The Holmes Archive of Electronic Music

Maximum Turntablism, Part 2

Episode 19
 
Maximum Turntablism, Part 2
 
Modern Experimental Turntablism and CD Glitch Music
 
Playlist:
Pierre Henry, Concerto Des Ambiguïtés parts 1,2,3,and 5(1950) from Symphonie Pour Un Homme Seul / Concerto Des Ambiguïtés (1972, Philips). Premiered on August 7, 1950.
Christian Marclay, “Smoker,” (1981) from the album Records (1997). Christian Marclay, turntables and processing. Recorded on a cassette deck at home.
DJ Shadow ... And The Groove Robbers, “Hindsight,” from In/Flux/ Hindsight (1993)
Institut Fuer Feinmotorik, “A1” from Wenig Information: Kein Titel (1998). Recorded live between April and June 1998 in Cloister Bad Säckingen, Germany. For turntables, mixer, compressor, various processed records, paper, cardboard, scotch tape, household rubber, wire, various other odds and ends.
Peter Cusack & Nicolas Collins, “Hazlitt” from ‎ A Host, Of Golden Daffodils (1999). Recorded live in concert at STEIM (Amsterdam, The Netherlands) June 1996 and at Museum für Gegenwart, Hamburger Bahnhof, (Berlin, Germany), November 1996. Electronic processes, CD, radio sources, trombone-propelled electronics, Nicolas Collins; guitar, bouzouki, whistling, electronics, sampler triggers, Peter Cusack.
Gen Ken Montgomery, “Droneskipclickloop”(excerpt, 1998) from Pondfloorsample (2002). Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998.
Crawling with Tarts, “Trecher Track” from Turntable Solos (1999). By Michael Gendreau and Suzanne Dycus-Gendreau.
Yasunao Tone, “Part 1”(excerpt 1999) from Solo for Wounded CD (1999). All sounds used were from scratched CD's.
Philip Jeck, “Untitled 2,” from Soaked (2002). Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany.
Maria Chavez, “Jebus” from Tour Sampler (2004), recorded in Houston, Texas. Turntables and electronics by Maria Chavez.
Marina Rosenfeld, “Three” from Joy of Fear (2005). Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn’t exist without the small collection of one-off ‘acetate records’ (dub plates) that I’ve been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.”
Luc Ferrari and Otomo Yoshihide, Slow Landing” from ‎Les Archives Sauvées Des Eaux (2008). Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide.
Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise.
The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of modern experimental turntablism:
Tsunoda Tsuguto, “Air Pocket” (1997) from Turntable Solos (1999).
Merzbow, “Batztoutai—The Nightengale’s Song” (1985) from Turntable Solos (1999).
The incidental music heard while I’m speaking is from a damaged and skipping CD that I have of Sun Ra. The track is “Sound Spectra/ Spec Sket” from the album Other Planes of There (1964).
For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
Notes for this episode can be found on my blog: Noise and Notations.

Maximum Turntablism, Part 1

Episode 18
 
Maximum Turntablism, Part 1
Playlist:
Ottorino Respighi, “The Pines of Rome” (1924) recorded by The Milan Symphony Orchestra conducted by Cav. Lorenzo Molajoli in November 1928.
Paul Hindemith, Trickaufnahmen (1930). Recording made available by Mark Katz, author of Capturing Sound: How Technology has Changed Music (2004).
John Cage, Imaginary Landscape No. 1 (1939) from The 25-Year Retrospective Concert Of The Music Of John Cage (private, 1959).
Pierre Schaeffer, “Study For Piano” (1948) from Panorama Of Musique Concrète (1956).
Pierre Schaeffer, “Study for Whirligigs” (1948) from Panorama of Musique Concrète (1956).
Pierre Schaeffer and Pierre Henry, Symphonie Pour Un Homme Seul (1949-50) from Panorama of Musique Concrète No. 2 (1956).
John Cage, Imaginary Landscape No. 5 (1952), from Imaginary Landscapes, by Anthony Braxton and the Maelström Percussion Ensemble Conducted by Jan Williams. Braxton selected the records.
Milan Knížák, “Composition No. 1’ from Broken Music (1979).
Milan Knížák, “Composition No. 3” from Broken Music (1979).
Grandmaster Flash & the Furious Five, Adventures on the Wheels of Steel (1981) from the 12” single The Message/ Adventures on the Wheels of Steel (1990).
Marina Rosenfeld, “theseatheforestthegarden” (1999), from theforestthegardenthesea (1999, charhizma).
 
