Instrumentation: 1 or 2 prepared pianos.
Duration: c.25 minutes
Published in EMC Keyboard Anthology.
First performance: Purcell Room, London, 9 October 197O

Instrumentation: Electronics
Published in EMC Visual Anthology.
Imperfect private performance, Portsmouth College of Art, November 1970

Environmental piece.
Published in EMC Visual Anthology
Never performed.

Unspecified ensemble, dedicated to John White.
Duration: c.20 minutes
Published in EMC Verbal Anthology.
First performance: Bluecoat Hall, Liverpool.

Instrumentation: 1 player, 2 guitars (or multiples of this)
Published in EMC Rhythmic Anthology
First performance: Studio recording Incus Records (Derek Bailey guitars).
First live performance: Queen Elizabeth Hall, London, December 1972 (Derek Bailey/ John Tilbury, 2 players 4 guitars).

Instrumentation: Pre-recorded Tape and ensemble
Duration: 25’ 40’ 60’ or 74’
First performance:  Queen Elizabeth Hall, December 1972.

Note : Jesus Blood Never Failed Me Yet

Jesus Blood Never Failed Me Yet

In 1971, when I lived in London, I was working with a friend, Alan Power, on a film about people living rough in the area around Elephant and Castle and Waterloo Station. In the course of being filmed, some people broke into drunken song - sometimes bits of opera, sometimes sentimental ballads - and one, who in fact did not drink, sang a religious song "Jesus' Blood Never Failed Me Yet". This was not ultimately used in the film and I was given all the unused sections of tape, including this one.

When I played it at home, I found that his singing was in tune with my piano, and I improvised a simple accompaniment. I noticed, too, that the first section of the song - 13 bars in length - formed an effective loop which repeated in a slightly unpredictable way. I took the tape loop to Leicester, where I was working in the Fine Art Department, and copied the loop onto a continuous reel of tape, thinking about perhaps adding an orchestrated accompaniment to this. The door of the recording room opened on to one of the large painting studios and I left the tape copying, with the door open, while I went to have a cup of coffee. When I came back I found the normally lively room unnaturally subdued. People were moving about much more slowly than usual and a few were sitting alone, quietly weeping.

I was puzzled until I realised that the tape was still playing and that they had been overcome by the old man's singing. This convinced me of the emotional power of the music and of the possibilities offered by adding a simple, though gradually evolving, orchestral accompaniment that respected the tramp's nobility and simple faith. Although he died before he could hear what I had done with his singing, the piece remains as an eloquent, but understated testimony to his spirit and optimism.

The piece was originally recorded on Brian Eno's Obscure label in 1975 and a substantially revised and extended version for Point Records in 1993. The version that is played by my ensemble was specially created in 1993 to coincide with this last recording.

Instrumentation: indeterminate
Published in EMC Verbal Anthology.
Never performed.

Instrumentation: Indeterminate
Published in EMC Visual Anthology
Never performed.

Environmental piece
Published in EMC Visual Anthology.
Incomplete performance only.

Duration: 10’
Instrumentation: Up to 3 strings and piano.
Published in EMC String Supplement.
First performance: University of Keele, 16 November 1983.