I think the music that's part of your heritage is what you spend a lot of your early life rejecting. The very idea of folk music would break me out in hives until I was about 28. But I think it's nice when you eventually do come back to it. It's like coming home, and you realize it wasn't so bad after all.
Alasdair MacLeanI do like that idea that music can work on two levels, and you only pick up on the second one after a few listens.
Alasdair MacLeanI was very lucky, because when I was at school, I had a great music teacher who would just take out these free-jazz records and play them for me. So it was in my early teens that I started to listen to jazz.
Alasdair MacLeanCornelius Cardew very famous in Britain, because he was the darling of the avant-garde, and he played in a band called AMM, which was an improvising band in the '60s. Paul McCartney used to come watch them. Later on in life, he became disenchanted with avant-garde music, because he felt it couldn't reach the public. It didn't have a wide enough appeal. So he'd take these tunes of old English folk songs and write Stalinist lyrics over the top of them. I do think that when he changed to folk songs, he actually lost the tiny audience he already had, which is quite interesting.
Alasdair MacLeanIt's very interesting to read why Cornelius Cardew became disenchanted with academic avant-garde music. He wanted to reach as many people as possible and change their consciousness. He wanted to reach the "working classes" in England. The kind of music he was making was very much from the academy, even though it had a lot in common with things like free jazz and improvisation, and he felt that it was the music of the elite, and that he wasn't really speaking to the people.
Alasdair MacLean