#eddie prévost

[marcogiovenale]

call for applications: creative improvisation and instant composition

THE WORKSHOP The workshop is addressed to musicians with experience in the field of collective improvisation. The afternoon sessions – led by Alvin Curran, Joëlle Léandre and Eddie Prévost – are devoted to instrumental practice, real-time-composing and deep listening. The goal is to convey the notions, principles and techniques which characterized a phase of great creativity in this area. The…

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Every Noise Has a Note

“Every Noise Has A Note”: New Music and Leftist Radicalism

by Felix Klopotek

I.

In the 1960s and 1970s, New Music underwent a political radicalization analogous to its process of musical radicalization. It was a leftist radicalization, owing much to the times, without being completely absorbed in them. The concern of composers in that moment was serious.

Young composers, colleagues or students of Karlheinz Stockhausen or John Cage in the 1950s, developed—partially in open dissociation from one another—models of music, or, more exactly, music making, which broached social themes, and which conceptualized sound as an expression of the social. It was a matter of Totality: they abandoned the concept of the composer in favor of collective, folk, improvisational, and non-musical methods of working. Which means nothing less than that they attempted their own self-negation and abolition.

Groups like the Scratch Orchestra and AMM, Musica Elettronica Viva, Gruppo die Improvisazzione Nuova Consonanza, and composers and meta-musicians such as Frederic Rzewski, Eddie Prévost, Keith Rowe, Cornelius Cardew, Franco Evangelisti, Christian Wolff, and Takehisa Kosugi reflected in their musical praxis the point of interaction between composition as an aesthetic expression of critique and utopia and the social, the direct societal field of class struggle. The precariousness of this interaction consisted of the fact that, in its ultimate ramifications, the musical should be absorbed by the social, which was no longer seen as something separate.

Compositional praxis, musical praxis period, should abolish and transcend [aufheben] itself. The premises that determined what one understood as composition or performance should be thwarted to the point where it would be possible to understand a musical praxis as genuinely social.

“Every noise has a note,” the statement of AMM-percussionist Eddie Prévost, something between a demand and an observation, expresses this: that noise, which in the sense of the educated, polite bourgeoisie is non-musical, has a regularity underlying it and thus like music can be traced back to a creative ordering principle, which implies a mediation between “noise” and “music,” between noise and note. The activation/generation and derivation of a noise are determined by social praxis. Environmental noises are not to be considered as separate from the social actors moving within this environment.

A consequence of this is the transcendence of the separation between performer (composer/musician) and listener. Looking back in retrospect at this period in the 1960s, when AMM first surfaced with this demand, Prévost writes: “It is a tribute to our early supportive audiences that they could respond to our work and reinforce the validity of our activity; these were immensely valuable responses given the newness and uncertainties which accompanied the music.”[1]

However, in the moment where the social and the conceptions of the composer are shown to be disinterested and the working class is not inspired to undertake the final conflict by the deconstruction of the classical concert situation, in the moment where the jump into reality remains absent and the separation between avant-garde and audience is confirmed and reproduced ad infinitum, the concept of the “composer,” which should have been transcended, becomes reified.

The very thing that this generation of composers opposed—for example, that Stockhausen’s once revolutionary technique had fossilized into an invocation of god and proved to be well-suited for a domination-affirming de-subjectivization in music and the cult of the genius in the culture industry—repeated itself in the instant when the grounding of a postulated unification of musical theory and social praxis failed.

As the aforementioned composers returned to a classical form of composing and the larger groups dissolved themselves or, like AMM, hibernated in an almost mythically idealized method of production, the movement disappeared, and with it, the overall idea of the collective. Herein lays the reason why this part of the history of the New Left—particularly in the New Left’s own consciousness itself—is completely lost.

Concomitant with this, the protagonists of this movement, who in the meantime became established composers, have engaged in a critical settling of accounts with their past (without making the “long march through the institutions” with the rest of the 1968 generation) without, however, broaching the issue in such a way as to make it communicable with regard to current debates.

II.

“Does group direction, or authority, depend on the strength of a leading personality, whose rise or fall is reflected in the projected image, or does the collation of a set of minds mean the development of another authority independent of all members but consisting of all of them?”

AMMMusic liner notes

As familiar as the implied egalitarian attitude might seem today, having been established through Free Jazz or politicized pop groups—collective methods of working were not originally on the agenda for the New Music of the 1950s.

