Archive for the 'Uncategorized' Category

05
Feb
15

MR. BEAR CELEBRATES HIS 17TH BIRTHDAY!

Mr. Bear, the last remaining furry member of the Page family, as it were, has just reached his 17th birthday – a landmark achievement. I witnessed his birth – he was the last one of the litter to come out– the biggest and slowest one, and even at his senior age, he remains the sweetest innocent – incredibly devoted and unconditionally loving. With his proud dad and a little company, he celebrated his day with great aplomb!

Birthday-Balloons-1

unnamed

Mr. Bear – IT’S YOUR BIRTHDAY!

mrbearbday2

bday 3

mrbear4

All tuckered out.

All tuckered out.

Happy-Birthday-Balloons

18
Dec
14

Christmas wishes and footie pics

Hello there everybody – thought I’d share with you some candid pics (and 2 amateur video excerpts) from the Remembrance soccer game in which I recently played.  It was a special day.  Just before the match, all of the players stood in a circle and I was asked (as were a few of the other players) and honored to read an excerpt from a poem written by England’s Poet Laureate about the First World War armistice, followed by us all observing a minute of silence in memory of the fallen.  My grandfather, Arthur Richard Page, had fought in the trenches during WWI and eventually lost both of his legs from gangrene due to “trench foot” – commonly contracted then from standing for long hours in water-soaked trenches.  So, the game held special meaning for me remembering my grandfather, who, incidentally, shared the same birthday as me.  It was a 4-4 draw, which was a perfect result – a contest keenly fought with great (albeit competitive) bonhomie.

I’d also like to take this opportunity to wish you all happy holidays and a happy new year.  Thank you for your solid support and friendship.  I hope to have a new album out in 2015 (fingers crossed!) – that’s my goal!!  So, once again, let me wish you all a healthy, happy and peaceful holiday season.

Cheers, Martin.

 

mpFootie2014GroupCircle

Reading the poem and observing a moment of silence before the game.

 

Page with opposing team's Goalie after game - photo-bombed by Jim Piddock, British comedic actor

Page with opposing team’s Goalie after game – photo-bombed by Jim Piddock, British comedic actor

 

 

mpFootie2

 

mpFootie6

With Barry Venison, former English International, at end of game

 

mpFootie13

mpFootie7

21
Apr
14

4.21.14 – Music in Nature

I often get a chance to retreat to local quiet gardens – open spaces untouched by human hand or technology.  I use these times to slow down, take stock – meditate.  And I’m always struck, when the sounds of the city eventually vanish, that I think I can hear a sort of music in these natural surroundings.  The wind in the trees, the bird song, the insects buzzing around, a pool of water rippling from a steady stream entering it, bushes rustling from squirrel activity – it’s all rather a symphony of natural improvisation to me.  If you close your eyes – focus solely with your ears – you can almost work out notes and scales being performed – hear the key of the countryside.  The low hum of a low note that grounds the always changing symphony of subtle close chords – a deep murmuring hush … then a fly buzzes by your right ear – a nut is being broken apart by a squirrel just behind your left ear.  It’s a surround-sound Avant-garde, ambient, experimental, improvisational piece that you’re listening to….  always changing, always interesting music of the spheres – spiritual.

Sitting in this nature, with eyes closed, allowing yourself to believe you are listening to a live concert, it really can become so.  We just have to set our brains to that frequency (the “radio of nature”).

I’ve held a long fascination with experimental ambient soundscapes and minimalistic, abstract music.  I’ve followed the work of artists such as Terry Riley, early Tangerine Dream, Eno, Cluster, Robert Fripp, Stockhausen, Sigur Ros, John Cage, David Sylvan, Steve Reich, Popol Vuh (band), and although electricity/synths/technology are involved, in many ways, I think this style of music gets close to the existential feelings we have in nature – and reflects the randomness, the vibrations, the profoundness of the natural world – the unknowable.  Even minimalist artists such as Terry Riley and Steve Reich somehow for me tap into an elemental truth of raw nature – its circular, ever-repeating, yet still random events.  For me, it’s those particular artists’ way of musically representing something elemental and deeply intense – humans’ response and reaction to nature & it’s terrible beauty – again, completely unknowable.  It’s Zen like, and of course, mathematical, as is nature; there’s a profound logic involved – a spiritual science.

If you get a chance, the next time you’re out in nature – away from the hubbub of the city, close your eyes; let your ears do the seeing.  It’s a real concert.

