The Holmes Archive of Electronic Music

Youseff Yancy--Pioneer of Electronic Jazz, Part 2

Episode 37
Youseff Yancy--Pioneer of Electronic Jazz, Part 2
 
Playlist
Youseff Yancy and Genie Walker, "That Look" (circa 1979 from a privately recorded cassette tape). This recording is from a cassette and was digitally restored by Genie Walker.  Composer, vocals, Genie (Sherman) Walker; flugelhorn, electronics, Youseff Yancy. Recorded circa 1979. 3:41.
Byard Lancaster, “Sweetness” from Documentation The End of a Decade (1980 Bellows). Theremin, Youseff Yancy; flute, Bayard Lancaster; vocal, Joan Hanson. This recording for solo voice and Theremin was later sampled in entirety for a rendition called “Heavenly Sweetness” by Better Daze, complete with electronic accompaniment (1995 Ubiquity). 4:25.
Garrett List / A-1 Band, “Sweetness” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11.
Garrett List / A-1 Band, “Fly Hollywood” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. 4:12.
Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That’s Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23.
Hooverphonic, “‎L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:48.
Hooverphonic, “‎Jackie Cane” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Theremin, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 4:21.
James Baldwin, David Linx, Pierre Van Dormael , “A Lover’s Questions Part II” from A Lover's Question (1999 Label Bleu). Poetry written and read by James Baldwin; produced by David Linx, Pierre Van Dormael; Trumpet, Theremin, Youseff Yancy; Harmonica, Toots Thielmans; backing vocals, Téjan Karefa-Smart; Percussion, Chris Joris; Saxophone, Flute, Percussion, Voice, Byard Lancaster; Vocals, Deborah Brown; Vocals, Drums, Percussion, David Linx. Poetry of James Baldwin set to jazz, features Yancy on two tracks. 6:47.
Opening background music: Garrett List / A-1 Band, “Passions of Miles” from ‎Fire & Ice (1982 Lovely Music). Composed by, Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. 5:54.
Second background track: Byard Lancaster, “Blue Nature” from, Documentation The End of a Decade (1980 Bellows). Theremin and trumpet, Youseff Yancy. Recorded in New York in 1979, this is a multi-tracked, solo performance by Yancy on his own composition. One track of straight trumpet, at least one track of electronically modified trumpet, and another track of Theremin. On the liner notes, “B. Lancaster acknowledges the spiritual and education guidance from Youseff Yancy and family.” 2:43.
Opening and closing sequences voiced by Anne Benkovitz.
 

Listening to Malcolm Cecil and T.O.N.T.O.

