The Holmes Archive of Electronic Music

Crosscurrents in Early Electronic Music of Canada, Part 2

Episode 121
Crosscurrents in Early Electronic Music of Canada, Part 2
 
Playlist
 
Track Time
Start Time
Introduction –Thom Holmes
04:32
00:00
1.             John Mills-Cockell, “On The Heath” from A Third Testament (1974 True North). John Mills-Cockell is a Canadian composer from Toronto who was a very early adopter of the original Moog Synthesizer. He was part of the multi-faceted and ground-breaking work with the avant garde/poetry group Intersystems in the late 1960s and then the group Syrinx. I became acquainted with John more recently and he told me that his original Moog modules, used for Intersystems, burned up in a fire and so he turned to the use of ARP instruments around 1971. I am featuring his synthesizer work from a couple of solo albums as a representative of the independent stream of electronic music artists from Canada. John has continued to produce works for and for his numerous works for radio, television, film, ballet, and stage, and he is still active.
02:30
04:32
2.             John Mills-Cockell, “North African Gladiator” from A Third Testament (1974 True North). Produced, played, engineered, organ and synthesizer, John Mills Cockell.
04:08
07:00
3.             John Mills-Cockell, “Collision” from Gateway (1977 Anubis Records ). Produced, played, engineered, organ and synthesizer, John Mills Cockell.
03:32
11:03
4.             Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977) from McGill Wind Ensemble (1980 McGill University Records). This collection of contemporary Canadian works was released by McGill University’s own label. This track is the only work with electronic sounds on the album, by Argentinean-born composer Lanza. Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976.
11:20
14:34
5.             Dennis Patrick, “Phantasy III (Excerpt)” (1977-78) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976.
04:53
25:48
6.             Barry Truax, “Arras” (1980) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Truax represented the left coast of Canada, and worked with R. Murray Schafer beginning in 1973 on the World Soundscape Project. Several of the composers in this episode came from that same environment, mixing natural acoustic sounds with electroacoustic treatments. This work was made using four computer synthesized tracks. Truax became known for his computer compositions as well as soundscapes.
10:08
30:38
7.             Canadian Electronic Ensemble, “Chaconne À Son Goût” from Canadian Electronic Ensemble (1981 Centrediscs). Performers, David Grimes, David Jaeger, James Montgomery, Larry Lake. Composed by David Grimes. The ensemble was founded in Toronto in 1971 by David Grimes, David Jaeger, Jim Montgomery and Larry Lake, "to promote the live performance of electronic music and thereby the composition of new repertoire for this medium." This is another nice example of music by independent artists working in Canada.
17:21
40:34
8.             Dennis Patrick, “Metasuite” (1982) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976.
07:55
57:54
9.             David Keane, “Aurora” (1985) from Aurora (1985 Cambridge Street Records). A work from a fellow author, David Keane who wrote a book called Tape Music Composition in 1981 (Oxford University Press). He was born in America but became a Canadian citizen in 1974. At the time of “Aurora” Keane was a professor of music theory and director of the electronic music studio at Queen’s University in Kingston, Ontario, which I think he founded in 1970. The music was created to be played during a dance performance in which movement was seen through colored images projected on the dancers. The work was realized in the Queen’s University Electroacoustic Music Facility.
10:17
1:05:48
10.         Claude Schryer, “A Kindred Spirit” (1985) from Group Of The Electronic Music Studio - McGill University (1986 McGill University Records). Bass Clarinet, Yves Adam; Cello, Andras Weber; Composed and conducted by, Claude Schryer; Flute, Jill Rothberg; Guitar Daniel Desjardins; Percussion, Helen Barclay; Piano, Laurie Radford. Recorded at McGill University Recording Studios. This work is notable for its use of the Synclavier, a high-end digital synthesizer/sampler/workstation from the mid-1980s.
16:02
1:16:04
11.         Bruno Degazio, “Heatnoise” (1987) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Degazio is a composer, researcher and film sound designer based in Ontario, Canada. “Heatnoise is one of a series of algorithmic compositions applying principles of fractal geometry to music.” It uses digital synthesis.
11:24
1:32:04
12.         Hildegard Westerkamp, “Cricket Voice” (1987) from from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). A super accomplished sound ecologist, Westerhamp is best known today as the creator of many works of sound art that use natural acoustic environments. She also composed many tape works. This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time.
11:09
1:43:18
13.         Ann Southam, “Fluke Sound” (1989) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Southam is another female Canadian composer of note. Much of her career has been spent composing works for dance. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music.
10:22
1:54:13
14.         Norma Beecroft, “Evocations: Images Of Canada (1992) (2003 Ovation Volume 3). In contrast to the earlier tape works of Beecroft featured in part 1 of this series, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer. Commissioned by the Music Department in Toronto of the Canadian Broadcasting Corp. with the purpose of utilizing their then new digital mixing facilities. The materials for this composition represent the many aspects of Canadian culture and was a statement around her concern for the “future of Canada as a unfied country.”
16:01
2:04:22
Opening background music: David Keane, “Lumina” (1988) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). For tenor voice and “digital tape recorder” to sample and manipulate the sound. Created in Keane’s studio in Scarborough, Ontario. Voice, Richard Margison. 11:46
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
 