The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of turntablism:
DJ Shorty Blitz, a mix created for the collection Hip Hop: The Golden Era 1979-1999 (2018).
Otomo Yoshihide, Turntable solo from TV Show "Doremi."
 
For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
 
You might also be interested in the following article by Karin Weissenbrunner about turntablism: Experimental Turntablism--Historical overview of experiments with record players/records or scratches from second-hand technology.
 
Also check-out the book by Mark Katz, Capturing Sound: How Technology has Changed Music (2004).

Vintage Electronic Music from Japan, Part 2

Vintage Electronic Music from Japan, Part 2
Western Influence to Eastern Identity: Electronic Music in Japan between 1960 and 1975.
Playlist:
Toru Takemitsu, “Water Music” (1960) for magnetic tape (1969, RCA Victrola).
Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” from Roots Of Electronic Sound (1963). Music and effects later used for Astroboy.
Maki Ishii, “Kio-oo” for piano, orchestra and electronic sounds (excerpt) from Mt. Fujiyama Suite and Dipol For Orchestra (1968, Aries).
Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage.
Toshi Ichiyanagi, “Electric Chant” from the Opera "From the Works of Tadanori Yokoo" (1969). Military music with electronic tones.
Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70.
Shibata, “Improvisation for Electronic Sounds” (1968) from Japanese Electronic Music (1971, Philips).
Toru Takemitsu, “Stanza II” (1971) for harp, tape, and natural sounds from Miniatur II: Art Of Toru Takemitsu (1973, DGG)
Yoshi Wada ‎– Earth Horns with Electronic Drone, excerpt, (1974, Edition Omega Point) Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974.
Joji Yuasa, “My Blue Sky (No. 1)” (1975. Tape parts realized at NHK Electronic music studio.
NHK = Nippon Hoso Kyokai (Japanese Broadcasting Corp.)
 
The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of vintage Japanese electronic music:
Toshi Ichiyanagi, “Sound Materials for Music for Tinguely” (1963).
Makoto Moroi, “Shōsanke”for electronic sounds and Japanese traditional instruments (1968).
 
For more information about the history of Japanese electronic music, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
 
 

Vintage Electronic Music from Japan, Part 1

Vintage Electronic Music from Japan, Part 1
Western Influence to Eastern Identity: Electronic Music in Japan from 1953 to 1963.
Playlist:
Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953).
Makoto Moroi and Toshiro Mayuzumi, “7 Variations” (1956).
Toru Takemitsu, “Vocalism AI (Love)” (1956).
Group Ongaku, “Metaplasm Part 2” from Music of Group Ongaku (1961, SEER Sound Archive). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo.
Cello – Mikio Tojima
Cello, Drums, Tape – Shukou Mizuno
Guitar – Genichi Tsuge
Piano – Chieko Shiomi*
Saxophone, Tape – Yasunao Tone
Violin, Saxophone, Tape – Takehisa Kosugi
Tadashi Mori (conductor), Akira Miyoshi (composer), opening excerpt to Ondine for orchestra, mixed chorus and electronic sounds. (1961, Time).
Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio."
Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration)” from Waka and Other Compositions (1960 Folkways).
Joji Yuasa ‎– “Aoi No Ue” for voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio (1961).
 
NHK = Nippon Hoso Kyokai (Japanese Broadcasting Corp.)
 
