Like many of us, my most personally cherished “mug” has been a discovery of a lifetime.
I say this because, regardless of the many drinking vessels I have acquired over the years, each and every one of these has purely been a “step up” from the last, towards a perceived eventuality of finding… my perfect mug.
I don’t know how many of you reading this might relate to this humble phenomena, but in a general sweep of the social rumblings, I would be inclined to regard this as true for many others.
Ten years ago I acquired my grandparents’ French Soup Bowls, which are small as bowls go, but large as coffee mugs… um, go. They have handles and also… they have lids.
Originally a lounge Pianist, yet forever intimidated by its inconvenience of size, expense and formality, I found myself in a passionate love affair with a new instrument.
Invented in 1972 by Brian Wittman, a Hawaiian musician, guru and gentleman, the Xaphoon®, more popularly known as The Pocket Sax, is a Trumpet sized Saxophone, that not only fits in your pocket, but whence the dedication and mutual embrace is spoken, will turn your mind inside out as it screams the blue soul of a real Saxophonist.
I had spent many years researching new and innovating Blues Harp designs, specifically focussing on alternate tunings or reed configurations, which allow an otherwise regular harp to be played chromatically off the bat.
There are many.
Most notably the Suzuki Sub30 which actually incorporates an extra ten reeds into the same 20 reed infrastructure, acting as silent “sympathetics”, only sounding when the player instructs them through embouchure.
Yet whilst it was my frustration with an instrument’s limitations that led me to this decade long investigation, it would soon come to pass that this very disposition of the Blues Harp’s design would be the very thing that solves my paradox.
All my life I have taught people a blessed miracle of music, that whence the passion of creativity resides within one, an orchestra can be painted from a pallette of only three colours.
That is to say, music is not the art of playing as many notes as possible as quickly and as loudly as possible… it is the art of creating masterpieces out of only the air, or thus from a flute without even any holes.
A philoscientific model of our universe, by Simon Edward Jepps.
For navigation use the ⬤ ⬤ ⬤ segmentation tool atop.
There have been more continents written about in antiquity than there have been prophets who ruled the world.
The true shape of the Earth art depicted in the contours, lines and colours, of an aged wise man’s face, who’s goodness and virtues proclaim upon his forehead, the infinity of God’s majestic and miraculous work.
For the Earth is flat and the sky seer of its trueness.
Once upon a time people embraced each other as uniquely individual and creatively diverse societies. We understood one another as persons of the eternal Earth, rich in a kind hearted spirituality and devotion to our deeply routed and interconnected families. We did not need anything more, for life itself was our most precious desire.
For thence the Earth was ever growing and neverending, forever the harmony and shaping of our lives, each eternal, each everlasting and each of our souls the fire of an infinite continuum unto God.
We did not live our lives in ever decreasing circles of doom and gloom, going nowhere but deeper and deeper into our imprisoned worthless minds, unto a meaningless fate of who’s only purpose is to serve the scientists who bring us bad news.
Nay and herewith, woe betide those sinners of today, who would dictate our lives as insignificant pale blue dots on a worthless canvas of forever falling darkness and eternal unholy doom.
For we are free to believe we are free and we are free to believe our world is peace.
Subconsciously, whilst I will always refer to the Xaphoon as the Pocket Sax, it has always been in my heart to call it my “Saxpet”.
This is not merely because it feels like a mutually adoring “pet”, but in a technical sense also.
Brian Wittman, the instrument’s inventor, describes the Xaphoon as a combination of, or more accurately the middle ground between, the Saxophone and the Clarinet.
Yet whence having played the instrument at volume in an orchestral Jazz setting, in particularly the hard and indestructible resin model, you feel it to absorb and harness the strong energy of the brass instruments being played.