In Europe, the highest priority was the composition of music organized on a sufficiently rational basis. This praxis took up the tradition of Schönberg, whose twelve-tone music ordered tonal pitches in rows, that is, rationally. Schönberg’s post-war followers, the Serialists, went one step further: all tonal dimensions, such as duration, volume, and timbre, were to be ordered in rows, with the intent of creating an “integral work of art.”

One early critic who recognized the streak of delusional fetishism and barely concealed affirmation of dominance in this pretense was Adorno: “With curiously infantile faith, the material is invested with the potential to create musical meaning of its own accord. Astrological trickery asserts itself as the relations of intervals according to which the twelve tones are ordered are cheerlessly worshiped as cosmic formulas. The self-constructed law of rows thus becomes a veritable fetish.” [2]

As if to confirm this, Stockhausen blustered about “tuning in to the cosmic whole.” The publishing organ of the Stockhausen circle, Die Reihe (sic!), celebrated the dehumanization and de-subjectification of music in favor of a cosmic order: “In fact, such music has a cosmic character. Lost in reverie, galactic distances removed from the subjective sphere of emotion; in the alienating, new, in many ways terrifying forms of this music, forms arise which are not merely superhuman, but extra-terrestrial.”[3]

In principle, the role of the composer is thus devalued. The composer merely executes the logic of an external principle. However, at the same time, the composer can still celebrate his own genius, which has been endowed by the cosmic order, to which Adorno responds: “An order which proclaims itself is nothing but a cover-up for chaos.”[4]

Thus, the attempt that began with Schönberg as a planned, rational structuring of musical material and an order no longer subject to the whims of nature, and which in the ideal situation represented a method of working not based upon the repressive, mediating logic of valorization consummated the dialectic of enlightenment. Order degenerated into a second nature. “Having thus barely escaped “total” domination (National Socialism [F.K.[5]), the younger generation submitted to the total imperative of the ‘integral work of art.’”[6]

On the other hand, the libertarian variants of the American avant-garde, the works of the New York School centered around John Cage, Morton Feldman, Earle Brown, and Christian Wolff, also did not aim for the liberation of the interpreter, nor for improvisation. However, instead of embarking as God’s prophet on a Serialist ascension to heaven, in these compositions the composer bid farewell in a more sublime and ironic manner.

The New Yorkers developed models of indeterminacy whose guiding principle, for all intents and purposes, was the question of how controlling fanaticism and the intention to domination over musical material could be transcended. They attempted aleatoric procedures based upon principles of chance, which limited the influence of the composer to the setting of a framework and initial conditions. Cage’s most famous piece, “4:33’,” which specifies the non-playing of instruments for this period of time, means nothing other than this: that in the moment, when no musical activity emanates from the musicians, noises, coughs in the audiences, noise from the street, and the creaking of chairs attain a level of meaning that was previously repressed or ignored.

Another compositional principle consisted of the working out of graphic notation, which suspended the intended tonal control parameters of classical notation in order to leave a greater freedom of space for interpretation. Alexander Calder’s mobiles were an important source of inspiration in this context.

This withdrawal of the concept of the composer nonetheless raised a question which was not originally considered by Cage or Feldman: that of the freedom of the interpreter. The disappearance of the composer in no way meant the exaltation of the performer—improvisation was strictly prohibited. The music itself was not to be understood as a social experiment.[7]

Nonetheless, the New York School had “created” a vacuum. Whereas this vacuum would remain unoccupied in Cage’s further activity, in the sense of a winking Zen Buddhism, the occupation of this vacuum seemed obvious from the perspective of the other side, that of the actors (interpreters, musicians, audience). That is, an understanding of environmental sound not only as an immanent broadening of the concept of music but predominantly as something created by humans.

It was already evident in the overcoming of Serialism through Indeterminacy, whose activist component was the early Fluxus movement at the beginning of the 1960s, that this was not an exclusively musical process.