The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of vintage Japanese electronic music:
Kuniharu Akiyama, 'Demonstration' Of Nissei Theater (excerpt). Music for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo (1963, Edition Omega Point)
Toshiro Mayuzumi, “Mandara” for electronic sounds and voices (1969, Philips).
For more information about the history of Japanese electronic music, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
 

Electronic Jazz, Part 3: Early Synthesizer Jazz

Episode 15
Electronic Jazz, Part 3: Early Synthesizer Jazz
Adding a new expressive instrument to jazz.
Playlist:
Don Sebeskey, “Water Brother” from The Distant Galaxy, 1968.
Arranged By, Conductor, Moog Synthesizer – Don Sebesky
Clavinet – Warren Bernhardt
Bass – Chuck Rainey
Drums – Donald McDonald
Electronic Effects– Rick Horton
Burton Greene, “Slurp!” from Presenting Burton Greene, 1968.
Piano, Harp [Piano Harp], Harpsichord [Electric], Voice [Chants], Moog Synthesizer, Written-By, Arranged By, Conductor– Burton Greene
Alto Saxophone, Trumpet – Byard Lancaster
Bass – Steve Tintweiss
Percussion – Shelly Rusten
Ornette Coleman, “Man on the Moon,” a single released in 1969.
Alto Saxophone, Producer, Arranged By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Electronics [Bell Telephone synthesizer] – Emmanuel Ghent
Tenor Saxophone – Dewey Redman
Trumpet – Don Cherry
Jon Appleton & Don Cherry, “OBA” from ‎Human Music, 1970
Flute [Wood, Bamboo, Metal], Kalimba, Drums [Earthquake], Cornet [Traditional Mouthpiece and Bassoon Reed], Producer, Composed By – Don Cherry
Synthesizer, Electronics, Producer, Composed By – Jon Appleton
Realized at the Bregman Electronic Music Studio, Dartmouth College, Hanover (New Hampshire, USA).
Paul Bley, “Mr. Joy” from The Paul Bley Synthesizer Show, 1971
ARP 2500 Synthesizer, RMI Electric Piano – Paul Bley
Bass –Glenn Moore
Drums –Steve Hass
Composed By – Annette Peacock
Herbie Hancock, “Quasar” from Crossings, 1972
Electric Piano, Piano, Mellotron, Percussion – Herbie Hancock
Moog Synthesizer – Patrick Gleason
Bass Trombone, Tenor Trombone, Trombone [Alto Trombone], Percussion – Julian Priester
Congas – Victor Pontoja
Drums, Percussion – Billy Hart
Electric Bass, Bass, Percussion – Buster Williams
Soprano Saxophone, Bass Clarinet, Piccolo Flute, Percussion, Alto Flute – Bennie Maupin
Trumpet, Flugelhorn, Percussion – Eddie Henderson
Voice – Candy Love, Della Horne, Sandra Stevens, Scott Beach, Victoria Domagalski
Moog and mellotron recorded at Different Fur Trading Company, San Francisco.
Herbie Hancock, “Spank-A-Lee” from Thrust, 1974.
Fender Rhodes electric piano, Clavinet [Hohner D-6], ARP Odyssey Synthesizer, ARP Soloist, ARP 2600, ARP String] – Herbie Hancock
Drums – Mike Clark
Electric Bass – Paul Jackson
Percussion – Bill Summers
Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute – Bennie Maupin
Synthesizers recorded at Different Fur Trading Company, San Francisco.
Mahavishnu Orchestra, “Celestial Terrestrial Commuters” from Birds of Fire, 1973
Guitar – John McLaughlin
Keyboards, Minimoog Synthesizer – Jan Hammer
Violin – Jerry Goodman
Bass – Rick Laird
Drums – Billy Cobham
Mahavishnu Orchestra / John McLaughlin, “Inner Worlds Part 1 and 2” from Inner Worlds, 1976
Guitar, Effects [Frequency Shifter], Guitar Synthesizer, E-mu Synthesizer/Sequencer] – John McLaughlin
Bass Guitar [Brassmaster Bass] – Ralphe Armstrong
Drums, Gong, Timpani [Tympani] – Narada Michael Walden
Synthesizer [String], Synthesizer, Customized Polyphonic Mini-Moog, Steiner-Parker Synth – Stu Goldberg
Thanks for Bob Moog for his help.
Chris Swansen, “Moondog, Can You Hear Me?” from Album II, 1975
Synthesizers [Moog ICA Performance, Moog Mark III, Badger Polyphonic], Effects [Bode Ring Modulator and Frequency Shifter], Electronics [Badger Frequency Spectrum Generator], Tape [Scully Tape Recorders, Dolby A Noise Reduction System], Producer – Chris Swansen
Effects [Modulation] – Jon Weiss
Engineer [Technical Assistance] – Bill Hemsath
Synthesizer [Moog Polyphonic] – Don Croker
Miroslav Vitous, “Synthesizers Dance” from ‎Magical Shepherd, 1976
Bass, Guitar, Minimoog Synthesizer – Miroslav Vitous
Drums – Jack DeJohnette
Fender Rhodes electric piano, ARP Odyssey Synthesizer – Herbie Hancock
Percussion – Airto Moreira
Sun Ra and his Intergalactic Research Arkestra, “Space Probe” from private recording, November 1969.
Moog Modular Synthesizer - Sun Ra
Later officially released in 1974 on an album
Recorded at Gershon Kingsley studio in New York.
 
