Temple of the Ancient Magical Presence

This is my response to the question from Trevor Taylor as to what I 've been doing since our last project in 1974. Around that time I found myself at a significant turning point in my musical path and major decisions were then made that revolved around the integration of my spiritual disciplines into my creativity. It has been my destiny to receive certain deep spiritual experiences which have profoundly altered my life and these are intimately interrelated with my creative process and, as such, unavoidably constitute a large part of my story. I shall now outline those changes and some of the musical techniques evolved to fulfil this intention.

In the final analysis, my work lies beyond the limitations of the rational mind. That is to say that it lies beyond the realm of words precisely because it exists as an 'alternative language.' My particular form of 'improvised music' unfolded because of the levels of consciousness that were accessible to me. For those interested, all I can do is to offer some clues in the words that follow.

Since 1966 I've been deeply interested in and committed to fully exploring the psycho-spiritual aspects of my music making. In 1965, awakening to my inherited psychic abilities I became a trance medium within the family circle, and began consciously working with the group of discarnate beings known as the Great White Brotherhood from which arose my desire that my musical gift might serve this world of 'Spirit'. So I began my new direction in music with the question: - "What would the music be like if 'I' were not in the way of it?" The term "I" meaning not only the ego but also my socio-cultural conditioning which governed how I approached music. Another way of expressing this same thought/question would be to ask "What is the music like for inhabitants of other planets/planes of consciousness?" When I subsequently became involved with "free-form group improvisation" it was as though I had a completely fresh canvass with which to begin. There was a vast open country before me and I could make my own rules whilst disciplines of form could be organically developed from within, rather than imposed from without.

Since 1965 I've been concerned with unfolding my alternative consciousness music through refining my use of percussion and transcending its conventional use. Certain Classical composers from the past (e.g. Wagner) have linked Percussion with the Earth Element - the lowest. In my search to transcend the limitations of this association, I've been intuitively led to explore those ends of percussion opposite to the normal e.g. Long, Sustained sounds instead of short, staccato sounds; Metal sounds very rich in singing Harmonic Overtones opposed to drum skins, woodblocks, or cowbells etc; using Sacred Bells & Gongs very much associated in the minds of the ancients (particularly the Far East) with the Spirit Realms and with Sound Healing, Ritual & Ceremonial, as opposed to the more mundane, secular sound-producing devices.These 'sacred' sounds also allow me to follow my path striving to produce sounds coexisting alongside of/within the Silence: - sounds of long duration free me from certain restrictions of rhythm and Time. However, for myself Silence doesn't necessarily connote 'nothingness' but rather, a fullness or pleroma state. Also striking a snare drum once every 3 or 4 minutes would tend to produce interminable strain on all present, whilst many of my sounds will ring on for up to 4 or 5 minutes after but One strike! Alternative sound-stimulating techniques (such as bowing or rubbing) can produce tones the duration of which can last for any desired length of time.

In 1974 I was perhaps mostly known for the exceptional clarity and purity of the sounds which I used, alongside working with their full spectrum of sound-harmonics and also often allowing them to fade into silence and so not interfering with their psycho-acoustical effect upon the listener. Gracing the infinite silence, so to speak, my sounds often appeared to hover on the borders of the inaudible. This in contradistinction to the then prevailing trend of what I'd call 'industrialised' percussion. Apart from some slight reverb - if the studio acoustics demand it, I still never use electronics of any kind. I consider that albums are quite simply 'recordings' of what happened at that time and place.

This manner of working with these instruments had arisen also from my deep regard for their sacredness. This led me to a respectful attitude whereby I sought to restrict my influence upon their sound to what was appropriate to their spiritual significance. As far as I could determine, the sound that they were originally intended to produce, was not to be interfered with, or otherwise modified, or altered. One reason for this is quite simply that these are not 'musical instruments' as such, but rather 'ritual instruments' intended to accompany spiritual practises - mostly, if not exclusively, by non-musicians. Also, restricting myself to a 'pure' manner of playing these instruments, I sought self-transcendence in my musical creativity. I want(ed) to communicate what I'd discovered of the sound-world of each instrument through my music, in effect this is a dynamic interrelatedness between how the psycho-spiritual properties of the sounds were deeply rooted in their use, and therefore in their potential effects on the seven multi-dimensional 'bodies' of the human listener.

Through my previous work in spontaneous musical improvisations, I encountered and explored various so-called 'advanced techniques.' However, I felt uncomfortable using these in 1974, as I'd not yet penetrated into their deepest psychoacoustic significance. I am happy to include These within my musical vocabulary when I understand their hidden message & deeper language through continued entering of 'altered states' of consciousness and Initiatic experiences encountered on my spiritual path. However, when embracing these 'extended techniques' I strive for a balance where the inner stillness isn't lost.