Episode 36
Listening to Malcolm Cecil and T.O.N.T.O
Malcolm Cecil’s synthesizer setup was known as T.O.N.T.O., an acronym meaning The Original New Timbral Orchestra.
Playlist
Caldera, “Share With Me the Pain” from A Moog Mass (1970 Kama Sutra). Synthesizer programming and engineering by Malcolm Cecil and Robert Margouleff; spoken vocals, Malcolm Cecil; tenor vocals, Robert White; harpsichord, John Atkins; synthetic speech effects, Robert Margouleff’ cello, toby Saks. 4:31
Tonto's Expanding Head Band, “Timewhys” from Zero Time (1971 Atlantic). Written by, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Lyrics by Tama Starr. Recorded with an expanded Moog Modular III synthesizer. This was prior to expanding their system into what would become T.O.N.T.O.. 5:03
Tonto's Expanding Head Band, “Cybernaut” from Zero Time (1971 Atlantic). Written, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Recorded with an expanded Moog Modular III synthesizer. A nice demonstration of what they could accomplish with the Moog. 4:31
Stephen Stills/Manassas, “Move Around” from Manassas (1972 Atlantic). Synthesizer, electric guitar, organ, vocals, producer, Stephen Stills; keyboards, Paul Harris; drums, Dallas Taylor; guitar, Chris Hillman. Synthesizer programming, Malcolm Cecil. 4:17
Stevie Wonder, “Keep on Running” from Music Of My Mind (1972 Tamla). Synthesizers, ARP and Moog, Piano, Drums, Harmonica, Organ, Clavichord, Clavinet, Stevie Wonder. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. Adds the ARP and another Moog to the T.O.N.T.O. setup. 6:38
Stevie Wonder, “Evil” from Music Of My Mind (1972 Tamla). Synthesizers, ARP and Moog, Piano, Drums, Harmonica, Organ, Clavichord, Clavinet, Stevie Wonder. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. 3:31
Pat Rebillot, “The Naked Truth” from Free Fall (1974 Atlantic). Synthesizer and electric piano, Pat Rebillot. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. 3:28
Tonto, “The Boatman” from It's About Time (1974 Polydor). Written, programmed, engineered, produced, and performed by Malcolm Cecil and Robert Margoulff. Features the expanded analog version of T.O.N.T.O. featuring ARP, Moog, and Oberheim equipment. Note the rain and thunder sounds created using the synthesizer. Reminds me of Beaver and Krause from this era. 5:04.
Tonto, “Tonto’s Travels” from It's About Time (1974 Polydor). Written, programmed, engineered, produced, and performed by Malcolm Cecil and Robert Margoulff. Features the expanded analog version of T.O.N.T.O. featuring ARP, Moog, and Oberheim equipment. I think you can hear the joystick that Cecil created. 8:25
Mandrill, “Peaceful Atmosphere” from Beast From The East (1975 United Artists Records). T.O.N.T.O. played by Claude “Coffee” Cave, Carlos Wilson; electronic music programming, Malcolm Cecil. From the liner notes: “T.O.N.T.O. The Original New-Timbrel Orchestra. This instrument consists of twelve synthesizers linked together and played simultaneously. A polyphonic touch-sensitive also plays also plays an essential role in the creation of sound when the instrument is played. We thank you Malcolm Cecil for the creation of T.O.N.T.O. 3:19
Mandrill, “Honey-Butt” from Beast From The East (1975 United Artists Records). T.O.N.T.O. played by Claude “Coffee” Cave, Carlos Wilson; electronic music programming, Malcolm Cecil. 4:58
Stairsteps, “Theme Of Angels” from 2nd Resurrection (1976 Dark Horse Records). Synthesizer, T.O.N.T.O., Billy Preston; T.O.N.T.O. programmed by Malcolm Cecil and Robert Margouleff; produced and engineered by Robert Margouleff. Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass, Kenneth Burke; Backing Vocals, Ivory Davis; Backing Vocals, Stairsteps; Drums, Alvin Taylor; Guitar, Dennis Burke; Keyboards, Billy Preston. 3:18
Stairsteps, “Salaam” from 2nd Resurrection (1976 Dark Horse Records). Synthesizer, T.O.N.T.O., Billy Preston; T.O.N.T.O. programmed by Malcolm Cecil and Robert Margouleff; produced and engineered by Robert Margouleff. Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass, Kenneth Burke; Backing Vocals, Ivory Davis; Backing Vocals, Stairsteps; Drums, Alvin Taylor; Guitar, Dennis Burke; Keyboards, Billy Preston. 4:26
Quincy Jones, “I Heard That” from I Heard That!! (1976 A&M). Synthesizer, Dave Gruisin. Synthesizer programming by Malcom Cecil, Robert Margouleff, Paul Beaver. 2:12
Quincy Jones, “Theme from ‘The Anderson Tapes” from I Heard That!! (1976 A&M). Synthesizer, Dave Gruisin. Synthesizer programming by Malcom Cecil, Robert Margouleff, Paul Beaver. Synthesizer, Ed Kalehoff. Also features a vibraphone solo by Milt Jackson, a trumpet solo by Freddie Hubbard, Toots Thielemans on harmonica, and Bobby Scott on piano. 5:05
Steve Hillage, “Octave Doctors” from Motivation Radio (1977 Virgin). Producer, Engineer, Synthesizer T.O.N.T.O., Malcolm Cecil; Synthesizer & Saucersizer, Vocals, Lyrics, Miquette Giraudy; Composed, Arranged, Lyrics, Guitar, Guitar Synthesizer, Voice, Shenai; Steve Hillage. 3:30
Steve Hillage, “Radio” from Motivation Radio (1977 Virgin). Producer, Engineer, Synthesizer T.O.N.T.O., Malcolm Cecil; Synthesizer, Vocals, Lyrics, Miquette Giraudy; Composed, Arranged, Lyrics, Guitar, Guitar Synthesizer, Voice, Shenai; Steve Hillage. 6:11
Gil Scott-Heron & Brian Jackson, “1980” from 1980 (1980 Arista). Produced by Brian Jackson, Gil Scott-Heron, Malcolm Cecil; engineered and mixed by Malcolm Cecil; Synthesizer (T.O.N.T.O.), piano, electric piano, keyboard bass, Brian Jackson; composer, guitar, piano, vocals, Gil Scott-Heron; horns, Bill Watrous, Denis Sirias, Gordon Goodwin; drums, Harvey Mason; guitar, Marlo Henderson. 5:59
Gil Scott-Heron & Brian Jackson, “Late Last Night” from 1980 (1980 Arista). Produced by Brian Jackson, Gil Scott-Heron, Malcolm Cecil; engineered and mixed by Malcolm Cecil; Synthesizer (T.O.N.T.O.), piano, electric piano, keyboard bass, Brian Jackson; composer, guitar, piano, vocals, Gil Scott-Heron; horns, Bill Watrous, Denis Sirias, Gordon Goodwin; drums, Harvey Mason; guitar, Marlo Henderson. 4:24
Malcolm Cecil, “Gamelonia Dawn” from Radiance (1981 Unity Records). Composed, Performed, Produced, Engineered by Malcolm Cecil. Recorded at T.O.N.T.O. studios in Santa Monica, California. From the liner notes: “The Original New Timbral Orchestra is the world’s largest privately built and owned synthesizer standing some six feet high and twenty feet in diameter. It was designed and built by Malcom Cecil.” In addition to Cecil on T.O.N.T.O., this track features Paul Horn on “golden” flute. 4:35
Malcolm Cecil, “Dance of the Heart” from Radiance (1981 Unity Records). Composed, Performed, Produced, Engineered by Malcolm Cecil. Recorded at T.O.N.T.O. studios in Santa Monica, California. 3:28
 