The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two additional tracks of electronic jazz and synthesizers:
 
Paul Bley, “Improvisie” from Improvisie, 1971. ARP 2500 synthesizer and RMI electric piano.
Herbie Hancock, “Sleeping Giant” from Crossings, 1972. Moog Modular synthesizer by Patrick Gleeson.
 
For more information, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
 
Also see my paper, Thom Holmes (2018): The Roots of Electronic Jazz, 1950–1970, in Jazz Perspectives

Electronic Jazz, Part 2: Gadgets and Modifiers

Episode 14
Electronic Jazz, Part 2: Gadgets and Modifiers
Electrifying the jazz instrument.
 
Playlist:
Sonny Stitt, “What’s New” from the album What’s New!!! Varitone tenor saxophone by Selmer. 1966. Players:
Baritone Saxophone - George Berg
Bass - George Duvivier, Jan Arnet
Drums - Walter Perkins
Guitar - Les Span
Organ - Ernie Hayes
Piano - Ellis Larkins
Saxophone [Varitone] - Sonny Stitt
Tenor Saxophone - Illinois Jacquet
Trombone - J.J. Johnson
Trumpet - Eddie Preston, Joe Wilder
Vibraphone - Mike Mainieri
Buddy Terry, “Electric Soul,” from the album Electric Soul, Varitone tenor sax. 1967. Players:
Bass - Ron Carter
Drums - Freddie Waits
Electric Piano - Harols Maber Jr.
Flugelhorn - Jimmy Owens
Tenor Saxophone - Edlin "Buddy" Terry
Trumpet - Jimmy Owens
Clark Terry, “Electric Mumbles” from the album It’s What’s Happening. Varitone trumpet. 1967.
Bass - George Duvivier
Drums - Dave Bailey
Piano - Don Friedman
Trumpet [Varitone] - Clark Terry
The Cannonball Adderly Quintet, “Gumba Gumba” from Accent On Africa, Selmer Varitone saxophone. 1968.
Alto Varitone saxophone --Cannonball Adderley,
Cornet --Nat Adderley –
Drums --Earl Palmer - drums
Brass, reeds and vocals, piano, harpsichord, guitar, bass-- Uncredited
Melvin Jackson, “Funky Skull” from the album Funky Skull. String bass modified with: Maestro G-2 filter box for guitar, Boomerang and Echo-Plex and Ampeg amplifier. 1969.
Acoustic Bass, Effects – Melvin Jackson
Alto Saxophone, Bass Saxophone, Flute – Roscoe Mitchell
Baritone Saxophone – Tobie Wynn
Drums – Billy Hart, Morris Jennings
Guitar – Pete Cosey
Lead Guitar, Rhythm Guitar, Bass [Fender] – Phil Upchurch
Piano, Organ [Hammond], Effects [Echo Plex] – Jodie Christian
Tenor Saxophone – James Tatum
Tenor Saxophone, Flute – Byron Bowie
Tenor Saxophone, Soloist [Solos] – Bobby Pittman
Trombone – Steve Galloway
Trumpet – Donald Towns, Tom Hall
Trumpet, Flugelhorn – Lester Bowie, Leo Smith
Vocals – The Sound of Feeling
Eddie Harris, “Electric Ballad,” from the album Silver Cycles. Maestro amplifier and Echoplex, 1969.
Bass – Melvin Jackson
Drums – Bruno Carr
Percussion – Marcelino Valdes
Tenor Sax (Maestro, Echoplex)—Eddie Harris
John Klemmer, “Excursion #2” from Blowin’ Gold, 1969, horn effects begin at about 1:11 into the track, probably the Conn-Multivider. Also some interesting effects added on Hey Jude, a excerpt which is also played.
Bass - Phil Upchurch
Drums - Morris Jennings
Guitar - Pete Cosey
Piano, Organ - Richard Thompson
Tenor Saxophone, Other [Electronic Horn Effects] - John Klemmer
John McLaughlin, “Marbles” from the album Devotion. Echoplex and guitar distortion effects. 1970.
Bass – Billy Rich
Drums, Percussion – Buddy Miles
Organ, Electric Piano – Larry Young
Guitar – John McLaughlin
Miles Davis, “Bitches Brew” (opening) from Bitches Brew. Amplified trumpet with Maestro ring modulator and Echoplex. 1970.
Bass – Dave Holland
Bass [Fender] – Harvey Brooks
Bass Clarinet – Bennie Maupin
Trumpet[amplified] – Miles Davis
Drums – Don Alias, Jack DeJohnette, Lenny White
Electric Guitar – John McLaughlin
Electric Piano – Chick Corea, Joe Zawinul
Percussion – Jim Riley
Soprano Saxophone – Wayne Shorter
Miles Davis, “Nem Um Talvez” from the album Live-Evil. Echoplex and percussion. 1971.
Bass –Ron Carter
Drums –Jack DeJohnette
Keyboards –Herbie Hancock, Keith Jarrett
Saxophone –Steve Grossman
Trumpet – Miles Davis
Vocals – Hermeto Pascoal
 