The concerts and actions that took place from 1960-1962 in the atelier of Cologne artist Mary Bauermeister, and which also established the Fluxus movement in Germany, were Happenings, which were loaded with a subversive intent: “There was a clear trend which predominantly determined the selection of repertoire and hardly admitted the works of the Cologne school (the circle around Stockhausen [F.K.]) although the atelier series was closely connected with its composers. It was pieces such as Cage’s ‘Cartridge Music’ and ‘Water Music,’ Busotti’s ‘Pearson Piece,’ and Paik’s action pieces, which stood at the spiritual center of the series—pure live works, which were to be experienced with all of one’s senses, and of an inescapable presence. The specifically un-American aspect of the atelier concerts was the integration of the Cage circle’s ideas with massively socially critical, dialectically, and ideologically flanked European thought, specifically that of the Cologne avant-garde (meaning the authors and critics Hans G. Helms and Klaus-Heinz Metzger [F.K.]). Cage’s Zen-influenced, Confuscianist works were misinterpreted as socially critical, or laden with a new framework of ideas.”[8]

Be that as it may, the enthusiasm for Indeterminacy was met with an increasing ideology-critical sense of discontent with one’s own musical socialization by former Stockhausen adepts such as Cornelius Cardew and Franco Evangelisti.

III.

Decisive triggers for the final breakthrough of collectivism were the developments taking place in Jazz, which by the mid-1960s at the latest had aggregated into Free Jazz.

Up to that point, Jazz and New Music had existed in mutual exclusivity. It is true that there were efforts made within “Third Stream Jazz” to connect to the formal language of twelve-tone music, but this fusion proved to be hardly productive—despite all the elegant music that came out of it. The mediation seemed too superficial, the alternation between the music of Schönberg and Thelonious Monk too indecisive. From the side of the composers, one spoke only disparagingly of Jazz, if at all. Cage and Feldman rejected improvisational attitudes. When the Fluxus movement protested against Stockhausen’s 1964 New York visit—“The first cultural task is to publicly expose and FIGHT the domination of white, European-US ruling class art! (…) Stockhausen, patrician ‘Theorist’ of white supremacy: go to hell!”—the actions had also been motivated by Stockhausen’s discriminatory comments about Jazz (the authenticity of which however, has not yet been sufficiently proven).

With Free Jazz, improvised music entered a phase that left behind the classical Blues and song schemas as foundations for improvisation. No longer bound by fixed harmonic-melodic material, and dissolving 4/4 time into a multi-directional pulse, the Free Jazzers won their own entry into noise as an integrated part of playing. This act of production was practiced and thought of as a decisively group process—music-making as a social act was already realized. Free Jazz (re-)introduced collective improvisation into Jazz.

In 1965, Cardew, 29 years old and, after a few years as an assistant to Stockhausen, now a teacher himself, looked for a young, open-minded Jazz combo that was ready and willing to realize his masterpiece, “Treatise,” an extensive, openly-structured graphic composition which emphasized the role of the performer. One could no longer speak of mere “interpretation.” More important for Cardew than the question of what the performers would play was that of how they communicated with each other and how they could collectively realize the graphically set element. As opposed to his teacher, Cardew was not concerned with the sacredness of sound but rather with the difficult construction of an egalitarian form of social cooperation. In the 1960s, he could only imagine this within the medium of advanced sonic research.[9]

Cardew found his Jazz performers in the group AMM, in which, for example, the Pop-Art painter and guitarist Keith Rowe had decided to stop tuning his guitar and began to conceive of it as an entirely new instrument, laid out on a table and mauled by steel springs, files, rubber balls, or contact microphones. Among the curiosities of this period was that AMM had the same management as and played concerts with Pink Floyd and was able to release their first record on a major label.

Cardew was so swept away by his encounters with the group, for whom reflections about the meaning of music were just as important as playing it, that he became a member and an adherent of improvisational praxis. At the end of the 1960s he wrote an ethics of improvisation. Counted among the seven virtues that a musician could develop were simplicity, integrity, selflessness, tolerance, preparedness, identification with nature, and acceptance of death (Cardew was a Buddhist and would later become a Maoist).[10]

AMM’s improvisations during this period were a harsh, inexorable racket: the intent was to prohibit the ability to determine which instrument was the source of a particular sound. The group performed as a group—even if they emphasized the importance of individual voices in the process of sound generation, they played no role in the larger picture. The group performed in darkened spaces, the concerts lasted a number of hours and incorporated long periods of silence.

Cardew was not an individual case: Frederick Rzewski, like Cardew, a virtuoso pianist and one-time prodigy, founded Musica Elettronica Viva (MEV) with dissident colleagues Alvin Curran and Richard Teitelbaum. Here, as well, the broadening of the concept of music to include noise crossed-over with improvisation.

