Completely agree. The phrase 'produced by Dave Mustaine' is enough to send shivers down your spine, and not in a good way.
got this little gem recently, and in mint condition too and not a mustaine in sight
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1981Oooh, rare groove. What year was that recorded?
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
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existentialist have you got this album?
anyone got this 1983 album? this was, famously, his first self-produced album.
An estimated 60 hours of entirely unreleased material too.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
I had a copy, but I gave it to someone whose need was greater than mine.existentialist have you got this album?
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
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.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.
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.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.
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' peggIt 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.
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).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).
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.
No doubt you saw yurts' stream of consciousness response, subsequently released as the spoken word album 'rants at the rose and crown'I read that when it was first serialised in Jazz Journal and found it an interesting discourse but ultimately bollocks.