ourselves, that wasn't taught at school (what a prerequisite that is of nearly everything worthwhile!), and having found it, we made it bear all the enthusiasm usually directed at more established arts".
When he started writing about jazz and reviewing records, Larkin began to think about his audience, and was typically elegiac:
"My readers...sometimes I wonder whether they really exist. Truly they are remarkably tolerant, manifesting themselves only by the occassional query as to where they can buy records: just once or twice I have been clobbered by a Miles Davis fan, or taken to task by the press agent of a visiting celebrity. Sometimes I imagine them, sullen fleshy inarticulate men, stockbrokers, sellers of goods, living in 30-year-old detached houses among the golf courses of Outer London, husbands of ageing and bitter wives they first seduced to Artie Shaw's 'Begin the Beguine ' or The Squadronaires' 'The Nearness of You'; fathers of cold-eyed lascivious daughters on the pill, to whom Ramsay Macdonald is coeval with Rameses II, and cannabis-smoking jeans-and-bearded Stuart-haired sons whose oriental contempt for 'bread' is equalled only by their insatiable demand for it; men in whom a pile of scratched coverless 78s in the attic can awaken memories of vomiting blindly from small Tudor windows to Muggsy Spanier's 'Sister Kate', or winding up a gramophone in a punt to play Armstrong's 'Body and Soul'; men whose first coronory is coming like Christmas; who drift, loaded helplessly with commitments and obligations and necessary observances, into the darkening avenues of age and incapacity, deserted by everything that once made life sweet. These I have tried to remind of the excitement of jazz, and tell where it may still be found".
He had a way with words, didn't he? The miserable old sod.
He'd always liked jazz, and from a young age had collected records:
"...those white and coloured Americans, Bubber Miley, Frank Teschmacher, J.C. Higginbotham, spoke immediately to our understanding. Their rips, slurs and distortions were something we understood perfectly. This was something we had found for ourselves, that wasn't taught at school (what a prerequisite that is of nearly everything worthwhile!), and having found it, we made it bear all the enthusiasm usually directed at more established arts".
When he started writing about jazz and reviewing records, Larkin began to think about his audience, and was typically elegiac:
"My readers...sometimes I wonder whether they really exist. Truly they are remarkably tolerant, manifesting themselves only by the occassional query as to where they can buy records: just once or twice I have been clobbered by a Miles Davis fan, or taken to task by the press agent of a visiting celebrity. Sometimes I imagine them, sullen fleshy inarticulate men, stockbrokers, sellers of goods, living in 30-year-old detached houses among the golf courses of Outer London, husbands of ageing and bitter wives they first seduced to Artie Shaw's 'Begin the Beguine ' or The Squadronaires' 'The Nearness of You'; fathers of cold-eyed lascivious daughters on the pill, to whom Ramsay Macdonald is coeval with Rameses II, and cannabis-smoking jeans-and-bearded Stuart-haired sons whose oriental contempt for 'bread' is equalled only by their insatiable demand for it; men in whom a pile of scratched coverless 78s in the attic can awaken memories of vomiting blindly from small Tudor windows to Muggsy Spanier's 'Sister Kate', or winding up a gramophone in a punt to play Armstrong's 'Body and Soul'; men whose first coronory is coming like Christmas; who drift, loaded helplessly with commitments and obligations and necessary observances, into the darkening avenues of age and incapacity, deserted by everything that once made life sweet. These I have tried to remind of the excitement of jazz, and tell where it may still be found".
He had a way with words, didn't he? The miserable old sod.
posted by Jim Denham at
5:06 PM
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