At that time I was within 2 or 3 years of my first Saturn Return, an Archetypal Change that occurs around 28 yrs of age. As a result, I had to unfold my own language - the restrictions of which are that I may be the only person who can comprehend it! However, if I've been truly in-tune with the 'God-within', then, according to the composer, astrologer, philosopher, artist, and theosophist Dane Rudhyar, my particular language will be comprehended by the time those who were born during my 28th year reach their own first Saturn Return. In the piece "Mountain Angel from Venus" recorded for Trevor Taylor's project in 1974, I played 'free' and totally spontaneously although the resultant form that my improvisations took was governed by the influence of regular playing with other musicians - both solo and ensemble work exploring 'free form group improvisation' resulting in a style evolved to work within those contexts. My crisis that year meant that I began to question the nature of the energy that chooses to manifest itself through such forms of inherited musical/cultural language.

Recorded solo examples from that time are "Mountain Temple in Spring. Part 1; Amethyst, Gold and Royal Blue, my way of saying thank you", and "Through the Wall, a Light," "Into the Star Silence," and "The Whole Tribe Salutes you in Loving memory of many lifetimes." This last piece is an hour-long improvised hymn to my father recorded at a solo concert (Wigmore Hall, 'Music Now' concert) given upon the day of his passing into the world of spirit. All these are professionally recorded but only the first was released commercially on Ovary Lodge RCA/Victor.

But, finding myself working with this inherited-evolving musical language, the major question was did it fully express me? That is to say, my personal process of Individuation - that innermost Truth or Source of my Being? Improvising involves 'going with the flow', i.e., allowing the Unconscious or Superconscious to take over or moving into a 'stream of consciousness' approach (somewhat akin to trance mediumship), and may even involve losing all sense of a separate self and entering a state of at-One-ment. However, in the main this 'Unconscious' has been conditioned so that a certain form of language is used, a primary purpose of which being to ensure successful communication - be it 'jazz' phrases; Bach phrases; 'free music' phrases, etc.

My current musical language has unfolded in a truly organic way since reaching that musical 'cross-roads' in March of 1974. This crisis-point resulted from having had a weekend free of musical commitments when I chose to focus upon my solo playing. I was extremely surprised at how out-of-touch I had become with the deeper, psychic levels of my sacred instruments. Playing at jazz clubs with my kit, including an ever-growing number of these sacred Far Eastern instruments, the question began to beg itself as to whether or not it was appropriate to release the powers channelled through these same instruments upon an unsuspecting public - many of whom weren't seeking 'spiritual' experiences along the lines released by these instruments.

If I chose to be responsible for my actions and, therefore, prohibit the release of their psycho-spiritual potential, then I would ultimately become desensitised to their deeper significance as evidenced during that fateful weekend in March of '74. This increasing discomfort at using my sacred instruments within improvising situations where the predominant paradigm largely concerned itself with 'absolute music,' and, accordingly, playing without any kind of extra-musical significance being imposed upon it (be that a political message, personal, or in rarer cases spiritual/religious), also resulted in reaching this symbolic cross-roads concerned with the conflict between playing 'music' and following my heart into total dedication to unfolding the spiritual dimensions which had presented themselves during the previous years. The somewhat prevalent reductionist conception of absolute music within improvisation could perhaps be seen to focus exclusively upon sound itself although, ironically, only within the context of 20th century existential materialistic philosophy. Being a seeker of truth presented with such a choice, I quite simply had no alternative but to follow my heart. This inevitably resulted in seriously reducing my commitment to musical group activities. My existing musical commitments came to an end in the spring of 1975. Seeing that only self-purifying discipline and total commitment to the service of a spiritual Path could safeguard my future explorations I resolved to follow this knowing that my existing colleagues were unlikely to join me, and so it was that I ceased playing with others. Thereafter I made a decision to abandon all sounds of short duration (i.e. drums, cowbells, woodblocks, and stones etc) in my solo music. I considered that to be truly effective these sounds demanded to be used within the context of 'time' consciousness - either through rhythmic cycles, non- retrograde rhythmic cycles, or an acute sense of timing. I was searching for sounds that would reflect my continually increasing altered states of consciousness achieved through my meditation practices and spiritual work.

Within the lunatic fringe of avant garde free-form improvisation I was already an outsider, being vegetarian, coffee-free, herb tea-total, drug free, into love rather than sex, and - to top it all, as a natural shaman, I believed in life after death, spirits, and God! I'd terminated any use of drugs, alcohol, or other artificial stimulants in 1965. Not only did I not need drugs, I wanted to engage in making group-music where everyone concerned was committed to creating sacred music and, even more importantly, to reflecting spiritual values in their lifestyle. This being necessary in order to safely channel through oneself these higher energies.

Because in these altered states of consciousness 'Time' becomes very subjective I found that sounds which had a long sustain and duration better reflected these other states of consciousness. In 1979 I invented and built several instruments including the Petalumines featured in this piece and partly named as a dedication to the memory of Harry Partch (Petaluma). The techniques that I now use with my instruments include striking, scraping, stroking, shaking, swinging, bowing, rubbing, aqua-phoning, and ululating.

