By Joe Jackson
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Extra info for A Cure for Gravity: A Musical Pilgrimage
Then he hauled the piano out into the hallway, which, unlike the hallway back at Paulsgrove, was at least heated. But the piano had to staid right up against the radiator; it was the only possible place for it. The wt,rst possible place. From then on my nerves were jangled by practicing on an instrument that never stayed in mne for more Ehm a &W days at a erne. And Dig still came grumbling and threatening to our door, often in his string vest, from which mfis of thick black chest and back hair prormded.
Reggie was delighted, and he used my performance to dlustrate a first lesson in Orchestradon, "You see," he beamed, "he & M t just bang the drums any-old-where. He waited for the right moment and didn't play too much. He played a s m d part, but you heard it! n a t ' s the secret. '" A, CURE FQR GRAVITY 33 Apart from being a great ego boost, this was one of the best music lessons I've ever had. Orchestration, or in jazz and pop parlance, arranging, is the art (to put it crudely) of deciding who in a group of musicians plays which part, and when, and how.
X t ww so unusud that it took me back to the last t h e someone had made that claim: my next-door neighbor at Meadow Walk, Bridgemary, Gosport. Den, or Ilig, hated music. Of course, he was the kind of person who would have found a reason to hate food, d ,or s u m b e . As soon as we moved in, he started compl saund &at emanated kom our house, but espeddy about my piano. My dad stuck a large sheet of Formica on the back of the piano, so there woclld be a barrier between it and the wall that separated us kom the trolls.