After the early evening launch party for the first edition of my Works of Stockhausen in 1976, a few of us went straight from the publisher's London office in Conduit Street to a Rolling Stones concert at Earl's Court, the centrepiece of which was a giant mockup of the band's iconic Mick Jagger lips with a poking tongue that actually moved. The same message of impish disobedience is reflected in Lucifer's Dance, Stockhausen's rather more challenging image of a wind band as a grimacing face, on the one hand the taunting clown face of a circus hall of mirrors, on the other a tribute to the machinelike discipline, svelte orchestration, and curious up-and-down, side-to-side gymnastics of American jazz of the big band era of Duke Ellington and Glenn Miller.