11 pieces of early Fluxus style home-made electronics (meaning only that it was done on cheap home equipment, not in radio stations, university facilities or studios, though, in fact, two pieces here were made in studios ). There is much made of poor quality, overloading the equipment, creative use of household appliances and objects for source sounds. Especially interesting - for me - is the 1962 piece 'Thais' - a cutup collage of Massenet's opera, with some jazz and other snippets flown in - a very early plunder piece. Most of these works were commissioned for dance, multimedia performances or the Living Theatre. For them there is a fair amount of radical noise, almost Mezbow-like at times (though decades earlier). In general, this is extremely interesting rather than a listening pleasure. Excellent book with photographs and text by Corner himself, about the works, their generation and their application.
Gong and bell sounds with background roar and occasional traffic by Fluxus alumnus Corner, performed mostly at a concert in New York at The Kitchen in 1974 (there is information in the autographic booklet, and it's good information, but it doesn't say much about the actual recordings, which are clearly live and fairly lo-fi - not a bad thing - especially the unidentified first piece, where Corner is joined by Bill Fontana). For the other two pieces there are 4 performers with a variety of gongs and a bell tree. There are also low piano notes in the first one. Both are pretty cleanly recorded and good on the ear. Especially the first: deep resonating gongs, low strings, the sound just hanging around...hard to go wrong.
Another excellent collection of pieces for violin or guitar, mingling hillbilly/blues riffs played with a raw sensibility, minimal structural movement and non-generic repetition – art repetition played with feeling - a hard trick to pull off. This CD also Includes the really great swelling guitar pieces, ‘leather High in A’ and E.
A remarkable collection of hillbilly minimalism, by one of the forgotten heroes. These are blocks of generic material subtly changed by reiteration and lack of development. Like Beefheart, Henry Flynt is one of the rare examples of musicians who fearlessly experimented with the blues and folk forms in the face of all contemporary and experimental music orthodoxies. An important recording and a great listen.
Later work (1980) for electric violin and tambura - a drone with strong lines, harmonics, sliding and a very confident, direct and inspired top line that is completely gripping. Raw but absolutely great. No frills. And great sense of tuning.
An Alga Marghen box with 154 page book and a lot of original documents, including full colour original posters and programmes from the New York Avant Garde Fesival, which Moorman organised between 1963 &1980. Her work with Nam Jun Paik has rather overshadowed the rest of her career so this collection re-inserts her in the heart of the New Music activities of the time. There are performances of works by Cage, Toshi Ichiyanagi, Guisppe Chiari, Earle Brown, Sylvano Busotti, Stockhausen (+ robot) and others, a choral work performed by Paik, Ben Patterson, Philip Corner, Malcolm Goldstein and Jackson Mac Low, and of course collaborations with Nan Jun Paik (one with a tape collage made by Ornette Coleman, apparently). There is also a long interview with Moorman. Last few copies of a Limited Edition of 500 copies.
Postage: uk - £6.25, europe - £10.88, rest of world - £20.72
Troublemaker, prankster, collaborator with Cage and Stockhausen, Fluxus alumnus Paik has here for the first time some of his recorded work released on a CD . Includes Hommage a John Cage (for tape and piano) and Study for piano and Simple (1958-60) both of which are in effect, classic early tape-works - incorporating plenty of stolen - sorry, referential - audio material. Plus Prepared Piano for Merce Cunningham (1977) a live performance by Paik for detuned piano and voice, and Duetti (as above but with Takis duetting on his metal sculptures). An historic release, very nicely presented.
Fluxus luminary Patterson presents 4 works from 1960 and '61, including the famous Paper Piece (a group of people with paper to be torn, shaken, crumpled and so on) his variations for Double-Bass, simultaneous mumbling and a recent work 'A Simple Opera'. Amusing and irritating by turns (as conceptual art can often be). It's a valuable record of the period and Patterson's first release - though the recordings, from fluxart gatherings, are 40 years old and have plenty of audience reaction included. For historians, students and Fluxophiles only I'd say. Foldout booklet with note and original scores.
From the festival of microtonal music, four pieces: a commissioned version of Terry Riley's 'In C' in just intonation for just-fretted guitars, harpsichord, viola, pulse guitar and kanon (a kind of monochord I think; sleeve notes are unclear); two microtonal melodies for theremin and trombone, very successful, by Fluxartist Philip Corner; Cage's Ten for ten musicians, and Johnny Reinhard's mighty 'Cosmic Rays' for string quartet shifting through various harmonic systems and employing serial techniques, aleatorics and comic books as organising structures.
Monograph on one of the central figures in early Japanese sound/art and founding member of the improvisational group Ongaku (1960) who explored conceptual art, happenings and, noise performance, and later mutated into Tokyo Fluxus. He moved to New York in 1972 and has experimented with indeterminate compositional techniques, complicated games, electronics and damaged media in art, dance (Merce Cunningham) and gallery contexts. The book, 118pp 21 cm x 25 cm seriously explores and expounds Tone's work and career through a substantial interview with Tone himself and essays by various hands including Robert Ashley, Hans Ulrich Obricht and Achim Wollsheid, that cover his early and subsequent work, aesthetic evolution, performance practice, relation to noise, sonic calligraphy and C20 avant garde art movements - liberally Illustrated with visual scores, photographs and selected documents. The CD features 7 performances - for glissando ensemble, flute and computer, electronics, 'wounded' CD remixes, small ensembles and electronics - all dating from the '80s and '90s, except 'Anagram for Strings' (1961). This will be indispensable for students of the growth of noise-experiment and fluxart from the late '50s, and is a comprehensive study of this important historical actor. PLUS POSTAGE: UK £1.85, EUROPE £2.80, REST OF WORLD £4.50