Crosscurrents in Early Electronic Music of Canada, Part 1

Episode 120
Crosscurrents in Early Electronic Music of Canada, Part 1
Playlist
 
Track Time
Start Time
Opening and Introduction (Thom Holmes)
10:36
00:00
1.    Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. I chose a recording from a CD compilation spanning the first 45 years of electroacoustic music in Canada. The original version of Dripsody was monophonic. Le Caine produced this stereophonic version in 1967 for Folkways records.
2:12
10:36
2.    Maurice Blackburn / Norman McLaren, “Blinkity Blank” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Another early work of tape music from Canada, produced around the same time as “Dripsody.” As a member of the National Film Board of Canada, Blackburn created this soundtrack with Norman McLaren by hand drawing on the optical soundtrack of a short film.
5:07
12:36
3.    Hugh LeCaine, “Ninety-Nine Generators” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time.
1:42
17:34
4.    Hugh LeCaine, “Arcane Presents Lulu” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
1:50
19:14
5.    Hugh LeCaine, “This Thing Called Key” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
1:53
21:04
6.    Hugh LeCaine, “Invocation” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
2:21
22:56
7.    Anhalt, “Electronic Composition No. 2” (1959) from Electronic Composition No. 2 ("Sine Nomine II") (1985 Radio Canada International).
8:47
25:18
8.    Hugh LeCaine, “Nocturne” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). This piece was played on a conductive keyboard using printed circuit keys (designed by Rene Farley) and tape delay. Notes are sounded by the pressing of a finger on the conductive surface of the keys.
3:08
34:04
9.    Norma Beecroft, “From Dreams of Brass” (1964) from Music And Musicians Of Canada Centennial Edition Vol. II / Musique Et Musiciens Du Canada Edition Du Centenaire Vol. II (1967 CBC Radio Canada). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. As a professional composer, she was one of the first non-students to be able to experiment in the new facility. There she focused on multitrack recording and looping as an extension of existing instrumental or vocal sounds. This particular work contrasts tape sounds with sung and spoken word sounds.
15:59
37:12
10.Paul Pedersen, “Themes From The Old Testament” (1966) consisting of 1) Saul And David; 2) David And Bathsheba; 3) Lot's Wife; 4) Parable Of Trees” (1966) from Paul Pedersen – Portrait Musical – Portrait No.1 (1976 CAPAC). Excerpts of a larger work. Produced in the Electronic Music Studios of McGill University and the University of Toronto. Paul Pedersen is a Canadian composer, arts administrator, and music educator. He was head of the McGill University Electronic Music Studios from 1971-1974. Concordia University in Montreal created 'The Paul Award in Electroacoustics' to celebrate Paul Pedersen's contribution to the development of electroacoustics in Canada.
5:47
53:10
11.Anhalt, “Cento” (1967) from Istvan Anhalt (1972 Radio Canada International).  “CENTO was composed in 1966 under a grant from the Centennial Commission, and its premiere performance took place in 1967, Canada's Centennial Year. The composer describes his work thus: ‘It is a work for a twelve-part mixed choir and two channels of tape-recorded sounds. Most of the sounds on the tape are also vocal, and it was my intention to blend, as much as possible, the live and the recorded voices. The effect I was seeking is that of a single choir performing in an acoustical space the character of which is partly real, partly unreal. "Much of the electronic equipment in both works was invented and built by Dr. Hugh Le Caine at the National Research Council of Canada.”
11:23
59:02
12.Norma Beecroft, “Two Went to Sleep” from Norma Beecroft – CAPAC Musical Portraits (circa 1976 CAPAC). Excerpt from a larger work, released on the Musical Portraits series of extended play 7-inch discs. This piece was written for soprano, flute, percussion, and tape with words by poet Leonard Cohen. It is a great example of the kind of work that combined instruments with tape.
2:49
1:10:24
13.Hugh LeCaine, “Music for Expo” (1967) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Produced using Le Caine’s Serial Sound Structure Generator, a device intended to provide controls for making twelve tone serial music. Tones and other parameters were created using rotary dials on the control panel. Created for Expo ’67 World Exposition in Montreal.
2:34
1:13:12
14.Peter Huse, “Space Play” (1969) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Fraser was a west coast person and composed this work while at Simon Fraser University. He was assistant director of the World Soundscape Project.
3:46
1:15:46
15.Hugh LeCaine, “Mobile” (1970) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). One of the first pieces of music to be composed on the NRC Computer Music System.
 
