The Holmes Archive of Electronic Music

Music from the Dark--In Memory of Harold Budd

Episode 22
Music from the Dark–In Memory of Harold Budd
Playlist
Harold Budd, “Style Is,” an interview excerpt (with music) (cassette, 1983 Les Disques Du Crépuscule). Part of a longer production by Wim Mertens for the New Musical Festival in Chicago, July 1982, featuring music and interviews (by Mertens). The festival featured performances by Peter Gordon, Jon Gibson, Meredith Monk, Jill Kroesen, Glenn Branca and others. The recording was dedicated to John Cage, and intended to be released on his 70th birthday, 1982.
Harold Budd, “Noyo” (1970 unreleased), excerpt. From a late-night electronic music mix produced by the editorial staff of Source Magazine--Music of the Avant Garde. Harold Budd, voice, Buchla Modular synthesizer, jazz ensemble (uncredited).
Harold Budd, “The Oak of The Golden Dreams” (1971 Advance), for Buchla modular synthesizer from the California Institute of the Arts, based on the Balinese 'Slendro' scale, a five-note scale and the older of the two most common scales used in Indonesian gamelan music.
Harold Budd, “The Plateaux Of Mirror” from Ambient 2 (The Plateaux Of Mirror) (1980 Editions EG). Composed by Harold Budd and Brian Eno; acoustic and electric piano, Harold Budd; other instruments and treatments, produced by Brian Eno.
Harold Budd, “The Serpent (In Quicksilver)” from The Serpent (In Quicksilver) (1981 Cantil). Bass, Eugene Bowen; Electric Piano [Yamaha Electric Piano], Grand Piano [Bosendorfer], Organ [Hammond Organ] and producer, Harold Budd.
Harold Budd, “On Performing,” an interview excerpt (with music) (cassette, 1983 Les Disques Du Crépuscule).
Harold Budd, “A Stream with Bright Fish” from The Pearl (1984 Editions EG). Composed by Harold Budd and Brian Eno. Produced by Brian Eno and Daniel Lanois.
Harold Budd, “Against the Sky” from The Pearl (1984 Editions EG). Composed by Harold Budd and Brian Eno. Produced by Brian Eno and Daniel Lanois.
Harold Budd, “Abandoned Cities” excerpt from Abandoned Cities (1984 Cantil). Composed, performed and produced by Harold Budd. Guitar Eugene Bowen.
Harold Budd, “Flowered Knife Shadows (For Simon Raymonde)” from Lovely Thunder (1986 Editions EG). Composed and performed by Harold Budd. Produced by Harold Budd and Michael Hoenig.
Harold Budd, “The White Arcades” from The White Arcades (1988 Opal). Composed, performed and produced by Harold Budd
Harold Budd, “Advent” from By The Dawn's Early Light (1991 Opal). Piano, Organ [Hammond B3], Synthesizer, Vocals, Artwork, Written-By [Poems], Composed By, Producer, Harold Budd; Electric Guitar, Acoustic Guitar, Bill Nelson; Harp, Susan Allen; Steel Guitar, BJ Cole; Viola, Mabel Wong.
Harold Budd, “Paul McCarthy” from Luxa (1996 All Saints). Composer, performer, producer, Harold Budd.
Harold Budd, “The Room of Ancillary Dreams” from The Room (2000 Atlantic). Composer, performer, producer, Harold Budd.
Harold Budd, “Arabesque 3” from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd. Composer and sopranino saxophone, Jon Gibson.
Harold Budd, “It’s Steeper Near the Roses (for David Sylvian)” from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd. Cello,Marston Smith; Viola, James Acevedo; Violins, James Sitterly and Peter Kent.
Harold Budd, “Jane 1” from Jane 1-11 (2014 Darla). Composer, performer, producer, Harold Budd.
Harold Budd, “As Long as I can Hold My Breath” from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd.
 
Archive Mix (two tracks played at the same time).
Harold Budd, “Jane 11” from Jane 1-11 (2014 Darla). Composer, performer, producer, Harold Budd.
Harold Budd, “As Long as I can Hold My Breath” (excerpt of longer version) from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd.
 