Background music:
Caldera, “Make Me Carry The Death Of Christ” from A Moog Mass (1970 Kama Sutra). Synthesizer programming and engineering by Malcolm Cecil and Robert Margouleff; spoken vocals, Malcolm Cecil; tenor vocals, Robert White; harpsichord, John Atkins; synthetic speech effects, Robert Margouleff’ cello, toby Saks.
Tonto's Expanding Head Band, “Riversong” from Zero Time (1971 Atlantic). Written by, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Lyrics by Tama Starr. Recorded with an expanded Moog Modular III synthesizer. This was prior to expanding their system into what would become T.O.N.T.O.. 8:01
Here is the video produced with Malcolm Cecil by the National Music Centre of Canada.
This short history of T.O.N.T.O. at Rolling Stone magazine is also of interest.
 
Introductory and background music by Thom Holmes unless otherwise indicated.
Opening and closing sequences were voiced by Anne Benkovitz.
For episode notes, see Noise and Notations.
For more information about the history of electronic music, see Electronic and Experimental Music, sixth edition, published by Routledge.

Sonic Suitcase Edition—Springtime Apparition

Episode 35
Sonic Suitcase Edition—Springtime Apparition
 
Playlist
Springtime Apparition (2021 Holmes) is an original electronic composition that comprises a remixed portion of the recording:
Leopold Stokowski Conducting Members of The NBC Symphony, 'Pastoral' Symphony and Sounds of Nature (1954 RCA Victor Red Seal, mono). This is Beethoven’s Symphony No. 6, In F, Op. 68 ("Pastoral").
Another recording used for about two minutes of the work is:
Peter Paul Kellogg, Arthur A. Allen, Voices Of The Night­–The Calls Of 34 Frogs And Toads Of The United States And Canada (1953 Cornell University Records).
 
Other electronic sounds and field recordings by Thom Holmes.
Opening and closing sequences voiced by Anne Benkovitz.
 