1:19:28
16.Micheline Coulombe Saint-Marcoux, “Trakadie (3 Excerpts), For Percussion And Tape” (1970) from Micheline Coulombe Saint-Marcoux: Musical Portrait (1976 CAPAC). This series of composer's Musical Portraits was initiated and sponsored by the Composers, Authors and Publishers Association of Canada. Micheline Coulombe Saint-Marcoux was a Canadian composer and music educator who played an important role in the contemporary classical music scene of Canada and France from the late 1960s through the mid-1980s. Primarily a composer of contemporary classical music, she experimented with electroacoustic music from time to time with some amazingly original and fresh results. From 1968 to 1971 she studied musique concrete with Pierre Schafer in Paris, and from this period comes this work.
4:17
1:21:20
17.Michel Longtin, “La Mort Du Pierrot” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced in the electronic music studio of McGill University.
5:21
1:25:34
18.David Paul, “Eruption” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced at the University of Toronto, using Le Caine’s equipment, this work explores sound densities and glissandi.
6:07
1:30:56
19.Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau’s and the electronic sounds were composed using Le Caine’s Polyphonic Synthesizer.
4:21
1:37:02
20.Hugh LeCaine, “Paulution” (1972) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Uses Le Caine’s Polyphonic Synthesizer, a new device created by the scientist around this time. Much of this was created in real-time with little tape manipulation.
4:09
1:41:18
21.Micheline Coulombe Saint-Marcoux, “Zones” (1972) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music.
9:02
1:45:22
 
Opening background music: Hugh Le Caine, Rhapsody in Blue, performed on the Electronic Sackbut (1953) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation)00:58; Hugh Le Caine, Safari: Eine Kleine Klangfarbenmelodie (1964) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation). Played on the Sonde, a Le Caine instrument that could generate 200 sine tones separated by intervals of 5 Hertz, as a demonstration of textures and densities. 3:10 (then repeated).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.

