With my early Cobra Woman infatuations forever resonant, I wanted to sprinkle the fairy dust of Hollywood (in the liner notes, "exotic Hollywood orchestration of the 1950s" refers to a few looped seconds of an Yma Sumac track) onto the authenticity of my newer loves: the raga, the gamelan, and the Pygmiesallowing the near and the known, the distant and imaginary, to impregnate one another, to make them all burn with a new brightness andwith any luckto forge a new alloy.
But not to forget, the subtitle for this record was "Magic Realism". As much as I loved getting lost in the throbbing digital collage which functioned as a kind of extended tambura, it took muscle and flesh and fingers and coordination to make the trumpet sound. And for Abdou to play the bugurubu. And Pran Nath's voice, teaching me 'Darbari', was always there inside. This record has always had a special place for me. I still think of the liner notes as a shooting script for a lot of yet-to-be-made music.
Extracts: Darbari Extension i | Empire ii | Darbari Extension ii •
: : : Diorama : : :
Thank god I kept agendas all these years. Jumbled together on a page are the mundane (daily notes to pick up things, career pitches, concerts, departure dates, deadlines) and the rhapsodic (ususally the rising and falling flares of love and sex and music). jh