When Synth-Pop Ruled Britannia

Episode 34
 
When Synth-Pop Ruled Britannia
An exploration of synth-pop that was popular in the UK.
Playlist
Space, “Magic Fly” (1977 United Artists). French group led by Didier Marouani (aka Ecama) and Roland Romanelli. Flirted with electronic disco music. 4:18
Giorgio Moroder, “The Chase” (1978 Casablanca). Big synths programmed and played by Moroder. Produced in Germany. An extended play “Casablanca Disco Single.” 13:08
The Normal, “Warm Leatherette” (1978Mute). UK artist Daniel Miller. 3:21
Vice Versa, “New Girls Neutrons” (1979 Neutron Records). Electronic New Wave / Minimal Synth band from Sheffield, UK. Synthesizers, David Sydenham. 2:02
Gary Numan, “Metal” from The Pleasure Principle (1979 Beggar’s Banquet). UK group. Gary Numan on keyboards, synthetic percussion. 3:28
Telex, “Moskow Diskow” from Looking For Saint Tropez (1979 Vogue). This Belgian synth group included Dan Lacksman, Marc Moulin, and Michel Moers. 4:12
Yellow Magic Orchestra, “Rydeen” from X∞Multiplies (1980 A&M Records). Japanese band featuring electronic keyboards, synthesis and processing, Ryuichi Sakamoto; Guitar, Kenji Omura; synthesis programming, Hideki Matsutake; vocals, Chris Mosdell. 4:25
Suicide, “Diamonds, Fur Coat, Champagne” from Suicide: Alan Vega · Martin Rev (1980 Antilles). UK group. Electronics, Martin Rev; vocals, Alan Vega. 3:18
Yello, “Bostich” from Bostich (1981 Stiff America). Swiss electronic band formed in 1979 in Zürich, Switzerland. Electronics, vocals, Boris Blank; lyrics, vocals, Dieter Meier; tape, Carlos Peron. 4:32
Jon Foxx, “Underpass” (1980 Metal Beat). UK artist. Electronics, John Foxx. 3:21
Visage, “Fade to Grey” (1980 Polydor). UK artist. Produced by Midge Ure (Ultravox). 3:50
The Human League, “Love Action (I Believe in Love)” (1981 A&M). Electronic band from Sheffield, England. Synthesis Philip Oakey. 3:49
Heaven 17, “Play to Win” (1981 Virgin). UK artist. Formed as a side project of the British Electric Foundation (B.E.F.), the production company formed by Ian Craig Marsh and Martyn Ware, after their departure from the The Human League in 1980. 7:26
Soft Cell, “Memorabilia” (1981 Some Bizarre). UK artist. Synthesizer, percussion, David Ball; vocals, percussion, Marc Almond. 4:48
Depeche Mode, “Just Can’t Get Enough” from Speak & Spell (1981 Mute). UK group. English electronic music band formed March 1980 in Basildon, Essex. Lead vocals, Dave Gahan; keyboards, guitar, vocals, Martin Gore; keyboards, Andy Fletcher; keyboards, Vince Clarke. 3:39
Yazoo, “Don’t Go” (1982 Mute). Yazoo was an English Synth-Pop duo from Basildon, Essex. Vocals, Alison Moyet; synthesizers, Vince Clarke. 4:58
Kajagoogoo, “Hang on Now” (1983 EMI). UK group.Lead vocals, Limahl; bass, Nick Beggs; E-bow and guitar, Steve Askew; synthesizers, Stuart Croxford Neale; drums and electronic programming, Jez Strode. 3:38
The Art of Noise, “Moments in Love” (1985 ZTT). UK group. Vocals, Camilla Pilkington; keyboards, Ann Dudley; engineering, Gary Langan; electronics, Fairlight CMI, J.J. Jeczalik; bass, producer, Trevor Horn. 4:32
Propaganda, “Dr. Mabuse” (1984 Island Records). German group.German group from Düsseldorf; formed in 1982 by former Die Krupps keyboarder Ralf Dörper and Andreas Thein. Produced by Trevor Horn. 4:46
Pet Shop Boys, “West End Girls” (1985 Parlophone). UK group. Lead vocals, keyboards, occasional guitar, Neil Tennant; keyboards, occasional vocals, Chris Lowe. 3:58
Bronski Beat, “Smalltown Boy” (1984 Forbidden Fruit). UK group. Keyboardists Steve Bronski, Larry Steinbachek; vocals Jimmy Somerville. 4:59
Frankie Goes to Hollywood, “Black Night White Light” from Welcome To The Pleasuredome (1984 ZTT). UK group. Lead vocals, Holly Johnson; backing vocals, Paul Rutherford; guitar, Brian Nash; bass, Mark O'Toole; drums Peter Gill; keyboards, programming, software, J. J. Jeczalik. 4:02
Prefab Sprout, “Appetite” (1985 Kitchenware Records). English pop band from Witton Gilbert, County Durham. This track produced by Thomas Dolby. 3:54
Ivan, “Fotonovela” (1984 CBS). Spanish singer, Juan Carlos Ramos Vaquero; produced by Pedro Vidal. 4:32
A-HA, “The Blue Sky” (1986 Warner Brothers). Norwegian band formed in Oslo in 1982. Lead vocals, Morten Harket; guitar, vocals, Paul Waaktaar-Savoy; keyboards, vocals, Magne Furuholmen. 3:15
 
 
Opening background music: David Bowie, “Subterraneans” from Low (1977 RCA Victor). Vocals, saxophones, guitar, ARP synthesizer, Chamberlin (tape horn and brass, synthetic strings, tape cellos), David Bowie; Minimoog, ARP, EMS Synthi AKS, piano, Chamberlin, other synthesizers, vocals, guitar treatments, synthetics, Brian Eno; rhythm guitar, Carlos Alomar; bass, George Murray; produced by David Bowie, Tony Visconti. 5:38
This list, not the recordings, originally appeared in the February 2018 edition of Classic Pop in an article by Paul Lester. Check it out!
 