Phonographic Education—a Sound Collage

Episode 119
Phonographic Education—a Sound Collage
Playlist
Because this episode is a collage of recorded sounds, there are no start times for individual selections. Enjoy the collisions, densities, and words combined with music.
Start time for collage: 03:55
Some of the musical selections heard in this collage:
The London Philharmonic Orchestra – A Sound Spectacular Stereo Space Odyssey (1973 Stereo Gold Award). UK disc. “A Speaker to Speaker Trip in Thrilling Spacial Stereo.” The London Philharmonic Orchestra with Pipe Organ and Electronic Synthesiser Effects.
Charles Albertine – McDonnell Douglas Physician Systems Company Presents In Concert Charles Albertine (1985 Concert). Piano, Synthesizer, Composed By, Producer, Charles Albertine. “Postage-paid card ("For information on how Concert systems can help you manage the business aspects of patient care") enclosed.”
Various – Rumanian Folk Songs And Dances (1958 Monitor). Song And Dance Ensemble ''The Lark.''
The Original Deutshmeisterband – The Most Beloved Marches From Austria (1978 Summit).
Soviet Army Chorus & Band Conducted By Boris Alexandrov – Soviet Army Chorus & Band (1956 Angel).
Jack Wilson – The Jazz Organs (1964 Vault). Bass, Leroy Vinnegar; Drums, Philly Joe Jones, Donald Bailey; Guitar, Gene Edwards, John Gray; Organ, Genghis Kyle, Henry Cain, Jack Wilson.
Trombones Unlimited – Holiday For Trombones (1967 Libertty). Trombones, Frank Rosolino, Mike Barone.
Костадин Варимезов – Bagpipe (1979 Балкантон). Bulgarian Bagpipe with orchestral accompaniment.
Lightning – Lightning (1970 P.I.P. Records). Additional String Arrangement ARP Synthesizer, Herb Pilhofer.
Enoch Light – 4 Channel Stereo (1971 Project 3 Total Sound). Compilation made specifically for Sylvania as a giveaway with their phonos.
Terry Snyder And The All Stars – Persuasive Percussion (1959 Command). Featuring, Artie Marotti, Dick Hyman, Dominic Cortese, Jack Lesberg, Stanley Webb, Teddy Sommer, Tony Mottola, Willie Rodriguez,Terry Snyder. Producer, Enoch Light.
Some of the spoken word educational recordings heard in this collage:
Parakeet Training Record (1951? Hartz Mountain Products). “Your parakeet can teach itself to talk!” Presented in a carefully tested, scientific manner.
Gertrude Behanna – God Isn't Dead! (1964 Word). “This is the story of my life . . . what occurred . . . and what life is now.”
Lee B. Steiner – Sounds Of Self-Hypnosis Through Relaxation (1959 Folkways). Voice, Liner Notes – Lee R. Steiner. Subtitled: "a documentary recording with Mrs. Lee B. Steiner, Certified Psychologist.” "The content and timing of this recording have been validated with novices who learned the method in the process of making this recording."
Improve Your Eyesight Without Glasses (1977 Wolf). “These techniques must be practiced daily until perfect vision is attained. The daily practice often becomes a tedious chore, thus defeating its goal: relaxation. The tedium is avoided by using this record album which combines contemporary music specially written for relaxation, with a narrative that takes the listener through the daily drills in a pleasant, relaxed way.”
Domineau – Détente Avec Domineau (no date, no label). Concept By [Conception], Producer [Réalisation] – Domineau. Relaxation by a levitation expert.
Michio Kushi – Spirals of Everlasting Change (1975 Inyo International). Lecture by macrobiotic expert.
Jimmy Nelson With Comments By Danny O'Day And Farfel – Jimmy Nelson's "Instant Ventriloquism" And "Ventriloquism For The Beginner" (1964 Juro Celebrity).
Professor J. J. Higgins, S.J., M.A., S.T.L. – Study Techniques: Relax & Concentrate (1964 Saint Louis University).
Richard Carl Spurney – Bowl-A-Record (1961 Life Records). Relaxation And Successful Bowling Attitudes.
Joe Wilman – Joe Wilman Shows You How To Bowl Your Best (1960 Epic).
Park Richards – A Double-Barrel Blast (1962 Cook). “Unrehearsed Phone Conversation With Undertaker On Subject Of How Much It Costs To Get (Deceased) Uncle Willie Buried.”
Steno Booster: Dictation Speed and Accuracy Training Course (1961 Conversa-Phone). Sample letters to dictate at various speed.
Les Journalistes De R.T.L. / Jean-Pierre Farkas – Les Journées De Mai 68 (1968 Philips). Made in France. Recorded adaptation of a print publication highlights major events of the year.
Adventures In Negro History Vol. 1 (1963 Highlight Radio Productions). Produced By Pepsi-Cola Co.
John Charles Daly – The Space Age: The Age Of Reliability (1962 Raybestos-Manhattan).
Is There A Place For Respiratory Stimulants In Anesthesiology? (1965 Excerta Medica Foundation). Professional Seminar: Advanced Investigations In Anesthesiology.
Stephen Ettinger, D.V.M. – Canine Heart Sounds (1970? EVSCO Pharmaceutical Corp.)
B. Barlow & W. A. Pocock – Auscultation Of The Heart (1966 London Records).
Colette Maher – Détente (Le Sommeil Éveillé - Yoga Nidra) (1973 Select). French Canadian release.
Russ Farnsworth – Revolutionary New Word Method To Learn Radio Code (1959 Epsilon Records).
Russ Farnsworth – Learn Code With The AMECO Code Course (1965? AMECO Publishing Corp.)
John P. Sykes – Sleep-Relaxation (1972 Folkways).
Maharishi Mahesh Yogi – The Master Speaks (1967 World Pacific Recods). Narrator, Maharishi Mahesh Yogi.
Instrument Flight (1960 Jeppesen & Co.)
Daniel Akers, Phillip Masline – Listening & Concentration (1978 Automated Learning).
Norman Singere – Instant Memory Power (1975 Automated Learning).
Arthur Ashe, Learn Tennis (For Beginners & Advanced Players) (1974 Manhattan Recording Company). Vinyl, 12 ." Arthur Ashe teaches you Tennis. Comes with 8-page black/white instructional booklet.
John Newcombe, Tennis With John Newcombe (1974 K-Tel). Limited Collectors Edition. Vinyl, 12 ." Narrator, unidentified. 12-Page Tennis tips Booklet Enclosed. Promotional item for Rawlings tennis products.
Art by Telephone, complete transcript, Museum Of Contemporary Art Chicago (1969). An exhibition organized by the Museum of Contemporary Art under the sponsorship of the American National Bank and Trust Company of Chicago. November 1 to December 14, 1969. I have excerpted 10 minutes of the artist proposals. I couldn’t help but notice that the only contributors to the exhibit were male artists, so I apologize in advance for this slice of chauvinism from the late 1960s. Still, the conversations are interesting.
Excerpt from an 1940s recording of the radio horror drama, Lights Out, "The Coffin in Studio B," in which actors rehearsing an episode of Lights Out are interrupted by a mysterious coffin salesman peddling his wares. I have a test pressing of the program.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