I now wanted to make my improvisations co-exist with the listeners' inner or meditative experience; so I began concentrating my efforts upon totally rethinking my musical vocabulary, working principally with my increasing collection of sacred temple instruments added to those gathered over the preceding years. Thus I decided to dedicate myself totally towards unfolding my deeper awareness of the psychoacoustic aspects of the sounds of the ritual instruments which I was increasingly drawn to both finding and using in my solo performances. I approached this goal through integrating my supersensible occult observations (clairvoyance and clairaudience) of the effects of these instruments; applying several techniques derived from my meditation practice; alongside my other spiritual and psychic activities, within the sphere of my musical creativity. I knew of nowhere to go at that time to study these ancient and sacred instruments but happily certain discarnate beings from several ancient civilisations were drawn into working with me - apparently, so I was told, through being attracted by the colours that my music produced upon the higher, invisible, planes. Together we advanced in pioneering the formulation of ways of working with such powerful sounds.

I began to unfold and develop ideas, which I later found out were associated with the fundamentals of Chinese and Indian music; Nada Brahma - the Yoga of Sound; the idea of sound as cosmic power, as energy. The discovery that tone / sound has a third, previously neglected dimension was very significant for me: Tone /sound is also spherical, even when one believes while hearing that it has only two dimensions, pitch and duration. We can sense that a third, depth, exists, but it eludes materialistic analysis, since it concerns the power, the magical potency, or 'value' of the sound - what one might refer to as its Essence. Space, when it is suffused by the power of sound becomes a 'sound-space', enfolded and enveloped by this 'sound-being' into which the listener has the almost palpable sense of being able to walk - a vibrant realm of sound-magic reflecting the spiritual communion found in ecstatic union within the Heart of Divine Love.

My personal 'spirit guide' is a Comanche, as was my father's, from which perhaps derives my very great love of Nature. This has been reflected in both my choice of sounds and my approach to improvising. I also tend to approach my instrumentarium as a 'garden' of sounds (flowers). Sometimes my compositions are like an imaginary walk around this garden e.g. "The Way of the Bowl". Yet another powerful influence upon my future creative path arose from my regular attendance at The White Eagle Lodge in London (a non-denominational Christian organisation devoted to the more esoteric and mystical teachings regarding the Cosmic Christ from White Eagle - a representative from The Great White Brotherhood), where I also encountered the posthumous teachings of Sir Arthur Conan Doyle (from the book The Return of Arthur Conan Doyle) and was deeply affected to learn of his personal remorse at having created Sherlock Holmes.

The sobering thought that I too would have to dace my own creations when I come to pass over into the next world resulted in completely rethinking my musical path. Henceforth, my creativity had to become more fully in-tune with my chosen Path of dedication to the Brotherhood Work. I had also read the books which were causing me to seriously reconsider my methodology - such as the writings of Corrine Heline, including Colour and Music in the New Age; Music the Keynote of Human Evolution, Star Gates, and "MUSIC, its secret influence throughout the ages" by the composer and theosophist Cyril Scott, who had likewise dedicated himself in service to the Master (dhyani chohan) of the Second Ray and music (Khoot Hoomi) and much of the hierarchy' s more spiritual view of musical forms was contained within the pages of his book. I cannot recollect any of the books that I had then studied, concerning the spiritual effects of music, having a good word to say about Jazz. In fact, it was decidedly quite the contrary. Admittedly these books were written prior to the advent of spiritual jazz as pioneered by John Coltrane and Albert Ayler.

Earlier during that period of my development, I had also absorbed certain ideas from reading John Cage and was happy listening to 'spontaneous concerts' of sounds/'music' in my everyday environment until I received an extremely ancient (800+ yrs) and very powerful Tibetan meditation cymbal the day before my 25th birthday in 1973. This was a 'sacred gift' given by a yogi from Tibet as a result of my request, two years earlier; to the Leader of my spiritual family for something to represent my past lives in Tibet. I often refer to that fateful day when the yogi first struck this unique ancient Tibetan meditation cymbal, for I saw a flash of silver-white, bluish light, whilst later the observed effect of this cymbal was to 'cleanse' my ears - to awaken my 'third ear'; I found that I heard sounds as if for the very first time after it was struck. It certainly was of inestimable value in assisting me in my experimental researches into the occult dimensions of sound. I had actually, personally made this cymbal in my last Tibetan incarnation, whilst several other instruments from that past life have also returned to me in this present sojourn, and it transformed both my life and my music.

At this time I was also assisted in my supersensible studies of my ancient and sacred sounds by a discarnate Tibetan from thousands of years ago, before Buddhism reached Tibet and, maybe, even before Bon had arrived there. It was through such profoundly insightful experiences that I came to distinguish between such Cageian 'sound-concerts' and, what we may term, 'animated' sounds - those behind which there was a consciousness/energy seeking to communicate itself. In other words, instances where, over and above the mere physical sound-vibrations, there was a meaningful message, consciousness, or other expression of the will/energy/being seemingly 'surfing' those 'sound-waves;' e.g. the quality of intention or volition behind the sound which we can perceive distinguishing a dog barking from a shaman chanting invocations or from a bus braking in the street.

