Guest post by Ian Hinton-Smith
Bride did not hear the band stop playing and it would appear that the musicians continued to play even as the water enveloped them. My initial speculations centred, therefore, on what happens to music as it is played in water. On a purely physical level, of course, it simply stops since the strings would fail to produce much of a sound (it was a string sextet that played at the end, since the two pianists with the band had no instruments available on the Boat Deck). On a poetic level, however, the music, once generated in water, would continue to reverberate for long periods of time in the more sound-efficient medium of water and the music would descend with the ship to the ocean bed and remain there, repeating over and over until the ship returns to the surface and the sounds re-emerge. The rediscovery of the ship by Taurus International at 1.04 on September 1st 1985 renders this a possibility. This hymn tune forms a base over which other material is superimposed. This includes fragments of interviews with survivors, sequences of Morse signals played on woodblocks, other arrangements of the hymn, other possible tunes for the hymn on other instruments, references to the different bagpipe players on the ship (one Irish, one Scottish), miscellaneous sound effects relating to descriptions given by survivors of the sound of the iceberg’s impact, and so on.
Ernie was a Portland area Jazz legend, along with his brother, saxophonist Bill Hood. Ernie played with many great jazzbo dudes in the 30’s and 40’s, before his career was cut short by polio. He ventured into community radio and also played improvisational Zither music. His son Tom (who gave me this LP) once played me a recording at my house at 3AM of Ernie jamming in his kitchen with Airto Moriera. It was amazing! Ernie went on to help co-found KBOO radio, where his son is now the station engineer (and a damn fine DJ).