We've just been alerted by Karl T to the heartbreaking, pointless death of Rod Poole, Oxford guitarist. He was stabbed to death in the car park of a Hollywood restaurant, the LA Times reports:
The incident occurred about 9:45 p.m. Sunday in the parking lot of Mel's Drive-In in the 1600 block of Highland Avenue. Officers answered a call of an assault with a deadly weapon and found Roderick Poole, 45, with multiple stab wounds. He was taken to Cedars-Sinai Medical Center, where he died at 10:06 p.m.
It appears that the husband and wife who have been arrested and charged with Rod's murder had nearly run him over; Poole's remonstrations with them had escalted into an argument which ended in the stabbing. The couple, Michael and Angela Sheridan, are being held in jail with bail set at a million dollars per head.
Poole was born in Oxford in 1962, finding his first musical feet in the Oxford Improvisors' Cooperative in the early 1980s. The group, of which he was a founder memeber, promoted gigs in the city featuring the earlier generation of free improvisers, with members taking the chance to offer support for them.
It was during his time with the co-operative that he developed a solid friendship with Shake Appeal, the band who would eventually transmogrify into Swervedriver.
In 1989, Poole relocated from the City of Dreaming Spires to the City of Angels, and in his new home Poole carved himself out a career as one of the very few musicians for whom the term "genre-defying" is apt rather than an empty cliche.
Ink Blot Magazine attempted an explanation:
Rod Poole uses just intonation, a tuning system with different underlying mathematical relationships from conventional western turning, to coax overtone-rich sounds from his guitar. His music doesn't progress along a linear melodic path, but it also avoids the pronounced discontinuity characteristic to free improvisation. Instead, it focuses on gradually evolving changes in timbre and texture. Poole plucks intricate figures which become surrounded by an aura of ringing overtones; as his finger-picked patterns change, that aura shifts and shimmers like St. Elmo's Fire around a ship's mast. The effect is a little like that achieved by an Indonesian gamelan orchestra, but Poole does it with one guitar.
Talking to LA Weekly, Poole came up with a slightly simpler description of what he did:
“I just look at it as... improvised acoustic-guitar music,” he says, weighing each word. “Tuned, improvised acoustic- guitar music”
His body of recorded work isn't the widest, but his enthusiasm and skill made him one of the key figures in LA's mainly-underground microtonal movement. Beyond his solo work, Poole also played in two bands: Voice of the Bowed Guitar and the Acoustic Guitar Trio.