With the assistance of my discarnate Tibetan friend I immediately discovered that certain of my ancient sacred ritual instruments did far more than merely produce a sound: - their vibrations also possessed very definite effects upon the inner levels; they indeed held certain 'magical' properties and often resonated with various meditative or heightened-altered-consciousness states. In short, they were intended as instruments to assist in the inward journey back to the Source. This distinction is also applied by Taoists to different foods, which they rate according to their varying levels of chi. As a result I have evolved the ability to divine the subtle level of sounds available to those who reach the final stage of Hatha Yoga, Laya Yoga.

Western civilisation is very Yang but I instinctively found myself adopting a Yin approach in 'following' these various sacred instruments into their own realm. Once I feel that I've thoroughly penetrated their mysteries I am then ready to work with them and feel that they become 'extensions' of my total being and body. A piece of music, for me, is like inviting various of these friends to a party to see how they get on together and where their combined energies will take them.

The unique connection between such truly sacred instruments, especially those from Tibet, and their ability to embody specific spiritual energies (having been psychically charged by certain Tibetan spiritual practitioners) led me deeper into discovering just exactly what lives within a single sound or note - in other words, what the instrument / sound is saying.

Sacred and Magical instruments such as these demand a very great sense of responsibility. Their sounds ring on for a long time and therefore don't lend themselves to athletic displays of technical virtuosity. Because these sounds act on inner or psychic levels, I was led to work with them accordingly. Such as an increased awareness and sensibility of the affect these sounds are having upon the various inner bodies/levels. Working in this manner, any change in direction or energy has to be initiated by an impulse coming from a higher plane than that of the perspective of mere imagination. Everything must be related to a centre of higher occult observation. Creating improvised music upon such instruments, within the common context of instincts stemming from the realm of the rational lower mind, is incompatible with, and fails to fully comply with, the deeper responsibilities incumbent upon their use.

Since encountering the Russian artist Nicholas Roerich (1874 - 1947) in 1973, I've been inspired to Create through Beauty, and have come to think in terms of Icons of Sound - vibrantly pure and powerful sounds, like Roerich's own use of colour - which may serve, as Roerich's paintings do, as a way into the inner dimensions of Life both; - a pax cultura inspiring and awakening those ready to encounter the deeper values.

One rather crucial aspect of musical improvisation involves how the improviser answers the question: - 'How do I choose which sound comes next? What is to follow any one sound at any one time?' Being a practitioner of meditation and contemplation, to a large extent this question is answered through additional determining factors arising from my supersensible observations regarding the creative effect that the sounds are having, or will have, upon the inner space. However, being very intuitive it follows that I'm also highly instinctive in my playing although, as in my astrological work, I like to use both aspects of my brain - rational and suprarational.

Currently I am somewhat surprised to find that far more compositional techniques are entering into my recent musical pieces. This has most noticeably resulted in more complex, richer, and thicker textures, etc. I've always been interested in the play of opposites (re my first article written for Microphone magazine - April '72 - titled One way Two play). My improvisational method is to create pieces comprising any combination from within one or more of the following polarities: Atomic-Oceanic. Simplicity-Veneering. Chaos-Order. Psychic potency-non-psychic appropriateness.

• Atomistic - each individual sound particle exists microscopically in and of itself (this often requires intense listening).
  • Oceanic - the collective waveform holds sway telescopically.
• Simplicity - one single sound/instrument dominates the soundscape - or where the music approaches conformity to a 'single' dimension.
  • Veneering / Layering - numerous textures co-exist.
• Chaos - an indeterminate form of layering using Oriental Aleatoric passages (organised chaos).
  • Order -numerous structural devices embody predictability through repetition producing a stasis perhaps as an overall mood/colour/feeling.
• Psychic potency - guided by Clairvoyant or Clairaudient observation.
  • Non-psychic appropriateness -guided by acoustical phenomena, the performing space, or conventional musical considerations i.e. quite simply the right sound for that time and place.

The 'veneers' approach actually arose for myself as a natural extension of my drumming style, influenced by the innovations of Elvin Jones and Rashied Ali, whereby poly-rhythms and multi-directional rhythms were freely adapted to a number of sounds / textures / colours / energies co-existing harmoniously together. Veneers can range between: a) simple - everything interrelated and going in one direction, like a tree or, b) complex - more akin to a street with cars and pedestrians moving at several rates and in their own directions, being aware of the movements of others only through necessity i.e. more independently co-existing. This symbol of the Tree is an important one for me. Put simply, in my approach to improvisation; the basic Plan/Idea or Inspiration (Source) is represented by the immoveable TRUNK whilst the Actual Performance correlates to the BRANCHES signifying the flexibility necessary resulting from adjustments to those several variable influences coming from both within and without.

My music falls into two main categories. Pieces utilising a huge range of soundscapes and then others focussing upon a single family of instruments or one specific energy (e.g. Heart Chakra Bowl) as well as Vertical and Horizontal preponderances. However, here are a few suitable favourites: -

HORIZONTAL "Temple of the Ancient Magical Presence;" track 2 of STAR PEACE (Mountain Bell Music label BEL CD 005) "Rays of Light from the Tower Penetrated often the Mists" (over 23 minutes of all 40 Gongs alone! - many techniques) BELOVODYE Volume 1; "Temple of Sound" (Petalumines only) track 1 of the CD NEW ATLANTIS (Celestial Harmonies label);

VERTICAL "An Ancient Pathway" (for Tibetan Bells, Tibetan Tantric & Mongolian Throat Singing with Didgeridoo) and; "The City of Light" (for Petalumines & Soundplates); both from the CD BELOVODYE Volume I (ISIS label); "Chintamani" track 3 of CRYSTAL PEACE (BEL CD 004);"The Way of the Bowl" (Tibetan Singing Bowls & Harmonic Choir) Track 2 of the CD THE HEALING BOWLS OF TIBET (BEL CD 006).