Opening and closing sequences voiced by Anne Benkovitz.
 

Youseff Yancy--Pioneer of Electronic Jazz

Episode 33
Youseff Yancy--Pioneer of Electronic Jazz  
Part 1
Playlist
Yuseff Lateef, “Sound Wave” from A Flat, G Flat And C (1966 Impulse!). Tenor Saxophone, Alto Saxophone, Flute, Oboe, Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson. 4:00.
Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet). Harp, Dorothy Ashby. No other credits are given. Unknown Theremin player. 3:19.
Sunny Murray’s Untouchable Factor, “New York Maze” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Alto Saxophone, Arthur Blythe; Baritone Saxophone, Hamiet Bluiett; Bass, Fred Hopkins; Guitar, Monnette Sudler. 18:34.
Sunny Murray’s Untouchable Factor, “Applebluff” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Drums, Sonny Brown; Flutes], Whistles, Percussion, Abdul Zahir Batin. 9:10.
Muhal Richard Abrams, “Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 6:50.
Muhal Richard Abrams, “Inneroutersight” from Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 7:54.
Byard Lancaster, “Blue Nature” from, Documentation The End of a Decade (1980 Bellows). Theremin and trumpet, Youseff Yancy. Recorded in New York in 1979, this is a multi-tracked, solo performance by Yancy on his own composition. One track of straight trumpet, at least one track of electronically modified trumpet, and another track of Theremin. On the liner notes, “B. Lancaster acknowledges the spiritual and education guidance from Youseff Yancy and family.” 2:43.
Garrett List and the A-1 Art Band, “Where We Are” from Various ‎– From The Kitchen Archives - New Music New York 1979 (2004 Orange Mountain Music). Piano, Trombone, Garrett List; Theremin, Trumpet, Youseff Yancy; Soprano Saxophone, Byard Lancaster; Voice, Genie Sherman. Recorded live at The Kitchen, New York City. 8:38.
Opening background music: Garrett List / A-1 Band, “Passions of Miles” from ‎Fire & Ice (1982 Lovely Music). Composed by, Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman.
Second background track: Better Daze, “Heavenly Sweetness” from First Flight E.P. (1995 Ubiquity). Acid jazz remix of “Sweetness,” a song that originated on the 1980 album by Byard Lancaster featuring Youseff Yancy and vocalist Joan Hansom.
Opening and closing sequences voiced by Anne Benkovitz.
 
 

African American Pioneers of Electronic Music, Part 1

Episode 32
African American Pioneers of Electronic Music
Olly Wilson
Playlist
Olly Wilson, “Cetus” from Electronic Music IV (1967 Turnabout). Composer, electronic realization on tape, Olly Wilson. Realized in the studio for Experimental Music of the University of Illinois. Wilson was the winner of the First International Electronic Music Competition, Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. 9:15.
Olly Wilson, “Piano Piece for Piano And Electronic Sound” from Natalie Hinderas Plays Music By Black Composers (1971 Desto). Composer, electronic realization on tape, Olly Wilson; piano, Natalie Hinderas. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. No apologetic electronics here. Wilson deftly blends a full range of electronic sounds, from loud and rumbling to delicately wavering, with a piano piece that moves through many of the dynamics of the piano. 10:56.
Olly Wilson, “Akwan, For Piano, Electric Piano, Amplified Strings and Orchestra” from Black Composer’s Series, Akwan/Squares/Visions of Ishwara (1975 Columbia Masterworks). Composer, electronic realization on tape, Olly Wilson; Piano, Electric Piano, Richard Bunger; Baltimore Symphony Orchestra conducted by Paul Freeman. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. The word “akwan” comes fromt the Akwan language of West Africa. It means “roads, pathways, opportunities, or directions” (from the liner notes). This large-scale work serves as a kind of conversation between the soloist/orchestra and the electronic sounds. 16.26.
Olly Wilson, “Echoes” from American Contemporary, Fantasy/4 Preludes/Echoes/Automobile (1977 CRI). Composer, electronic realization on tape, Olly Wilson; clarinet, Phillip Rehfeldt. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. Close integration and interplay of clarinet and tape sounds. This was a performance piece for which the clarinet was amplified, and the tape sounds were projected on a 4-channel speaker system. 10:37.
Olly Wilson, “Sometimes” from Other Voices (1977 CRI). Composer, electronic realization on tape, Olly Wilson; tenor, William A Brown. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. Based on the Black spiritual “Sometimes I Feel Like a Motherless Child,” this work evolves through a variety of roles for the voice and tape. Opening with highly modified sounds and distorted electronics (yes, those are beautiful and purposeful distortions you hear as part of the original tape!) the tenor is next featured as a soloist, then the elements are combined and mixed in various combinations for the rest of the work. 17.24.
Opening and background music is excerpted from Olly Wilson, “Expansion III,” William Grant Still, Olly Wilson, Afro American Symphony, Kaintuck,' Dismal Swamp, Expansions III (1997 Centaur Records). Cincinnati Philharmonia Orchestra. Recorded October 29, 1995 at the Great Hall, University of Cincinnati.
Opening and closing sequences voiced by Anne Benkovitz.
 
