Re: [microsound] electronic improv recommendations

[mik <prims@xxxxxx>]

What about what a.o. John Cage and David Tudor did in the sixties? There's
this yellow CD with music of that period by David Tudor which is largely, I
think,  improvised (the music, not the CD). I don't remember its title nor
the label it's on.

mik

----- Original Message -----
From: "gg" <gg2g4ink@xxxxxxxxxxx>
To: "microsound" <microsound@xxxxxxxxxxxxx>
Sent: Wednesday, September 13, 2000 11:38 PM
Subject: [microsound] electronic improv recommendations


> JonAbbey2@xxxxxxx wrote:
> >if you're just talking about laptop improvisers, then I'd have to agree
> that  many of the best are from the Vienna scene, but >once you talk about
> "electronic improv", you should investigate musicians like Thomas Lehn,
> Kevin Drumm, Günter Müller, >Voice Crack, Otomo Yoshihide, Martin
Tétreault,
> to name a few.
>
> a few specific listening suggestions...
>
> E-Rax - Live at Bimhuis 1999 (X-Or Field Recordings)
> [Thomas Lehn, Gert-Jan Prins, Peter van Bergen]
> animated and entertaining. Bergen puts aside his bass clarinet for a
> wind-controlled sampler; Prins manipulates a short-wave radio and other
> electronic appliances; analog synth player Lehn produces a spectacular
range
> of synthesized whines, whoops, burbles, burps, and frizzled frequency
> modulations. the playfully sparring interaction of abrasive, non-musical,
> and arrhythmic emanations suggests a laboratory-studio full of apparatus
in
> electromagnetic overdrive. Unlike much improv - electronic or otherwise -
> this mad sound-science is as much fun to listen to as it must have been to
> make.
>
> Kevin Drumm & Martin Tétreault - Particles and Smears (Erstwhile)
> Drumm treats his guitar as a sound-making implement rather than a musical
> instrument. Tétreault refuses even to be classified as a musician. their
> first meeting challenges notions of interactive performance and improv
> protocol. the guitarist and turntablist find fertile, common ground in the
> vocabulary of responsive noise. Tétreault wields his tone arm, grinding
out
> rough chatter; Drumm answers and exhorts with rattling, rumbling guitar
> gabble, harmonic asides, and sonorous arcs.
>
> poire_z (For 4 Ears)
> [Günter Müller, Voice Crack, Erik M.]
> Perhaps the best all-around intro to electronic improv. busy, immediately
> engaging three-way tussles between Müller's resourceful percussive
> spontaneity, VC's gritty electronic noise-making, and Erik M's turntable
> trickery.
>
> Filament 2: Secret Recordings (For 4 Ears)
> [Otomo Yoshihide, Sachiko M., Müller]
> a successful extension of Yoshihide's ambiguous "Filament" project,
> featuring Müller in a series of "secret recordings" produced during the
> latter's visit to Tokyo. Müller's ballasts the duo's tinkering (Yoshihide
on
> "records and CDs," Sachiko on empty sampler), lending free-improv weight
and
> purpose to the proceedings. get poire_z first, but don't overlook this
gem.
>
> I.S.O. - Live (Zero Gravity) and self-titled (Alcohol)
> [Otomo Yoshihide, Sachiko M, IchirakuYoshimitsu]
> same core as Filament, but Yoshimitsu is a down n' dirty
homemade-electronic
> improviser in the Voice Crack vein. I.S.O. is just beginning to converge
on
> the Zero Gravity disc (live performances in Japan and France, circa 1998),
> and the delicate chemistry of the group isn't quite resolved. but the
> Alcohol CD (a later, live-in-London recording edited/post-produced by the
> enigmatic Xentos) finds the trio in top form - a supremely sensitive set.
>
> Sachiko M. - Sine Wave Solo (Amoebic) and "Debris" 3" (F.M.N.)
> you should hear Sachiko's solo work to appreciate just how vital she is to
> the success of the above ensembles. Sachiko works wonders with just the
sine
> tones generated by an empty sampler or a pick-up mic. the 3" is especially
> stellar, possibly on par with the headphonic fantasias of Ryoji Ikeda's
> _+/-_.
>
> Ichiraku Yoshimitsu - Music for Surround Panner (Zero Gravity)
> a relentless exercise in various shades of electronic-noise improv,
> presenting Yoshimitsu's talents in an autonomous capacity that I.S.O.
> doesn't allow. call it "headache-phonics," and file this future classic
with
> your Koenig, Xenakis, Parmegiani, etc.
>
> Yasuhiro Otani - Brain-Wash (P@ale Blue)
> true digital improvising. Otani works with a computer and a guitar,
creating
> free-associative sound collage. if you felt that Fenno'berg lacked focus,
> try _Brain-Wash_. Otani's deployment of live sampling is more personal
than
> ironic, alluding to memories and wandering thoughts. a swim in the stream
of
> consciousness. because his point of reference is so introverted, Otani's
> infrequent sparrings with other musicians (such as Otani/Tatsu Aoki -
_Dial_
> (Asian Improv Recordings)) tend to be less satisfying.
>
> Four Focuses (Amoebic)
> [Tétreault, Sachiko M., Yoshihide, Otani]
> a showcase for Tétreault and a fine general introduction to electronic
> improv. Tétreault pits his turntable technique against each of the
Japanese
> improvisers. all four also offer solo pieces. the brilliant duo between
> Tétreault and Sachiko M. bodes especially well for their upcoming European
> tour.
>
>
> we should probably regard instrumental+electronic improvisation and
> straight-up g3/laptop improv recordings as separate categories, deserving
of
> separate surveys. if there's interest, i'll oblige.
>
> gg/
> gg2g4ink@xxxxxxxxxxx
> ct - u.s.a. - m - 25
>
>
>
>
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