I still very rarely practise my music. I simply play music upon the instruments utilising a variety of approaches. I need to feel the Immediacy of the creative act and a vibrantly 'living' connection to my instruments whilst playing them - I wish to become absorbed into the Vibrant Realm of Sound! To 'practise' upon them, for me, brings in a far too objective approach that I may liken to contraception. I prefer to interact with them in a more interrelated or 'interactive' kind of way - a way in which the world that the instruments/sounds 'speak' of themselves, and my own 'inner world' of experience, dance together. I prefer to be always in a vibrantly creative and loving relationship with them, simply playing and being in the Instant Now.

For me, music must be fully alive; therefore, in striving to reconcile its Dionysian and Apollonian streams, I endeavour to ensure that none of this extra-musical awareness gets in the way. So, just as I have a larger 'garden' of sounds than are featured in every piece of music, so too, I never allow my large repertoire of correspondences (e.g. Numerology and other extra-musical disciplines used to align my creativity and spiritual aims) to become a barrier to simply playing - improvising freely and spontaneously as 'absolute music'.

Playing virtually exclusively with Metal instruments, the elements of melody and harmony have to be considered to a certain extent. Because I work mostly with sounds of very long duration, the melodic aspect can likewise be extremely drawn out e.g. the average pop song has a melody lasting around 12 seconds, my melodies have more in common with the song of the Humpback Whale which can last 23 minutes. However, unlike the Humpback Whale, my melodies may well not be repeated. The long sustain of each sound somewhat inevitably brings harmony into the picture as these invariably co-exist together.

My ideas of harmony arise more from consideration of how a particular instrument continues, changes or complements the effect of the previous sounds - rather than from conventional harmonic music. This is in part because my instrumental collection nowhere approaches the regularity of a musical scale. Thus if I've been playing an instrument which creates tranquillity and serenity, my sense of harmony dictates the choice of either another instrument which reinforces that energy (whatever its pitch) or else one that will change/modify the energy's direction with a different quality (related or otherwise). This is similar to constructive and destructive 'interference patterns.' However, I avoid creating sudden shocking contrasts in my music for meditation, as it is essential for the listener to be able to trust the musician(s) to lead them safely through their own inner world. This demands a very high degree of sensitivity from performers, and an acute awareness of the psychic potency of their sounds, so that they deal responsibly with the way these sounds affect a listener's whole being.

An understanding of what 'lives' within the several musical 'Intervals' (from an esoteric standpoint) is likewise an essential part of my musical vocabulary. The intervals in common use derive their meaning from the 'Overtone series' as produced by the human voice, strings, and tubes. Bells have an overtone structure different to this and in fact, we could say that each bell has its own unique family of overtones. Microtonality also features e.g. Indian music's 22 tones per octave or Harry Partch's octave of 43 notes etc. As may be deduced from certain of the foregoing comments, I'm also more interested in the philosophy of 'dissonant harmony' than with that of 'consonant harmony.' That is to say; future-oriented rather than rooted in the past. There may often be so-called 'discords' in my music but this may have more to do with many listeners being conditioned by centuries of 'equal tempered' tuning than anything else. As Partch pointed out, concords and discords are often reversed between the tuning of equal temperament and that of just intonation. I see the issue of Key signature as a Centring device whereby the overall 'Energy' (spiritual 'Keynote'), decided upon at the outset of a piece, is not deviated from throughout its entire duration. This is also reflective of a solar system where everything revolves around a Central Sun/Son. For instance, one such keynote or OM in one of my improvisations might be the quality of spiritual Peace.

Most mainstream Western music has a strong Horizontal emphasis; that's to say that it's 'goal - oriented' with a strong sense of direction and a definite sense of everything moving towards a certain (climactic) conclusion. This horizontal axis also rotates around relationships between the past, present, and future aspects of chronological time. It may be said that my music is based upon a more Vertical approach. That's to say that it's more static; more emphasised upon Being in and of the moment communing with That which lies beyond Time or direction, and so not needing the sense of going anywhere, and no need for any 'symphonic' arguments. Having an 'ending' to a piece I also find is not necessarily appropriate. It's 'time spent' in a situation (like reading a book whilst waiting for a train, bus, or coach and having to stop whenever the transport arrives i.e. not at the end of a chapter or book) or like a 'view from a window.' It's always the same and it's also ever-present. We choose to look through it for a 'time;' a period, or like time spent by a river: - it's a 'river' (archetype) and yet it's also a particular river (named) with water moving onwards towards a specific sea. Similarly, Western music is strongly Yang but I strive to embrace both Yin and Yang within the eternal Tai Chi. For this reason my music may, at times, also contain certain 'goal-oriented' procedures.

