I awaken to cobweb pendulum
most untimely clock
my breath locomotes lackadaisical loads upon its sway
play to this beat silken strangerPithecanthropus Erectus opus to the bobbing toe
erecting us erecting me to the music
Romeo is Bleeding, so dance a little more
ignoring not calves in motion
hubris hubris hubering
Hora Decubitus ehya Eric?
Dolphy Dolphy dolphin aflutters past viewthe body, my body a shaking mushroom
flinging Mingus spores as fungus do
but not you silken one
I declare sodden through with spider glue
you lack any semblance of rhythm
so then adieu dance partner
adieu adieu
chiiiiiiiiiiiiiiils aaaaahhhhmmmmmmmmmooooooooo through me
this man blind dead to the world
courses seeps through living veins
a pain heaped slides strained
this ghost this spirit
Have you ever come upon a sense of musical preposterousness - frown furrowed nearly into nose (or alternatively mouth going so lax that you jolt back into awareness due to drool slopping down lips) – yes a question so meticulous has very little questioning value, it is in proper sense me telling you of my experience in a circumlocutory manner … still still, it happened and Howard Levy caused it. I saw him playing a harmonica with a contrapuntal approach (think of archaic piano – Bach sort of stuff – single bass notes hopping around as harmony rather than chords whilst the right hand aflickers upon the high end). You … can do that on a harmonica!!?
I feel this sort of amazement with Carnival of Souls. Not from its technical aspect, but its ability to … well it's a musical fireplace, ready for cozying up to, smile ablazing. So here you go....
(Oh and the aside to Howard Levy is applicable, he's the harmonica player here, along with Eugene Friesen on cello and Glen Velez percussion.)
