32 ~ Friday, March 19, 1999 ~ North Shore News

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Photo Grman Reinhar?

AL Neil played on his 70th birthday at the Atelier Gallery in Vancouver.

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“Phad tour or tive dines strung trom one of the bunks to the other, suspending socks. underwear, the stuff trons dhe beach, cedar boughs, mays, and as the weeks went along, | strung up anything that fancied me to demar cate my space,” Nell said in 1Y8Y.

His experience with the Canadian arullery at Normandy and bevond the beaches during the Second World War placed him firmly in the «amp of the European Dadaists who cane betore hint and reacted so forcefully in art against the Chaos and horror or the First Wodd War.

Neil carried ditt innovative spint imte the realm of bebop as a pranise and founder of the Cellar Jazz Club in Vancouver in 1952. Daring this period he worked with fellow jazz wreats Orneure Coleman, Art Pepper, Sonny Reda, Don Cherry and numerous others,

In 1979 David Rimmer produced a 40- minute National Film Board documentary on Neil called Ad Nei, A Portrait.

In 198] Neil published Slamuner a wild col lection of short stories, Light years later came his novel Changes — an autobiographical work that follows the exploits of jazz pianist, heroin addier, poet and philosopher Seamus Finn.

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Finn's counterpart Al Neil continues to split his time in the void that is “thereness™: nwo points bernween Dollarton and a Vancouver home with fellow artist Cacol [tter.

Seeking a way out of darkness

ARTIST and jazzman Al Neil in his own words:

From Chaiges, published bw Nighowood Editions in 1989; advice to fellow musicians — “Stop lisrening to music Immediately, especially your own, Sit stock still in the locus, breathe deeply fom the old gut reactor and tune in on some hard-edge clectron vibrations and other groovy pataphysi- cal nucterings (rom the void.” Gon writing Changes — “This isn’t. a story book, it is a spermatazoidal dance of vour aura. What spot to tind myself in: typewriter, paper, stalling for dmc.” Bon jazz: “With jazz, 1 turn aside for only the most urgently expressed ery, Phe more intense the idea or emotion described or expressed or symbolized in the music, the More it surrounds me with its meaning, its deeps, and Tam com- pelled to surrender to its resonance. The mean of music is non-verbal as in non-objective paint- ing.”

——— ee

Bon Second World War Normandy — “Drove off the barge in my jeep, in the middle of the night, tlk flying, later to make ita hobby smashing it and others to smithareens on the bloody felds of Europe. Bad drunken driving. EF... those jeeps and those fields, this beach is not Normandy, and (.. chase same days to come when they push that mushreom button. I'm digging my own casket to hide in, this sand is my home.”

Bon heroin: “Time doesn’t exist. Five minutes is an eternity and there is nothing to be gained here, it is deeper and emprier than steep. An umbilical void, empty of ail ritual and com- plaint, desireus of nething, having nothing. An opaque screen through which neither death nor plenitude. to which one is close, is visible.”

In 1989, ina Western Front publication called Origins, Neil offered this nugget on motivation: “Ir would be dumb and inconsis- tent for me not say above all T seck a way out of darkness.”

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