Playing instruments which are in excess of 800 years old, the Vertical aspect is derived from the fact that they were made to do 'One thing;' they make 'One Sound,' and countless people have listened to that sound throughout the past 800 years. To find that 'One Sound' of the instrument and to truly hear it 'speak' is to follow or enter into my way of playing music with such sounds.

Prized above all else in my life is the 'Mystical Experience.' This informs and inspires my music - I wish to share such unspeakable experiences through the language of 'Sound - Music.' In this context, 'Sacred Communion' is a state of at-one-ment with the Whole Universe and thus open to us all. As a result my music is consciously multi-dimensional, containing many levels, and each person responds with 'who they are' to this 'resonant field' and nothing is guaranteed or predetermined to happen. Nevertheless, such inherent potential is certainly present for those with eyes to see and ears to hear. Each instrument contains a variety of facets, alongside the numerous approaches utilised by myself, which provide a number of ways, levels, or degrees, of experiencing the music. This means that a listener who is unsympathetic to my highest aims can ignore all I say and quite simply enjoy the composition of actual sounds which they hear, in and of, 'themselves' - the 'music,' being independent of such esoteric considerations, stands firmly upon an earthly foundation, the appreciation of which needn't necessarily extend into the higher, inner, superphysical/paranormal regions. It's a kind of 'parallel world' of music which I strive to create and it's possible both to relish it by staying in one 'level' or to move between the several 'worlds' or, equally, to enjoy all levels simultaneously! A prominent inspiration in my music is an aim to mirror within the realm of musical sounds that experience of sharing Holy Communion within the Heart of the Supreme Intergalactic Universal Cosmic Being - the heightened experience of 'at-one-ment' with the Solar Logos; the One Great Spiritual Sun or Source of Light, Love & Life for all the entire Universe(s) or whatever others might name It. That way my activity may come to be of the greatest service towards the highest potential. Naturally, I make absolutely no claims that I am always successful in realising this aim!

Various extra-musical disciplines are used in structuring my improvisations. Being a 'Seeker of Truth' by nature, I must delve into and discover as much as possible about a subject, but the purpose of this 'wisdom' is to serve to realise my highest purpose which is to be of service to Life. Numerology is applied in what I term ritual music passages (see Appendix "Temple of Sound"). A further example, featuring another form of an applied inter-disciplinary technique, is found in the music for my large audio-visual work: Star Peace. On occasions I have experienced specific sounds in certain parts of my body, whilst I also have experienced this phenomena during sound healings probably arising empathically or as a form of confluent counter-transference.

The story begins in 1979 when whilst convalescing our eldest son Raphael with some friends in Switzerland. Being an endorsee of Paiste since 1973 we took a visit to their factory in Nottwil where, at one point, I listened to a set of tuned discs. I experienced certain of these discs resonating very strongly with each of my 7 cervical vertebrae (which to the mediaeval alchemists were related to the 7 planets). I immediately ordered a set of these precise pitches and then adapted the manner in which they're mounted in order to give maximum duration of tone and to better facilitate bowing and named it Planicerv. I later discovered that the Rosicrucian's had designated these self-same pitches to the very same vertebrae. Sometime later I developed a melody to be played upon these 7 discs derived from the planetary exaltation cycle. And used this at the start of Sagittarius (the 9th movement from Star Peace). For those interested, the following brief example may elucidate; beginning with the Sun, which exalts in the sign of Aries, the next pitch is then that for Mars, ruler of Aries, whilst Mars exalts in Capricorn, ruled by Saturn, providing us with the next pitch, etc.

During that same visit I was shown the larger 'sound discs' that had been rejected because they no longer could be said to produce a single pitch and also because they sounded extremely 'clunky' when struck using Paiste's plastic rod. However, in the instant it was struck, I immediately had the thought "How would it sound if we reduced the mass but kept the circumference?" I intuited that a harmonious shape from nature, such as rounded flower petals, might work best. The 'number' of petals was determined from the use of astro-numerology where a number is attributed to each planetary energy (e.g. 9 = Mars) whilst the diameter of the disc (e.g. 91/2" translates into 19/2 which reduces to 10 (1+9) and then finally to 1 = the Sun) was treated likewise, and the 'relationship' of these two planetary energies then 'harmonised'. I took the largest one back to our hosts home and the next day spent around 8 hours in his workshop hack-sawing and filing the disc into shape and was delighted to find that the resultant sound was a huge improvement. However, I did notice that the 'beat' phenomenon was most present when the disc was held level with the ear. Once back in London I was successful in experimenting with plastic drainpipes as resonating tubes, but these obscured access to my other instruments, and so I had another sudden flash to try the 'CONA coffee percolator funnels,' which in 1970 I had adapted as 'glass bells'. These worked just as well with the added brilliance in the sound coming from the glass and, of course, providing plenty of the necessary access! I called this invention a Petalumine - also in honour of Harry Partch who invented beautiful looking - and sounding - instruments at Petaluma. 19 of these were used in 'Temple of Sound' (New Atlantis CD). They also feature prominently in: - "The City of Light" from 'Belovodye' Vol.1; "Mountain of the Shining Ones" ('Divine Peace' BEL CD 007); "Temple of the Ancient Magical Presence" and "Gemini" & "Leo" from ('Star Peace' BEL CD 005 or the last two on 'Zodiac' Celestial Harmonies label)

Nonetheless, I don't consider my musical ideas/methods to be 'mechanistic' in nature, i.e. conforming to the Newtonian paradigm. That's to say that I don't subscribe to the belief that a specific instrument/sound, even when intended to have a certain effect, is guaranteed to produce that desired effect upon any one human listener (as cognised by themselves at that time and place).