Electronic Keyboards in Jazz, A Recorded History, Part 2 of 2

Playlist
 
Track Time
Start Time
Opening and Introduction (Thom Holmes)
11:57
00:00
1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order.
12:48
11:57
2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart.
5:33
24:44
3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles’ first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis.
16:59
30:14
4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel.
4:16
47:10
5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele.
2:30
51:24
6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968.
2:31
53:54
7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers.
5:06
56:22
8.    Bill Evans, “I’m All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano.
5:42
1:01:24
9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson.
9:07
1:07:05
10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore.
2:28
1:16:12
11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw.
2:43
1:18:38
12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw.
3:34
1:21:20
Sun Ra’s flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord.
13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson.
9:31
1:24:52
14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra’s rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson.
2:05
1:34:25
15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson.
2:40
1:36:30
Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey.
16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson).
9:19
1:39:08
17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin.
10:36
1:48:18
18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson.
7:33
1:58:46
The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s.
19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell.
6:39
2:06:19
20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis.
4:40
2:12:54
21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis.
2:52
2:17:32
22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company’s demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson.
2:43
2:20:24
23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro.
7:25
2:23:04
24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro.
2:00
2:30:28
25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer’s purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer.
4:29
2:32:26
26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West.
5:32
2:36:52
27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West.
4:44
2:42:22
28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner.
9:51
2:47:04
29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner.
1:12
2:56:54
30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner.
1:26
2:58:06
 
Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.
 

Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2

Episode 117
Electronic Keyboards in Jazz, A Recorded History,
Part 1 of 2
Playlist
 
Length
Start Time
Introduction
05:42
00:00
1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer.
02:22
05:42
2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3.
02:44
08:04
3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion).
02:50
10:46
4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton.
03:10
13:36
5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds.
03:11
16:45
6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green.
02:41
19:54
7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond.
02:45
22:36
8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited.
02:57
25:20
9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937.
03:10
28:16
10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop.
02:37
31:27
11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands.
03:22
34:04
12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including.
03:23
37:26
13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith.
02:25
40:48
14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned.
01:56
43:12
15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos.
02:31
45:08
16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece.
02:33
47:38
17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections.
02:08
50:10
18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players.
02:02
52:17
19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle.
04:48
54:18
20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran.
03:50
59:14
21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick.
12:47
01:02:54
22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound.
02:23
01:15:40
23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand.
02:54
01:18:02
24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand.
02:38
01:20:54
25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s.
05:05
01:23:30
26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light’s productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light.
03:29
01:28:34
27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch.
02:58
01:32:02
28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light.
02:50
01:34:59
29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ.
07:26
01:37:49
30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration.
05:54
01:45:12
31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds.
02:50
01:51:06
32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen.
07:31
01:53:54
33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won’t be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller.
27:24
02:01:22
34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player.
03:33
02:28:44
35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track.
02:05
02:32:16
36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like.
01:28
02:34:20
37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track.
01:35
02:35:45
Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