Gil Melle, “The Love Song” from the album Waterbirds. Handmade electronic instruments plus echo, fuzz, and other effects. 1970
Bass [Fender] – Dave Parlato
Soprano Saxophone, Other [Special Electronic Musical Instruments] – Gil Mellé
Drums – Fred C. Stofflet
Electric Piano [Fender] – Pete Robinson
Guitar – Art Johnson, Joe Cinderella
The Fourth Way, “Spacefunk” from the album Werwolf. Fender Rhodes electric piano using an Oberheim ring modulator, Recorded live at the Montreux Jazz Festival, June 19, 1970.
Drums – Eddie Marshall (2)
Electric Bass – Ron McClure
Electric Piano [Fender Rhodes Electric Piano], Effects [Oberheim Ring Modulator] – Mike Nock
Electric Violin – Michael White
 
Don Ellis, “Hey Jude” (opening), from Live at the Fillmore, 4-valve, quarter tone electric trumpet, Echoplex, Conn-Multivider, Oberheim ring modulator– Don Ellis. 1970.
Bass - Dennis Parker
Bass Trombone - Don Switzer
Congas - Lee Pastora
Drums - Ralph Humphrey
Guitar - Jay Graydon
Percussion, Drums - Ron Dunn
Piano - Tom Garvin
Saxophone - Fred Selden, John Klemmer, Jon Clarke, Lonnie Shetter, Sam Falzone
Trombone - Ernie Carlson, Glenn Ferris
Trombone, Contrabass, Tuba - Doug Bixby
Trumpet - Glenn Stuart, Jack Coan, John Rosenberg, Stu Blumberg
Trumpet, Drums - Don Ellis
Eddie Harris, Why Don’t You Quit, from the album Eddie Harris ‎– Come On Down! In 1970. Used the Hammond Innovex Condor SSM guitar synthesizer with the tenor saxophone.
Bass – Donald "Duck" Dunn
Drums – Tubby Ziegler*
Guitar – Cornell Dupree (tracks: A1, A2, B1 to B3), Jimmy O'Rourke (tracks: A1, A2, B1 to B3), Joseph Diorio* (tracks: A3)
Organ – Billy Carter
Piano – Dave Crawford
Tenor Saxophone [Electric] – Eddie Harris
Trumpet – Ira Sullivan
 
 
 
The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two additional tracks of electronic jazz and amplified instruments:
 