Franco Evangelisti stopped composing altogether and called into life the Gruppo di Improvvisazione Nuova Consonanza. Ennio Morricone was present, along with Rzewski. The group Ongaku and later the Taj Mahal Travelers operated in Japan, with the violinist Takehisa Kosugi, an important Cage interpreter and Fluxus activist, playing in both groups.

The differences between the various groups consisted in their way of dealing with the concept of the “work.” Whereas AMM took a principally anti-institutional attitude and accused the other groups of belonging to the establishment, Nuova Consonanza rejected this as out-of-bounds: the music remained a composition, even if it was developed in an impromptu manner in which all musicians participated with equality. MEV, on the other hand, mutated into a nomadic commune and integrated their everyday identity into the group and its performances, in which the audience was a participant.

Frederick Rzewski would soon detach himself from the practice of direct improvisation and begin to write political works. The pieces “Coming Together” and “Attica” (both from 1971) had as their thematic material the massacre committed by New York Governor Nelson Rockefeller and New York State Police against the inmate uprising at the Attica prison complex. Along with recited letters from the prisoners, Rzewski develops a dense but nonetheless catchy tonal sound surface. The compositions have agitation as their intent, without completely dispensing with the experience of improvisation: the works are realized by Jazz performers and contain extensive improvisational passages. Rzewski’s most well-known composition is his thirty-six variations on the revolutionary Chilean song “The People United Will Never Be Defeated” (1978). This is a work that demands a high level of virtuosity from the performer because Rzewski designed the variations as more and more complicated and elevated permutations of the original folk music material in homage to the creativity of the masses.

IV.

On July 1st, 1969, the Scratch Orchestra was founded. It was initiated at the suggestion of Cornelius Cardew and a number of other composers and students of Cardew’s. The list of composers, who count today among England’s most prominent, is still impressive: Michael Nyman, John White, Gavin Bryars, Michael Parsons, Howard Skempton or Brian Eno. What was decisive, however, was that the group was oriented explicitly toward non-musicians.[11] In the Orchestra’s constitution—it was actually called that—among other things the following is written:

A Scratch Orchestra is a large number of enthusiasts pooling their resources (not primarily material resources) and assembling for action (music-making, performance, edification).

Note: The word music and its derivatives are here not understood to refer exclusively to sound and related phenomena (hearing, etc.). What they do refer to is flexible and depends entirely on the members of the Scratch Orchestra.

[…]

Popular Classics

Only such works as are familiar to several members are eligible for this category. Particles of the selected works will be gathered in Appendix 1. A particle could be: a page of score, a page or more of the part for one instrument or voice, a page of an arrangement, a thematic analysis, a gramophone record, etc. The technique of performance is as follows: a qualified member plays the given particle, while the remaining players join in as best they can, playing along, contributing whatever thev can recall of the work in question, filling the gaps of memory with improvised variational material.[12]

At the inaugural meeting in Autumn of 1968, seventy musicians and activists met. Cardew solved the problem of a democratic organization of such a large heterogeneous group by giving everyone present a date on which he or she could perform a concert according to their own criteria. In its first year of existence, the orchestra played over fifty concerts. No other group dealt so seriously in a consistent manner with all of the implications that the young composers had deduced from their experiences with Fluxus, Free Jazz, and Hippie-Marxism.

Roger Sutherland, who came into the group as a non-musician and is active today in the noise-improvisation group Morphogenesis, describes the performance of one of many scores:

The score was called “Anima Two” and simply instructed: “Carry out every action as slowly as possible.” Everyone in the Orchestra could realize that however they liked. One sat at the organ and played a single chord from Bach’s Toccata and Fugue in D-Minor. He held the chord for the entire duration of the performance, as if it would last forever. I interpreted the score by going from one end of the stage to another, in unbelievably slow motion. I had practiced that for weeks. One could hardly see that I was moving. (…) Cornelius Cardew sat there like a statue with his cello case, and he began to open the case very slowly. He took two hours to do that. Those were all very quiet activities. The only thing one could hear continuously was the static organ chord. There were also a few other sounds, but the main effect was that fifty people carried out unbelievably slow actions, so that the impression arose that time had somehow been abolished.[13]

These days, one is touched by the energy and enthusiasm with which such a large group was together able to realize concepts that were just as obvious as they were completely unworldly. How did they find the time and money?