The Sounds of Motoring

Episode 116
The Sounds of Motoring
 
Track Start Times
Introduction
00:00:00
Motoring Soundscape
00:04:33
Closing
01:47:48
 
Playlist
For this episode, I created a soundscape based mostly on vintage recordings from the Archive of automobiles, trucks, construction equipment, mopeds and motorcycles, buses, street sounds and a variety of police and ambulance sirens. The work flows from sound to sound, often in tandem, and sometimes embellished with an effect drawn from the electronic music toolbox. This edition’s playlist includes recordings from all of the following, from which I extracted and remixed hours of audio material.
Street Traffic Noises (Recorded at a London Street Junction) (circa 1927 Columbia). 78 RPM.
Motor Car Noises (1931 His Masters Voice). 78 RPM.
Sound Effects, “Taxi Cab Leaving,” “Ambulance Bell (with Traffic)” (circa 1932 Columbia). 78 RPM.
Cuban Corners: More Sports Cars in Stereo (1957 Riverside).
Tony Schwartz, “Outdoor Sounds” from Sound Effects, Volume One, City Sounds (1958 Folkways).
The Sound of Sounds (1961 Directional Sound).
Documentary Sounds, Volume One (1962 Folkways).
The Exciting Racing Sounds of Grand Prix, Challenge of Champions (1962 MGM).
Sound Effects, Volume 5 (1963 Audio Fidelity).
Live Mechanical Sound Effects in Stereo (1971 Realistic/Audio Fidelity).
De Wolfe Sound Effects DWFX LP No. 9: Motorway Construction (1973 Music De Wolfe).
De Wolfe Sound Effects DWFX LP No. 1: Rally Cars (1973 Music De Wolfe).
SFX Sound Effects Vol. 6 (1979 Gateway Recordings).
De Wolfe Sound Effects DWFX LP No. 21: Transport Part 2 (1982 Music De Wolfe).
Thom Holmes, field recordings of city streets and traffic noise, including Paris traffic horns (2015), Paris, from the top of the Arc De Triomphe, “overhearing” the intersection of twelve streets (2015), Paris, backstreet from window (2017), Paris, street traffic (2017), New York, East Village, 6th (2021); and a Toronto, interior of bus ride (2016).
Opening background music: Thom Holmes, “Paris street traffic” (2017).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

Radio Spirits in the Night

Episode 115
Radio Spirits in the Night
Introduction
Track Start Times
Onda, “Part 1” 
10:06
Onda, “Part 2”
28:22
Onda, "Seoul"
47:26
Onda, “Köln”
1:08:03
Onda, Lewisburg”
1:11:35
Onda, “Wroclaw"
1:19:47
Holmes. “3 Open Windows, 1 Small Antenna”
1:27:36
Playlist
Aki Onda, “Part 1” (18:16) and “Part 2” (19:04) from “Transmissions From The Radio Midnight (2023 Dinzu Artefacts). Limited Edition 12" Black Vinyl. Limited to 200 copies. “for this album, I selected some of my favorite segments from the recordings made in ten-or-so countries over the span of roughly a decade, beginning in 2008. All of the fragments are presented just as they were captured. Since frequency behavior is often unpredictable, and since the act of catching waves was done manually, the recordings capture all sorts of incidental sounds, including various kinds of static noise and radio interference.” (Aki Onda).
Aki Onda, “Seoul” (2010, 20:37), “Köln” (2012, 3:32), “Lewisburg” (2014, 8:12), “Wroclaw” (2013, 7:49) from “Nam June's Spirit Was Speaking To Me” (2020 Recital). Includes 20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow’s film Rameau’s Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu from an interview conducted by Aki Onda.
Thom Holmes. “3 Open Windows, 1 Small Antenna” (1973 Private recording). I realized this piece in the electronic music studios of Temple University in 1972-73. I recorded various shortwave radio sounds at my apartment in Philadelphia, then edited and embellished it with synthesis and modulation using the Moog Modular III synthesizer at in the Temple Music School. I was a student of Paul Epstein at the time, and he asked several of us to join him for a performance on the WBAI Free Music Store, a program radio in NYC. I developed and sketched-out some vocal parts to sing along to the tape and Paul and my friend Ed Cohen joined me for the performance in NY. The lights were dim, the mood was quiet, and we soared along on the sounds on this piece over the airwaves. A recording of that radio broadcast exists somewhere in my storage but for this instance I present the tape piece alone. 24:53.
Opening background music: Thom Holmes, “Signatures Revisited” (2023), an extended version of a piece from my album Intervals (2017), based on the experience of listening to shortwave radio. 01:07:40. Listen to the complete work on my Soundcloud channel.
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Refined Noise

