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Though a sophisticated instrumentalist himself, he did not mind playing with people who had comparatively few skills. something interesting might always happen. Its Nature and Practice in Music. By a process of osmosis from musicians he met, sustenance from odd jobs, record-listening bebop guitar pioneer Charlie Christian was his early model and some later self-education in theory and arranging, Bailey became a pro on the UK dance-band and studio circuit in the early s. With his passing, the world has lost an inimitable musician and an implacable enemy of commercialised art.
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But they seem to be able to take anything. Though he never abandoned the conventional instrument, he was mixing warped chordal ideas, serialism's lateral melodies, Cage's elevation of silence, pedal-operated electronics and a brittle attack borrowed from percussionists. He likened improvisation to spontaneous relationships and conversation - full of accidental harmonies, misunderstandings, passion and indifference. Pat's sitting in the middle of what looks like the console of a , with four guitars and a distortion unit that could be used for dispersing mobs. Which is great to somebody like me.
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And, though his combativeness never left him, he seemed to take heart from the musical eclecticism and dissolution of idiomatic differences he had done so much to encourage. I find it very comfortable. Bailey, who has died aged 75 of complications from motor neurone disease, was a guru without self-importance, a teacher without a rulebook, a guitar-hero without hot licks and a one-man counterculture without ever believing he knew all the answers - or maybe any at all. By , he was playing Blackpool seasons for Morecambe and Wise. He had done the same for musicians and listeners all over the world for 40 years or more as a free-player and a freethinker, a Frank Zappa for the world of spontaneous performance. Improvisation in Music, an ambitious venture that Bailey both scripted and presented. Which is great to somebody like me.
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