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Ruddy Yurts RIP

As you know I am far from a Yurts purist, but I don't really consider his nu-metal dabblings to be worth the attention they are sometimes given.
 
Completely agree. The phrase 'produced by Dave Mustaine' is enough to send shivers down your spine, and not in a good way.
 
Isn't that the one that holds the record for the longest bassoon solo ever committed to vinyl, on 'No Kaddish for Stepan', weighing in at 11m 26s? Arturo Belladona of Record Collector famously described it as 'thorough'.

Of course, Ruddy's solos during live performances dwarf that effortlessly. You have to measure some of them in days rather than minutes :cool:
 
Yurts' extended 1968 stay in Mexico City was, for him, a time of solitude and self-reflection. However, he did find the time to cut this hot wax

YUETS.jpg
 
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anyone got this 1983 album? this was, famously, his first self-produced album.
existentialist have you got this album?
 
there was a photo of it in that glossy tome about the film that never was 'Yurts on Fire'. Can't say I have encountered it in the flesh. And his bastard estate are sitting on all original recordings as well so I'll not be hearing it anytime soon
 
there was a photo of it in that glossy tome about the film that never was 'Yurts on Fire'. Can't say I have encountered it in the flesh. And his bastard estate are sitting on all original recordings as well so I'll not be hearing it anytime soon
An estimated 60 hours of entirely unreleased material too.
 
A friend of mine's doing a PHDF (it's apparently some sort of academic document) on Ruddy Yurts and his extended series of letters to the Neasden Observer explaining the reasons for his fist fight with Sun Ra which happened in a series of lucid dreams. Fascinating stuff.
 
Isn't that the one that holds the record for the longest bassoon solo ever committed to vinyl, on 'No Kaddish for Stepan', weighing in at 11m 26s? Arturo Belladona of Record Collector famously described it as 'thorough'.

Of course, Ruddy's solos during live performances dwarf that effortlessly. You have to measure some of them in days rather than minutes :cool:

I had the privilege of seeing his (im)famous 67 minute solo at the Milton Keynes Folk and Jazz festival, back in '83. Never saw anything like it, before or since.
 
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A friend of mine's doing a PHDF (it's apparently some sort of academic document) on Ruddy Yurts and his extended series of letters to the Neasden Observer explaining the reasons for his fist fight with Sun Ra which happened in a series of lucid dreams. Fascinating stuff.
It was always fascinating to me that Yurts was so handy, I know he did a bit of boxing training as a boy, but his bassoon was so gentle you almost can't imagine the man giving someone a slap.
 
It was always fascinating to me that Yurts was so handy, I know he did a bit of boxing training as a boy, but his bassoon was so gentle you almost can't imagine the man giving someone a slap.
According to my friend it was this juxtaposition between that gentleness and the violent altercation with Sun Ra, despite it being in a dream, that led him to write the series of anguished letters about it to The Neasden Observer. Apparently they kept all of them in file marked 'Jazz', but stopped publishing them after the 4th one.

Of course Yurts was unaware of this as he was then living in a converted transit van just outside Basingstoke.
 
According to my friend it was this juxtaposition between that gentleness and the violent altercation with Sun Ra, despite it being in a dream, that led him to write the series of anguished letters about it to The Neasden Observer. Apparently they kept all of them in file marked 'Jazz', but stopped publishing them after the 4th one.

Of course Yurts was unaware of this as he was then living in a converted transit van just outside Basingstoke.

The fact that it was converted only to a slightly smaller transit always breaks my heart a little.
 
It was always fascinating to me that Yurts was so handy, I know he did a bit of boxing training as a boy, but his bassoon was so gentle you almost can't imagine the man giving someone a slap.
The broken bassoon on the cover of 'breaking wind' above was damaged in a fight outside Ronnie Scotts when yurts used it to hospitalise the guitarist reg 'tent' pegg
 
The broken bassoon on the cover of 'breaking wind' above was damaged in a fight outside Ronnie Scotts when yurts used it to hospitalise the guitarist reg 'tent' pegg
I never quite understood what the roots of the beef between Yurts and Pegg was. Every encounter between them seemed to be an exercise in nascent violence - you wonder how they ever ended up working together in the first place, given that one of them walking into a room in which the other one was seemed to result in airborne furniture (or musical instruments).
 
I never quite understood what the roots of the beef between Yurts and Pegg was. Every encounter between them seemed to be an exercise in nascent violence - you wonder how they ever ended up working together in the first place, given that one of them walking into a room in which the other one was seemed to result in airborne furniture (or musical instruments).

It was rumoured to be rivalry over a woman even though Pegg was a confirmed bachelor.
 
It was rumoured to be rivalry over a woman even though Pegg was a confirmed bachelor.

Freudian semiotician Vassily Moskevicz's seminal paper, 'The hierarchy of the m(M)embers [sic] of the band: the jazz gestalt and imagery of suppressed sexual domination' makes some curious points about the symbolism of different musical instruments and the way that this has played out in external expressions of traditional masculinity in the jazz world.

His methodologies have of course since been entirely discredited (and, in one notorious case, criminalised), but it still makes for a fascinating read.
 
Freudian semiotician Vassily Moskevicz's seminal paper, 'The hierarchy of the m(M)embers [sic] of the band: the jazz gestalt and imagery of suppressed sexual domination' makes some curious points about the symbolism of different musical instruments and the way that this has played out in external expressions of traditional masculinity in the jazz world.

His methodologies have of course since been entirely discredited (and, in one notorious case, criminalised), but it still makes for a fascinating read.

I read that when it was first serialised in Jazz Journal and found it an interesting discourse but ultimately bollocks.
 
The whole 'you ain't nothin but a oboeist' riff on Hound Dog that crops up somewhere around p. 32 is hilarious but, more to the point, pretty much seems to hit home as far as the chip on Moskevicz's own shoulder is concerned.
 
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