Episode 114
Refined Noise
Playlist
Claus Böhmler, “Klangundkrach, Part 1” from Klangundkrach (1996) (2014 Slowscan). Recorded in Hamburg 1996. Edition of 270 copies. Böhmler was a German visual artist, video maker, and sometimes music artist. His website contains a great sampling of his visual work, texts, and writing about his work. There are not many clues as to how he made this recording except for a cover photo of several Walkman style cassette players with output cables attached. (12:46)
David Cunningham, “Guitar Systemised” and “Water Systemised” from Grey Scale (1977 Piano). For tape recorder and guitar sounds or water sounds. These two works mimic a process used in some of his other compositions where, “The players play a repeating phrase. As soon as one player makes a mistake that mistake is made the basis of his repetition unless it is modified by a further mistake. Thus each player proceeds at his own rate to change the sound in an uncontrollable manner.” Except for in the case of these two works, the water piece and the guitar piece, the process is “analogous” to those works but “the process is automatic here, an inherent quality in the machinery used.” (03:10) and (04:06)
Luke Fowler, “GOLD Side” from Fowl Tapes II (2013 Dekorder). Keyboards, Richard Youngs; Piano and synthesizer, Luke Fowler. Source material performed by Luke Fowler between 2009 and 2011. (17:43)
Merzbow / Genesis P-Orridge, “Source Are Rare” from A Perfect Pain (1999 Cold Spring). Noise Electronics, BIAS Electric Drum Unit, TR606, Filters, Ring modulation, Masami Akita (Merzbow); vocals, producer, Genesis P-Orridge. Genesis P-Orridge: master DAT edited at The Armadillo Studio, Northampton, England, May 1998. Masami Akita: recorded & mixed at Bed Room, August 1998. (23:06)
Emory Cook, “Untitled track 1” from Microfusion White Sound: Popular Combo (circa 1960 Cook). Emory Cook was known for making high fidelity location recordings and musical records from the mid-1950s to the1960s. He patented a special vinyl pressing technique called Microfusion to produce high quality records. When he wasn’t releasing sound effects such as Mexican Firecrackers or location recordings of calypso music, steel bands or a Creole Christmas, Cook managed to slip a few strange experiments into his catalog. This record, number 40850, comes from a series of five albums he produced around 1960 that combined musical tracks from his other albums with a track of pure white noise. The music would play on the left, the white sound would play at the same time on the right. I have several of these discs plus a demo album that Cook produced. The tag line for the “White Sound Series” was “analgesic sound for control of tensions.” The cover stated boldly that the album was “The new analgesic white sound to help in control of Tension, Headaches, Insomnia, Appetite, Smoking. A natural relaxant.” You be the judge as you listen to a track of a popular “cocktail combo” (called a “popular combo” on the record label, combined with white sound. “Not to be played at more than ordinary room volume level.” (03:15)
Narwhalz Of Sound / Mincemeat Or Tenspeed, “Untitled” (3 tracks, side 2) from Doonesbury Dropout, Frasier Freedom / A Rave New World (2010 Isle of Man). This is a test pressing of what I think is this album. Side 2 is by Mincemeat Or Tenspeed, an electronic musician from Rhode Island (currently). (14:15)
Pod Blotz, “Giving,” “Future Romance From The Past,” “Crests And Reflections,” and “Black Glass Monolith” from Glass Tears (2013 Clan Destine Records). Music project of experimental artist and musician Suzy Poling. (18:05)
Opening background music: Mika Vainio, “Lydspor (Part I)” from Lydspor One & Two (2018 Moog Recordings Library). Producer, curator, Paul Smith; Moog Technical Support, Recording Engineering, Finlay Shakespeare. Part of a limited series of Moog albums produced at Surrey University when they were home to a set of Moog Modular synthesizers and components, on arrangement with Moog Music USA. Mika Vainio was born in Helsinki, Finland and died in 2017 in France at aged 53. He was an electronic musician, composer, and producer. (19:26)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.