 

Electronic Literature

Episode 31
Electronic Literature
The Marriage of Electronic Music, Poetry, and Literature
 
Playlist
Luciano Berio, "Thema (Omaggio A Joyce)," from Orient-Occident/Momenti-Omaggio A Joyce/Continuo/Transition 1 (1967 Philips). Composed by Luciano Berio at the RAI studio in Milan. Vocals, Cathy Berberian. The piece dates from 1958-59. An exploration of editing and tape composition with the voice as a key source of audio material. This is an interpretative reading of the poem "Sirens" from chapter 11 of the novel Ulysses by James Joyce. This release on the Philips Prospective 21e Siècle is shorter than the one released around the same time on the Turnabout label in America. It omits the spoken sequence at the beginning where Berberian recites the words prior to them being manipulated on tape.
John Cage/David Tudor, "Side 3" excerpt from Indeterminacy: New Aspect of Form in Instrumental And Electronic Music (1959 Folkways). John Cage reads previously prepared stories and anecdotes, David Tudor performs electronic music at the same time with no Earthly connection between the two. This was a long-standing performance practice of theirs and I saw them do this several times.
John Cage, "Part One (To Line 220)" from Roaratorio: An Irish Circus On Finnegans Wake (1992 Mode), excerpt, for speaker, Irish musicians and 62-track tape. Speaker, John Cage. Production: WDR, Köln; Süddeutscher Rundfunk, Stuttgart; Katholieke Radio Omroep, Hilversum; Technical cooperation: IRCAM, Paris. First transmission: 22 October 1979, WDR3-Hörspielstudio. This score is a means for translating any book into a performance without actors, a performance which is both literary and musical or one or the other. In this case, the book was Finnegans Wake by James Joyce. The text of Roaratorio was published separately as Writing for the Second Time Through Finnegans Wake. This was part of the evolution of Cage's interest in creating works of text for performance with music and other activities. It further evolved into his use of texts by Henry David Thoreau for which he used chance processes to derive a text for solo vocal performance.
Shakespeare, excerpt, (1962 Odhams Books Ltd.). BBC radioplay production with musique concrète by Desmond Leslie. King Henry is played by Richard Burton. Electronic music provided on tape for a set of Shakespeare play productions. This short. 2 and a half-minute segment is from Act IV, Scene 3 and gives you an idea of how the sound effects was joined with the dialog. This was a common outlet for electronic music in the UK.
Shackleton, “Music For The Quiet Hour, Part 2,” excerpt, from Music For The Quiet Hour (2012 Woe To The Septic Heart!). Vocals, words (poetry), Vengeance Tenfold; Composer, producer, A. Gerth, K. Biswas, Sam Shackleton. A collaboration between producer Shackleton and vocalist Vengeance Tenfold. Beats, bass and rhythm patterns provide a backdrop for some stark poetry. This is a portion of a longer work that whose overall length is about an hour.
Lily Greenham, “Traffic” from Lingual Music (2007 Paradigm Discs). Reissue of text-sound works made by Danish concrete poet Lily Greenham, probably between 1972-75. Hugh Davies is credited with assisting on the electronics for this work. Voice: Lily Greenham.
Anne Clark, "Swimming" and "An Ordinary Life" from The Sitting Room (1982 Red Flame). Clark is a foremost British poet who fuses her texts with electronic music. This was the first of her albums. Words, Keyboards, Electronic Percussion, Water Percussion, Anne Clark; Guitar, Effects, Voice, Gary Mundy; Keyboards, Domonic Appleton, Patrik Fitzgerald; Keyboards, Electronic Percussion, Andrea Laschetti.
Rick Wakeman, “The Journey,” excerpt, from Journey to the Center of the Earth (1974 A&M). Recorded in concert at The Royal Festival Hall London on Friday January 18th 1974. Synthesizers and other keyboards, Rick Wakeman; Narrator, David Hemmings; drums, Barney James; guitar, Mike Egan; accompanied by the London Symphony Orchestra conducted by David Measham.
Alan Parsons Project, "The Raven" from Tales of Mystery and Imagination - Edgar Allan Poe (1976 Charisma). Words from the tale of the same name by Poe. The Harmony Vocoder heard on "The Raven" was invented and built by EMI Central Research Laboratories.Keyboards, Alan Parsons, Andrew Powell, Billy Lyall, Christopher North, Eric Woolfson, Francis Monkman; Composed by Alan Parsons, Andrew Powell, and Eric Woolfson.
Silver Apples, "Dust" from Silver Apples (1968 Kapp). "INSTRUCTIONS: Play Twice Before Listening." Composed and Arranged by Dan Taylor and Simeon; Percussion, Dan Taylor; Oscillators, mixers, electronic gear (The Simeon), Simeon; Vocals, Dan Taylor, Simeon.
Alice Shields, " Study For Voice And Tape" from Columbia-Princeton Electronic Music Center 1961-1973 (1998 New World Records). Recorded Voice, Buchla synthesizer, poem by Alice Shields.
Ronald Perera, "Three Poems of Gunter Grass," part 1, “Gleisdreieck" from Music And Words (1980 CRI. Ronald Perera, electronic music on tape created in the Smith College Electronic Music Studio; soprano, Elsa Charlston; Conductor, Richard Pittman.
John Hill, "Europa" from Six Moons Of Jupiter (2009 Finders Keepers). Recorded at Sigma Sound, Philadelphia, January-August 1970, but I don't think it was ever released. Uses a Moog Modular synthesizer programmed by Walter Sear. Composed, arranged produced, Moog Modular Synthesizer, Guitar, Bass, Flute, Recorder, Hammond organ, John Hill; Drums, Percussion, Jimmy Valerio; Performer (Poetry), Susan Christie; poetry, Ian Michaels.
Ruth White, "The Clock," "Evening Harmony," "Lover's Wine," Owls," from Flowers of Evil (1969, Limelight). Composer, vocals, electronics (Moog Synthesizer), Ruth White; based on poetry by Charles Baudelaire, translated by Ruth White. Fantastic music from this singular composer who owned a Moog Modular Synthesizer. Her other music was often composed for media, television, and children’s records.
 
