14 luglio 2015

E' il primo titolo della piccola etichetta londinese Fataka a esser pubblicato in vinile, e il quarto di Phil Minton a riferirsi nel titolo ai crafen - personale metafora di avidità e grettezza, dettata da un episodio narrato nelle note di copertina - tanto da costituire il proseguimento, forse anzi il compimento, di una ideale serie di album in solo realizzati nel corso degli anni con la voce quale unica risorsa: A Doughnut's End.

"I was in New York in 1980, standing on a street corner in the then notorious Bowery area waiting for a lift to a gig. It had been snowing and the street was deep in slush. Simultaneously, a Bowery character and a jogger passed in front of me on the pavement, the jogger splashing slush onto the old chap's clothing. "What the fuck," he shouted as the jogger disappeared up the street, then turning to me he said, "the fuckin' asshole, what the fuck does he think he's doin', you gotta run to the South Bronx and back five fuckin' times before you lose a couple of fuckin' pounds. The trouble is people eat to fuckin' much. The other day the mission took us out on a trip to Coney Island and some of the guys had fuckin' donuts in both hands! “Donuts in both hands, donuts in both hands" was his mantra as went on his way, after saying "have a nice day sir".
A Doughnut in Both Hands, my first solo album, was originally a metaphor for greed and avarice with some references to the pointless slaughter of the First World War. It would have been more obvious with gold or oil in the title, but that’s not the way it happened. I didn't initially think it would be a series for solo singing, which is what, nearly forty years and four doughnut albums later, it has turned out to be. "Doughnuts" means I take a less spontaneous approach to the work than on the many improvised music recordings I've made with other musicians."