Primarily as a result of a leaking studio roof, I've been unable to play upon my 'kit' (of around 600 instruments) for some years. This, alongside playing for little money and often performing in a festival situation where on/off times were to be kept to a minimum, meant that I was more regularly playing upon various very small collections from within the entire instrumentarium. This prolonged absence from actually playing also created something of a shift in my way of working whereby I was given far more time to actually 'think' about my musical objectives and consider, reflect, and contemplate just how successful in reflecting these objectives the resulting musical expression actually was.

Partly because of this, I am now able to carry my vision for a whole piece right down into its final form, leaving room for the final particulars to unfold during the improvising aspect, before ever touching any instruments. This latter is the case for the current piece Temple of the Ancient Magical Presence. The vision is sometimes depicted (simply in order to aid memory) in the form of a graphic score - always featuring Colours & often looking like a painting. However, whilst colour is used as part of the structure it is also an integral part of the structure and not simply a side issue - describing texture - or icing on the cake. When colour is used, it's as a determining factor in the structure of the music as only specific instruments (which 'create' any one colour) can be used. The graphic score delineates the ordering of the basic blocks of sound-energies i.e. a skeletal structure, which is to be abandoned if necessary should the inspiration of the moment demand it.

Nowadays, from necessity, I sometimes throw together a kit designed to play in the specific musical situation e.g. Tura (cello/keyboards, clarinet, bass/musical saw/didgeridoo & myself) and working in an instrumental trio with poet Owen Davis. But this is rare. Slightly more consistency is found with an ensemble comprising my wife and two youngest children playing upon gongs, conch shell trumpets, rain-sticks, Tibetan bowls - ululation bowls, water bowls, jump bowls, and hand bells.

Most solo performances, for some years past now, feature numerous selections from my collection of Tibetan Singing Bowls alongside my Tibetan Tantric chanting and Mongolian-style throat singing. I began to include 'voice' in my work in 1968 and more seriously in 1974. I also began playing Chinese Wind instruments (Flutes & Sheng) plus Home-made Boo flutes in 1970. On occasions (since 1977) I move into 'mixed-media' with 2 projectors and fader, using my own Nature-study photographs or the slides of paintings from the Russian artist Nicholas Roerich (I have over 1,000). Roerich's paintings are deeply spiritual, depicting many saints and teachers plus thousands of paintings of the Himalayan Mountains and temples.

Although my musical creativity has focused heavily, if not exclusively, upon my work with the Singing bowls of Tibet since 1990, I wanted to apply myself to the challenge of integrating them into my other instrumental 'families' for this particular project - Temple of the Ancient Magical Presence. This 29-year period collecting Tibetan ritual instruments has enlarged my collection to the point that I now have 16 Hand bells (drilbu); 5 pairs of Ting-Shags; 4 antique Meditation cymbals; 175 antique Tibetan Singing Bowls;

Full list of current Instrumentarium: -

2 Symphonic Gongs,
8 Tuned Symphonic gongs,
3 Sound Creation Gongs,
3 Planet Gongs all PAISTE;
then 12 Chinese Gongs,
1 Javanese Gong,
5 Burmese Kyeezees,
1 antique Horizontal Chinese Gong,
4 antique Eastern Flanged Gongs,
1 antique Burmese Bossed Gong;
2 PAISTE Soundplates (prototypes);
5 un-tuned Sound Discs; 7 tuned Sound Discs (for both I invented a special way of mounting, adapted for bowing. The 7 set are called by me 'Planicerv') PAISTE;
5 pairs Tibetan Ting-Shag (invocation cymbals),
4 Tibetan Ting - shag (meditation cymbals);
170 Tibetan Singing Bowls;
16 Tibetan Handbells,
9 Tibetan Bells,
1 Indian Handbell,
3 antique Chinese Resting Bells;
15 Chinese Resting Bells;
5 antique Chinese & Japanese Bell Trees; Ming Dynasty Chinese temple bell; set of (3) 400 year old Japanese Zen Buddhist Temple Bells (Densho);
9 Bhutanese Singing Bowls;
3 Burmese Chime Bowls;
8 Japanese Uchinarishi (small resting bells);
3 Crystal Glass Bells;
18 Upturned Bowed Bells (Nectarine - invented/adapted by myself);
17 assorted bells; set of 6 Glass Bells (CONA coffee percolator funnels);
10 Noah bells from India; antique Goat bells & Sheep bells & Cow bells & Camel bells & Indian Elephant bells & Greek fishermen's bells plus strings of Indian Crotal bells, small Indian elephant bells, Indian bells, tiny Spherical Crotal bells from India, Medium Spherical Crotal bells from India; various Indian bells; set of Pentatonic Bell Bars;
18 finger cymbals from various countries;
5 Chinese Cymbals;
24 Western Cymbals;
1 pair of antique medium Chinese large bell Cymbals;
1 pair of small Burmese large bell Cymbals,
6 small Chinese large bell cymbals,
3 'Maya' balls;
3 Hubcaps; 1 'mini car' gear wheel; Chrometallophone; Large Walterphone,
11 assorted drums;
12 Skull blocks; various Chinese Woodblocks;
2 South American Rainsticks; plus instruments invented, designed and handmade by myself :-
7 Ufoms,
3 Pyrotahermeezees,
5 Pyrahermeezees,
1 Spirotapetal,
20 Petalumines;
1 Very large Bell Plate; various home-made Tubular Bells; numerous home - made wind-chimes (brass, bamboo, glass, stone, seashells); home-made
4.5 foot long 'end-blown' Overtone Boo Flute;
3 Chinese Hsiao (or 'end-blown' Bamboo Flutes);
3 Chinese transverse Bamboo Flutes;
1 antique Sacred Conch Shell Trumpet from India;
5 conch shell trumpets;
1 Chinese Xylophone;
1 Child's Glockenspiel; various Shakers.

