Ted Milton: An Octogenarian Visionary's Enduring Art and Legacy
At 82, Ted Milton—saxophonist, poet, and artist—continues to defy convention. He is currently gearing up for a European tour with his band Blurt and simultaneously releasing a new album with his duo, The Odes. Beyond his musical endeavors, Milton also crafts record covers for his tour merchandise, demonstrating his multifaceted artistic commitment.
Milton's career has intersected with pivotal moments in British postwar history. He recounts sharing taxis with William S. Burroughs in the early 1960s, while Eric Clapton once hailed him as a visionary. His distinctive puppet show was featured in Terry Gilliam's 1977 film Jabberwocky, and there are whispers of his involvement in a promotional film for Pink Floyd's 1967 track "Scream Thy Last Scream." His long-running band, Blurt, known for its energetic, jazz-influenced sets, features drums, guitar, and Milton's signature horns and vocals. Graham Lewis of Wire lauded their groove as:
"utterly fabulous."
Exploring a Legacy: The Last Puppet Show
A new film, The Last Puppet Show, directed by his son George Milton, delves into Ted Milton's extensive body of work and intricate family relationships, brought to life through newly reanimated puppets. Milton, who has been married three times and is a father of five, described the film cautiously:
"like a therapy session for kids"
He admitted his apprehension, adding:
"That's what I'm afraid of."
Early Life and Bohemian Beginnings
Milton's own upbringing fostered a blend of independence and rebellion. Sent to boarding school at age 11 after his parents relocated to West Africa, he found refuge in music, immersing himself in the sounds of Elvis, Carl Perkins, and Little Richard, which fueled his disruptive attitude. He pursued art studies in Cambridge, where he became embedded in the local jazz scene before joining the London bohemian set. It was here he met poet Pete Brown, who championed his poetic talents.
In the mid-1960s, Milton resided in a bohemian hub in Long Acre, Covent Garden. Eric Clapton was a frequent visitor during this time. In his autobiography, Clapton reminisced about Milton's unique ability to interpret music through dance and acting, describing it as:
"a real awakening."
Roger Law, co-creator of Spitting Image, who first met Milton at Cambridge School of Art, observed Milton's consistent rejection of conventional success. Law highlighted their shared dark humor and appreciation for the absurd, noting:
"If you talk to Ted, you can’t tell the surreal from the reality."
The World of Puppetry
In the late 1960s, Milton transitioned to a puppet theatre in Wolverhampton, evolving into glove puppet shows which he termed "performance animation." Law lauded Milton's remarkable skill in animating puppets. Milton himself reflected on puppets' unique power, stating that their lack of inherent emotion offered:
"really potent possibility to get into people."
His puppetry led to unconventional support slots for musicians like Eric Clapton and Ian Dury. He vividly recalled a 1976 performance supporting Clapton in the round, where, despite the vast audience, he endured shouts of "fuck off!" from some attendees.
Milton's performances were characterized by their anti-authoritarian messages and a distinctive Brechtian aesthetic. His cast of characters included Deepthroat Porker, Constable Nosey Parker, and The Egg Dog. His puppetry garnered significant recognition, featuring on Tony Wilson's So It Goes TV show in 1976 and later integrated into Gilliam's Jabberwocky. When he subsequently formed Blurt, Wilson signed them to Factory Records, and Wire extended an invitation for them to perform at their shows. Wire's Graham Lewis described Blurt's live acts as:
"totally captivating."
Personal Reflections and Enduring Views
The Last Puppet Show offers a nuanced look at Milton's past self, seen by his associates as a driven artist but by his family as a sometimes wayward father. Milton candidly admitted:
"I don’t suppose I made any attempt to make any concessions to anybody anywhere along the line."
He also recalled a difficult memory of being physically assaulted by a former bandmate.
Milton's anti-authoritarian convictions remain steadfast, though age has introduced minor compromises, such as performing seated. He provocatively defines charisma as a "form of psychosis" and observes a personal decline in intense self-consciousness, reflecting:
"I’m not like that any more."