The members probably did not waste a single thought on the notion that such concepts at some point would congeal into methods. The group broke up a few years later, but not because the composers wanted to impose their educated bourgeois claims against the non-musicians. Looking back, Roger Sutherland comments upon the creeping disintegration:

What happened was rather unexpected. Around 1971, Cornelius Cardew and a few others, particularly Keith Rowe and (the pianist [F.K.]) John Tilbury began bringing ideological and political texts and reading them aloud for hours on end. We all didn’t like that. That alienated the people who weren’t interested in politics. Cardew was about to convert to a sort of Chinese socialism. He thought that the most important tasks were political revolution and socialism. If musicians wouldn’t subordinate themselves to that, then they were counter-revolutionaries. That was rather primitive logic. Music, regardless by whom, whether by Cage, Stockhausen, or Cardew himself, that didn’t express a socialist ideology, and very emphatically, and which furthermore was capable of convincing people about socialism, he considered reactionary, negative, and so on and had to be rejected. And Cardew did the unbelievable thing of rejecting all of his previous work. He began writing songs and piano pieces that were transcriptions of Irish or Chinese revolutionary songs. With regard to harmony and rhythm, they were very simply constructed. The discussions about the function of music, whether music was political or not, split the orchestra. What happened, for example, was that we were now supposed to suddenly learn how to play instruments conventionally. There were even classes where one received instruction in rhythm or playing violin. I didn’t join the Scratch Orchestra for that. I wanted to experiment with sound, not play conventional music. I could have done that somewhere else.[14]

In 1974, the activity of the Scratch Orchestra petered out for good.

AMM also split. The quartet actually managed to disintegrate into an anarchist wing with Eddie Prévost and the saxophonist Lou Gare, and a Maoist one consisting of Rowe and Cardew. They still went on a tour of Europe together in 1973 but performed separately. Rowe and Cardew played noisy improvisations to songs and news broadcasts from Radio Tirana (!), which were supposed to reflect the alienation of the proletariat in everyday factory life. This was a bittersweet example of the decline of both the protest movement and the at one time so advanced musical praxis. Only in the late 1970s did AMM form as a united group once again.

Back to the Scratch Orchestra: the process of democratization was supposed to lead to the construction of a musical cadre party. That failed. Cardew, who in a dramatic essay accused his teacher Stockhausen of imperialism and was not above castigating himself for his earlier enthusiasm for Cage, also drew practical consequences. As a member of a British New Communist group, he provided musical accompaniment at demonstrations, agitated on picket lines, etc. When he became composer in residence of the Künstlerhaus Bethanien in Berlin in 1973, he distributed leaflets against the Künstlerhaus and advocated instead for establishing a children’s polyclinic in its place.

In 1981, Cardew was fatally wounded in a traffic accident that was never solved. From the middle of the 1970s on, he played individual “secret concerts” with AMM, unannounced concerts under fake names. Cardew had, according to Keith Rowe, never given up his passion for the avant-garde

No recordings of the Scratch Orchestra are available today.[15]

V.

The politicization of new music failed due to its own radical standards. The social question took such a central place within the musical activity that the absence of the supposed logical consequence (revolution) robbed the music of its foundation. It became obsolete, entangled in ludicrous battles (Scratch Orchestra, AMM), or became kitschy (not dissimilar to current, silly Stockhausen performances).

What remains is the high level of engagement with the material. Precisely in the ruthless thematization and incorporation of the social field, which did not occur at the expense of the music,[16] there could be a path that leads beyond the dichotomy of music as social effect vs. music as technique. There’s a difference between understanding music in a truncated way as derived from concrete social circumstances or, as those composers did (of course failing to recognize their own privileged backgrounds) as a genuine social praxis.

It’s just as interesting to observe how the composers and musicians have engaged with their own survival. As a consequence of failure, AMM (namely Eddie Prévost) has conceived a “meta-music” intended to make getting through the winter possible.[17]

Every utterance, rustle and nuance is pregnant with meaning. To make a meta-music is to hypothesize, to test every sound. To let a sound escape unnoticed before coming to know what it represents or can do is carelessness. Each aural emission can be unlocked to show its origins and intentions. […] If humanization is our ultimate goal, “art for art’s sake” can only be justified as a tactical withdrawal. No sound is innocent—musicians are therefore guilty if they collude with any degeneration or demoralization of music.[18]

Just as before, the point is to decode sounds as social events and thus integrate them consciously into a social nexus. This consists, however, in the music-making collective itself—for lack of a real correspondence. “Meta-music” is music that reflects upon its own concrete conditions of emergence, through itself as a medium. A perpetuum mobile. “The reason for playing is to find out what I want to play.”[19] Any form of fixed pre-determination is forbidden: “Organizing sound limits it potential.” The music can only be realized as a spontaneous, common effort.