So something like a total of 40 Gongs; 71 Cymbals; 312 Bells; 12 Strings of Bells; 50 miscellaneous Metallophones; 11 Drums; 17 assorted Woodblocks and the rest.

I've studied and practised Spiritual Astrology since 1973 and so I've unfolded my own understanding regarding correspondences between certain other disciplines or systems concerning various 'energy' fields and my musical Sounds e.g. Sound and: - Colours; Planets; Constellations; Numbers; Chakras; Temperaments (4); Elements 4/5); Meditations, and their Healing qualities.

As an example, NUMEROLOGY can feature in my work through finding expression in various 'Ritual' cycles. One such instance is found in "Temple of Sound", Track 1 from my solo CD NEW ATLANTIS (1983) for 21 Petalumines, where the ending has a cycle based upon the number 7 applied in three ways. There are 7 total cycles, each being reducible to the number 7 (e.g. 43 =4+3= 7), played upon 7 Petalumines in an ascending order of pitch in the following manner -

3 Petalumines playing a 25 beat cycle repeated three times, 5 Petalumines playing a 34 beat cycle repeated twice, and finally, 7 Petalumines playing a 43 beat cycle repeated twice. This gives us a total of 7 cycles each adding to 7 and played upon a total of 7 instruments.

These are subdivided thus: - 25 (divided into 11+7+7) played upon 3 Petalumines repeated 3 times 34 (divided into 11+7+7+5+4) played upon 5 (3+2) Petalumines repeated 2 times. 43 (divided into 11+7+7+5+4+4+5) played upon 7 (3+2+2) Petalumines repeated 2 times.

For instance in the initial 25 beat cycle the first Petalumine is struck upon the first beat, then the second Petalumine is struck after 11 beats, whilst the final Petalumine of the cycle is struck after a further 7 beats and continues for another 7 beats before the next cycle begins.

So the number of Petalumines increases thus: - 3+2+2 whilst the repeated cycles likewise evolve 3+2+2. The choice of numbers comprising each cycle also links the trinity of Trans-Saturnian planets (the Intergalactic Messengers), namely Uranus, Neptune and Pluto, with Mercury the Messenger of the gods. Then the timing is derived from the pulses produced by the first Petalumine counted in Triplet rhythm so that in section one there would be a 25 beat cycle based upon 75 pulses of the first Petalumine; in the second cycle of 34 beats played on 5 Petalumines there would be 102 pulses and finally in the 43 beat cycle played upon all 7 Petalumines we have 258 pulses. So we have a cycle of 25x3= 75, & 34x2= 68, & 43x2= 86 therefore, a total of 229 beats (reducing to 4) timed from 687 pulses reducing to 21 and then to 3 (Jupiter) which, linked with the 7 (of Neptune), brings in the constellation of Pisces the final or 12th sign - plus the added vibration of Uranus which is said to be related to the secrets of sound! At its highest this would correspond to Mastership. However, at the end of the cycle the sounds are allowed to fade naturally so that ultimately, in the end, an indefinite number of pulses would have occurred producing certain ambiguousness.

Similarly in DEEP PEACE (1980) on Side A, there's a 49 beat cycle (7x7) repeated three times and played upon two Bells a 16th century Japanese Zen Buddhist Densho and 19th century Chinese Resting Bell - broken down into 7+6+7+6+6+8+9= 49 comprised of 2x7, & 3x6, plus 1x8, & 1x9. The meaning of this derives its significance from certain astro-numerological correspondences but basically; it is representative of the twin pillars of the Temple Archway whereby all the Feminine and Masculine planets are harmoniously working together.

I should like to thank both Trevor Taylor for his interest and support and Maxwell Steer for his editing skills.