Merry Moog and other Synthesized Holiday Favorites

Episode 21
Merry Moog
And Other Synthesized Holiday Favorites
 
Playlist
Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). USA. Moog Modular Synthesizer.
The Roots, “Millie Pulled A Pistol On Santa” from Just Say Noël (1996 Geffen). USA.
Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer.
Jimmy Smith, “The Christmas Song” from Christmas Cookin’ (1964 Verve). USA. Hammond organ.
Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension.
Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module.
Douglas Leedy, “Deck the Halls” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer.
Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer.
Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer.
Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin.
Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension.
Rudolf Escher, “The Long Christmas Dinner”(1960) from Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer’s Voice). Netherlands. Electronic tape composition.
Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards.
Douglas Leedy, “God Rest Ye Merry Gentlemen” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer.
Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums.
Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
Jean Jacques Perrey and Sy Mann, “My Favorite Things” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). USA. Electro-theremin.
Rolf Harris, Introductory comments and “O Come All Ye Faithful” from The Stylophone: Traditional Tunes and Christmas Carols (1970 Dübreq ). UK. Stylophone.
Mitch Miller & the Gang, “Give Peace a Chance—Thom’s Festive Remix” from Peace Sing-Along (1970 Atlantic). USA. This is a tune that I remixed with other recordings.
Jon Hassell, “Dreaming” from Listening to Pictures (Pentimento Volume One) (2018 Ndeya). Europe. Teenage Engineering OP-1 Portable Synthesizer, Sampler, and Controller, trumpet, keyboards, electronics.
 
The Archive Mix in which I play two tracks at the same time to see what happens.
For this episode, I am featuring two remixes that I did over the course of holiday seasons past.
Thom Holmes, Happy Christmas (War is Over) Sliding Moment mix (excerpt) (2001).
Thom Holmes. Kung fu holiday movie times (excerpt) (2000).

Sounds of Industry

Episode 20
Sounds of Industry
Industrial Noise Music
Playlist:
Throbbing Gristle, “Maggot Death Pt 1” studio recording from The Second Annual Report (1977 Industrial Records). Chris Carter and Cosey Fanni Tutti.
Peter Bartok, Peter Paul Kellog, “Pump Drill” from Sound Patterns (1953 Folkways). Recording of a pump.
Pierre Henry, “Spatiodynamisme II” (excerpt) from an exhibition catalog for work by Nicolas Schöffer (1963 Éditions Du Griffon). Henry used sound materials he recorded in 1954 from a kinetic sculpture by Schöffer.
David Jackman, “Machine Gun 2” from Machine Gun (2000 Die Stadt). This was the first of a series of works Jackman created using the archive recordings of the "Imperial War Museum" in London. This was an edition of 600 copies on clear vinyl.
Emory Cook, “Festival” (excerpt) from Mexican Firecrackers (1956 Cook). Church bells and Firecrackers before dawn, Ajijic, Mexico.
Cabaret Voltaire, “4th Shot” from the album Mix-Up (1979 Rough). Stephen Mallinder, Chris Watson, Haydn Boyes-Weston, and Richard H. Kirk.
David Jackman, “Flak” from the EP Flak (2003 Die Stadt).
George Engler, “Metallurgy” from The Inside Of The Outside / Or The Outside Of The Inside - Who Are They? Where Do They Come From? Why Are They Here? (1965 Serenus). A set of tape works using instruments and natural sounds set to themes of industry and space travel.
George Engler, “Destruction” from The Inside Of The Outside / Or The Outside Of The Inside - Who Are They? Where Do They Come From? Why Are They Here? (1965 Serenus).
Merzbow, “Material Action Track 2” from the cassette Material Action (1984 ZSF Produkt). Masami Akita and Kiyoshi Mizutani.
Throbbing Gristle, “Beachy Head” from 20 Jazz Funk Greats (1979 Industrial Records). Chris Carter and Cosey Fanni Tutti.
“ Engine Running” from Motor Car Noises, a sound-effects record (1931 His Master’s Voice).
“Street Traffic Noises” Recorded at a London Street Junction,” a field recording. (1923 Columbia, UK).
Leo Hurwitz, “City Edge: The Coves of Manhattan Island” (excerpt) from Here At The Waters' Edge 1 (1962 Folkways). Tape collage to accompany a documentary film.
R. Murray Schafer, “Music of Horns and Whistles” from The Vancouver Soundscape (1973 Ensemble Productions). Bruce Davis, Colin Miles, Barry Truax, Howard Broomfield, Peter Huse, and R. Murray Schafer. All the sounds were recorded between September 1972 and August 1973. Part of the World Soundscape Project founded by Schafer.
John Pfeiffer, “After Hours” from Electronomusic (1968 RCA Victrola). The sounds of office machines used in business, edited as a tape collage.
Cabaret Voltaire, “Everything is True” from International Language (1993 Plastex). From the liner notes: “Abandon thinking. Everything you will hear in the next seventy-four minutes is true.” Stephen Mallinder, Chris Watson, Haydn Boyes-Weston, and Richard H. Kirk.
 
The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of industrial music:
David Jackman, “Flak” from the EP Flak (2003 Die Stadt). Same as earlier track but played at 33-1/3 speed.
Lou Reed, Metal Machine Music, Side B, excerpt (1975 RCA).
 
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 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