Moe Koffman, “Funky Monkey” from the album Turned On. Varitone flute and Varitone dual alto saxophones. 1968
Miles Davis, “Stuff” (excerpt) from Miles in the Sky, 1968.
Bass – Ron Carter
Drums – Tony Williams*
Piano, Electric Piano – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
 
Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
 
Also see my paper, Thom Holmes (2018): The Roots of Electronic Jazz, 1950–1970, in  Jazz Perspectives

Electronic Jazz, Part 1: Before the Synthesizer

Episode 13
Electronic Jazz, Part 1: Before the Synthesizer
Playlist:
André Hodeir: “Jazz et Jazz” (1960)
Terry Riley and Chet Baker, “Music for The Gift,” part 1 (1963).
Walter De Maria, “Cricket Music,” 1964, privately released (excerpt).
Bob James, “Untitled Tracks” from Explosions, 1965.
Rahsaan Roland Kirk, “Slippery, Hippery, Flippery,” from Rip, Rig, and Panic 1965.
Bernard Parmegiani, “JazzEx,” 1966.
Roger Kellaway, “Spirit Feel,” from the album Spirit Feel, 1967.
Frank Zappa, from the album Lumpy Gravy, about nine minutes into side 1, 1968.
Barney Wilen, “Auto Jazz: The Tragic Destiny of Lorenzo Bandini,” part 2, 1968.
The Archive Mix includes two additional tracks played at the same time to see what happens. These two additional tracks are additional examples of electronic jazz with tape:
Walter De Maria, Ocean Music, privately released, 1968 (excerpt).
Barney Wilen, Auto Jazz, part 1, 1968.
Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
Read this important paper by George Lewis on improvisation and jazz origins: George E. Lewis, “Improvised Music after 1950: Afrological and Eurological Perspectives,” Black Music Research Journal 16, no. 1 (1996): 93.
 

David Tudor: From piano to electronics

Episode 12
 
David Tudor: From piano to electronics
 
The transition of a pianist to electronic music
 
David Tudor (1926-1996)
 
In which we listen to works created while Tudor transitioned from playing piano to composing works for homemade electronics.
 
Playlist
Bo Nilsson, Quantitäten (1958), for “electronically fortified” piano. Recording from Swedish Radio made in 1960. This is an abbreviated performance of the work made for Swedish Radio.
John Cage, Cartridge Music (1960). For amplified small sounds; also amplified piano or cymbal; any number of players and loudspeakers; parts to be prepared from score by performers. Recording by John Cage and David Tudor, Time Records (1963).
John Cage, Variations II (1961), Parts to be prepared from the score, for any number of players, using any sound-producing means. Piano and electronics by David Tudor. Recorded in Japan in 1962.
Christian Wolff, For 1, 2, or 3 People (1964), Piano by David Tudor. Recorded live by KPFA Radio in 1965 at the San Francisco Museum of Art.
David Tudor, Bandoneon ! (A Combine) (1966), for bandoneon and live electronics. Recorded live in October 1966 at E.A.T.’s at Nine Evenings: Theatre and Engineering. From the collection, The Art of David Tudor released by New World Records and Radio Bremen.
 
The Archive Mix in which I conclude the podcast by playing two additional tracks at the same time, to see what happens. This time, I am once again drawing up David Tudor and John Cage from the Folkways recording in 1959 of the lecture Indeterminacy.
John Cage and David Tudor, Indeterminacy: New Aspect of Form in Instrumental and Electronic Music, the first three minutes of the lecture recorded in 1959 for Folkways Records.
John Cage and David Tudor, Indeterminacy: New Aspect of Form in Instrumental and Electronic Music, the last three minutes of the lecture recorded in 1959 for Folkways Records.
 
Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).
 
Contact Composers Inside Electronics, c/o John Driscoll and Phil Edelstein, longtime Tudor associates beginning in the 1970s for a history of the group and updates about their ongoing activities.
 
Read You Nakai’s new book about Tudor: Reminded by the Instruments: David Tudor's Music(Oxford 2020)
 
Full disclosure: I work for Oxford University Press by day, although not in the trade book division that has published You Nakai’s new book.