Cheers,

Martin

“Music is the pleasure the human soul experiences from counting

    without being aware that it’s counting”

– Gottfried Wilhelm von Leibniz – (Inventor of Calculus)

 

“The ear is the way”

                          – The Upanishads

 

“Can you hear the rushing of the river?  That is the way”

                  – Zen Buddhist saying

 

14
Jul
12

7/4/12 – Track Reveal

Track listing of Martin’s upcoming album, “A Temper of Peace” REVEALED!
1. Halo
2. The Washing of the Heart
3. Think of Me (When You Dance)
4. Soulprint
5. Ruby Rae
6. I’ll Grow Old With You
7. When the Harvest is In
8. Hungry Ghost
9. Titch
10. What Did I Do to Deserve You
11. Healing Waters
12. I Can’t Get There Without You
13. You Can Let Go
30
May
12

5/30/2012 – Album Announcement

01
Dec
10

12/1/2010 – Holiday Greetings from Martin

I’d like to thank everyone for your wonderful support over the last year and to wish you all a happy and healthy holiday season.  See you all in 2011.  Cheers.

– Martin

30
Oct
08

10/30/2008 – The Frankenstein Method

Often during the process of writing and producing a song, I step back for a moment to analyze the construction, to see if the song is well-developed.  To achieve this, I use what I call “the Frankenstein method”, in which I visualize certain aspects of the song in relation to the human body.  For example, in my mind’s eye, I equate the melody (the top line) to the eyes, the windows of the soul.  I then see the chord progression as the heart and mid-section of my imaginary torso.  Finally, I compare the bass line, rhythm and foundation of my song, to the legs of my creation – considering whether these perspectives are harmonically strong and stable enough to support my fantasy life form.  Yes – it all does sound rather Frankensteinian, doesn’t it?!  But this somewhat unusual approach, on innumerable occasions, has helped me study with defined clarity, the working mechanics of a song.  By doing this, I gain a glimpse of the universal in the particular.  It’s my way of freeing the imagination to see the song as organic and natural – a living thing.  That doesn’t mean that every time I finish a tune in my laboratory (Oh, sorry, I mean my studio), I cry out to the heavens, “It’s alive!  It’s alive!”, but if truth be told, the feeling of accomplishment is something akin to that.

I admire the writing and thought of 19th-Century German philosopher, Arthur Schopenhauer, who believed music to be the highest art form.  He had a most intriguing outlook on music.  He held true that music articulates the inner-nature of all things.  He wrote, “The ground-bass is in harmony what inorganic nature, the crudest mass on which everything rests and from which everything originates and develops, is in the world.  Further, in the whole range of notes that produce the harmony between the bass and the leading voice singing the melody, I recognized the whole graduation of the ideas in which the will objectifies itself ….”  He adds, “Finally, in the melody, in the high, singing, principle voice, leading the whole and progressing with unrestrained freedom, in the uninterrupted significant connection of one thought from beginning to end, and expressing a whole, I recognize the highest grade of the will’s objectification, the intellectual life and endeavors of man.”  Wagner also believed music to be strongly connected with the true nature of all things in the world when he wrote, “Instruments represent the primal organs of Creation and Nature; their expression can never be clearly defined and formulated since they convey the primal feelings as they first issued forth from the chaos of the Creation; perhaps even before there was any human heart to hear and feel.”  I find it thrilling and fascinating to think that the essence of music is none of man’s doing, that it was built into the world long before we arrived.  Pythagoras was the first to show that the basic intervals on which Western music is constructed inhere in the world, independently of man.  To demonstrate this, he most famously plucked a string to sound a note, then halved the length of the string and showed that plucking it produced the same note an octave higher.

Every time I attempt to write a song, I try to allow my gut instincts and raw emotions to lead the way.  It amazes me that, behind this simple human outpouring of expression – this humble communication of sound – lies a complex and profound mathematical mystery born of nature herself.  Amazing too, that when we hear a song that we like, we, in general, don’t know why we like it – we just do.  We feel it!  It’s as though it was just meant to be, inherited somewhere deep within our human nature.

And so to finish:  Thank you Mary Shelley, for writing your masterpiece – and for inspiring me to look at my songs-in-progress from within a weird and wonderful framework, hopefully enabling me to animate some little melodic monsters of my own.

“Feel is all”

Goethe

Thanks for stopping by.

– Martin