 
Archive Mix
In which I play two records at the same time to see what happens. The recordings were:
Lily Greenham, “ABC in Sound” from Lingual Music (1968/2007 Paradigm Discs). Recording from 1968 and includes the words of poet Bob Cobbing.
Arif Mardin, “The Prophet,” excerpt from side 1, from The Prophet (1974 Atlantic). Narrator Richard Harris; keyboards, Bob James, Pat Rebillot, and Ken Bichel (ARP 2600). Poetry by Kahlil Gibran.
 
 
The opening montage consists of excerpts from Milt Gabler and a reading of “The People Yes (Excerpt)” by Carl Sandburg and some saxophone music from Avant Slant (1968 Decca); James Joyce reading “Anna Livia Plurabelle” (1929 The Orthographic Institute); John Cage and David Tudor, Indeterminacy (1959 Folkways); Alice Shields, Dance Piece No. 3 from Columbia-Princeton Electronic Music Center 1961-1973 (1998 New World Records); Luciano Berio, "Thema (Omaggio A Joyce)," from Electronic Music III (1967 Turnabout);  Anne Clark, "The Sitting Room " from The Sitting Room (1982 Red Flame); Arif Mardin, “The Prophet,” excerpt from The Prophet (1974 Atlantic); Ruth White, "Owls" from Flowers of Evil (1969, Limelight).
 
Background music is excerpted from Shackleton, “Music For The Quiet Hour, Part 2,” from Music For The Quiet Hour (2012 Woe To The Septic Heart!).
 
Opening and closing sequences voiced by Anne Benkovitz.
 
 
 

