[microsound] spank the plank or platter (was) Re: electro-acoustic blues

[jeff gburek <tsazmaniac@xxxxxxxxx>]

the material for bruce russell's recent release "21st
Century Field Hollers and Prison Songs" (available at
www.mattin.org) uses the material originally released
on the "a bruit secret" cd for further manipulation in
the "dub" experimental domain. the booklet given to me
by mattin states it is published in coo-operation with
ekskubalauron press, 2006. the text is debatable but
interesting:

"...the blues were literally made by the recording
process...For the Bluesman the long road from
plantation to obscurity to international fame was
first marked out with 78 sides and later singles and
albums. I know plnety of rock musicians who have
meausured their days on earth in exactly this way,
between records." --Bruce Russell

the stance might be appealing to post-capitalists,
post-modernists and archaeologists. on this list we
have heard that "folk music is a discourse". i dont
neccessarily disagree. but to take bruce one step
backward, as his title suggests, i.e. one step
backward in the history of blues (while his recording
of his "recording" takes one step forward into
dub--which sounds more scaheffer than tubby to me)
begs the question: if the blues was entertainment
industry music then what of prison songs? what of
remoteness, incarceration, loneliness, slavery? is
there no feeling that preceded the blues? is the
feeling we associate with blues an affect of recording
only? were there no field for the field hollers---just
scratchy grooves of a smithsonian lp?

in this respect take Tetuzi Akiyama's "don't forget to
boogie" --where he uses tape delayed guitar, also a
comment on the use of history. he has a choice when to
turn on or turn off the proceedings of "history" (i.e.
the recording process) and when he recorded the
original takes he had a friend turn the machine on and
off. is it the comment on the recording process that
itself makes it "microsound"? it is a big question
that takers on the "identifiction" of microsound
itself. is history (a recording) made with erasures or
with memories? sampling itself is always a record of a
data transaction. is all granular "ideology" available
to you in the turntable or tape-machine? 

i'd like to hear some comments on this.







j.ff gbk

http://www.futurevessel.com/orphansound/

http://www.mattin.org/desetxea.html

http://www.djalma.com

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