Music of the Body

Episode 30
Music of the Body
 
Playlist
 
The Heart
Orphx, “Biorhythm” from The Living Tissue (2001 Hands Productions). Rich Oddie and Christina Sealey, modular and analog synthesizers, software, location recordings and feedback circuits. Includes the modified sounds of the heartbeat, breath and synthesizer.
The Brain
Alvin Lucier, “Music for Solo Performer” from Music for Solo Performer (1982 Lovely Music). Performance by Pauline Oliveros. Percussion Arrangement, Ron Kuivila; Engineers, Jack Stang, Nicolas Collins; Producer, Alvin Lucier. Recorded January 21-24, 1982 at Nickel Recording, Hartford, CT. Reportedly, the first musical work in history to use brain waves to generate sound (whereas the sonification of brain waves has been around since the 1930s). Composed by Lucier during the winter of 1964-65 and first performed with the help of physicist Edmond Dewan on May 5, 1965. Lucier had the brilliant idea to let the amplified brain wave signals create music through sympathetically vibrating various percussion surfaces and objects through loudspeakers. For this recording, Nic Collins also created a number of voltage-driven solonoids to act as “electric drumsticks” to play various metal instruments and small drums, all controlled by the Alpha waves generated by the brain of the performer.
Pierre Henry, “Levitation” from Mise En Musique Du Corticalart De Roger Lafosse (1971 Philips). Live improvisations recorded Feb. 15-21, 1971 by Pierre Henry from Roger Lafosse's Corticalart device, allowing to transcribe the electric cortex waves in electronic signals for further raw manipulations.
The Human Voice
Orphx, “Mother Tongue” from The Living Tissue (2001 Hands Productions). Rich Oddie and Christina Sealey, modular and analog synthesizers, software, location recordings and feedback circuits. Includes the modified sounds of the human body and voice.
Ben Patterson, “A Fluxus Elegy” (excerpt) from A Fluxus Elegy (2006 Alga Marghen). Limited edition of 345 copies. Patterson, a double bass player, was an original member of the Fluxus movement of the 1960s. This elegy to Fluxus artists consists of the initials of the names of key Fluxus artists, encoded into basic Morse code and then performed using a Yamaha DJX keyboard (voice pattern setting) connected to a Digitech JamMan Looper (over-dub setting) connected to a Eurorack MX 602 mixer.
The Breath, Lungs
Johan Timman, “The Windpipe” and “The Lungs” from Trip Into the Body (1981 Fleet). Composed, performed, recorded, and mixed by Johan Timman. Timman had a massive private studio consisting of Moog synthesizers, some privately made, plus other electronic music instruments. Brands represented include Moog, Oberheim, Roland, EMS, and Synton (vocoder). His was an elaborate analog studio on the eve of the digital revolution.
Roger Waters and Ron Geesin, “Body Transport” from Music From the Body (1970 Harvest). Roger Waters and Ron Geesin, guitars, body sounds, field recordings, tape composition. Geesin was a composer and tape music technician who worked with Pink Floyd on 1970’s Atom Heart Mother. He collaborated with Waters on this set of songs inspired by the human body, the most tuneful of which were used in a 30-minute television production. The rest of the material not used for the TV production included this piece for clapping, vocal and other sounds.
Endoscopy
Teresa Rampazzi, “Musica Endoscopica” (1972/2008 Die Schachtel) in entirety. Teresa Rampazzi was an Italian pianist and composer of electronic music. After meeting John Cage in 1958 she devoted herself to developing electronic music. In 1965 she founded the Gruppo NPS (Nuove Proposte Sonore) in Padua which also experimented with computer music. This is a soundtrack made in 1972 for a documentary film called Gastroscopia. Rampazzi wove the actual sound of “gloomy sound blocks and textures of convulsive rhythms” into electronic works for each stage of the digestive system. The sequence is named after sections of the digestive tract: Fibre Ottiche, Laringe, Stomaco, Esofago, Stomaco, Esofago, Stomaco, Stomaco Più Esofago, Stomaco Operato, Duodeno Normale, Duodeno Patologico, and Papille Di F. E Altro (optical fibres).
 
The Archive Mix—where two tracks are played at the same time to see what happens.
Frank Zappa and the Mothers of Invention, Nasal Retentive Caliope Music (1968 Verve).
Johan Timman, “Heart” from Trip Into the Body (1981 Fleet). Composed, performed, recorded, and mixed by Johan Timman.
 
Other Notes
Opening track: Roger Waters and Ron Geesin, “Our Song” (excerpt) from Music From the Body (1970 Harvest). Roger Waters and Ron Geesin, guitars, body sounds, field recordings, tape composition.
 
Also heard from time to time, excerpts from Auscultation Of The Heart (1966 London) by J. B. Barlow* & W. A. Pocock, narration by Stephen O'Reilly. A medical reference recording with discussion and examples of various heartbeats and pathologies. “Provided as a service to medical students as a part of the Medical School Program of Warner-Chilcott Laboratories.”
 
I encourage you to pick up a copy of Alvin Lucier’s Music 109: Notes on Experimental Music. This is the most digestible and thoughtful book about the avant garde since Cage’s Silence and it is grounded by Lucier’s real-world experience teaching and mentoring musicians for his many years at Wesleyan.
 
Opening and closing sequences were voiced by Anne Benkovitz.