The concept of the social is only expressed through music—regardless of how emphatically AMM stresses this linkage, it no longer manages to become an expression that constitutes community, which is just the logical conclusion of the 1960s. Back then, improvisation, as an idea and as praxis, was taken as surface for the projection of universal utopias. The egalitarian collective of players anticipates an egalitarian society. Eddie Prévost probably wouldn’t assert anything else, ultimately; however, his own praxis is wiser, because it is the constant critical interrogation of one’s own activity, and thus it works out a set of rules that can only be applied to one’s own music.

As a listener, one can deduce what one wishes from that. These days, AMM, who no longer play as loud as they used to, but are just as breathtakingly lost in reverie, are celebrated as pioneers of industrial and ambient music, and there’s no trace of their former Maoism.

All deductions are one thing; the music is another. As improvised music, it remains fleeting, in principle unpredictable, without giving up its obligation to the movement in which it’s played and—beyond this—to the collective.

Thus, the subversive potential in the music has withdrawn into a theory that, because it is identical with its praxis, is hard to decode, utterly ensnared in its own decades-spanning history. As I said, very little remains for practical application.

But in contrast to thirty years ago, AMM would welcome this state of affairs.

[1] From the liner notes to the first AMM LP, AMMMusic, issued in 1966 and still available as a CD (Recommended Recordings). Prévost continues: “An AMM performance has no beginning or ending. Sounds outside the performance are distinguished from it only by individual sensibility.” AMMMusic is such a statement: the group does not play improvised music, or New Music (thus fulfilling no genre criteria), but rather music that develops the criteria for its own verifiability and transparency from within itself.

[2] Theodor W. Adorno, Philosophie der Neuen Musik, Suhrkamp: Frankfurt, 1958 (107).

[3] Quoted in Gottfried Eberle, “Neue Musik in Westdeutschland nach 1945” in Heister, Hanns-Werner and Dietrich Stern: Musik der 50er Jahren, Argument-Sonderband AS 42, Hamburg 1980 (47). Hanns Eisler also formulated a trenchant critique, writing, with regard to Stockhausen’s composition “Gesang der Jünglinge” (1953): “Stockhausen for example has created an electronic—or whatever you call it—piece of music over many years, after the section of the Bible, “Three Men in a Furnace.” In Luther’s translation, this Bible passage is a delightful piece linguistically, a report of prehistoric resistance. What does Stockhausen turn it into? The text is made intentionally inscrutable through manipulation of the tape, and thus the actual social meaning of this Bible passage is swept away. What remains is: ‘Great God, we praise you.’ It’s as if the musical squad of the ‘Königin Luise’ club were brought into the next village church by means of rocket aircraft” (quoted in Heister and Stern 78)

[4] Adorno, Philosophie der Neuen Musik 6

[5] [In various quotes used in the original German version of this text, Klopotek inserted brief parenthetical comments. These are denoted in the present translation by his initials in square brackets: [F.K.]—Tr.]

[6] Eberle, “Neue Musik in Westdeutschland nach 1945.”

[7] However, in this tradition there are also unmistakable, but very intricately rendered political statements. “King of Denmark,” a composition by Feldman from 1964 for solo percussion, demands extreme sensitivity towards the instrument on the part of the performer. The performer is not allowed to use mallets and can only work with his or her hands, arms, etc. This very quiet piece of music (standing in demonstrative contrast to rather loud percussion music) is an homage to the Danish king Christian X., under whose rule the Jewish population of Denmark was saved from the Wehrmacht by being evacuated to Sweden, and who publicly wore a yellow star as a sign of solidarity.

[8] Robert von Zahn, “Refüsierte Klänge. Musik im Atelier Bauermeister,” in Das Atelier Mary Bauermeister in Köln 1960-1962 (117). This volume provides a rather complete picture of the primordial soup of the cultural Left, which includes everyone from Adorno to Cardew, Bauermeister herself, Stockhausen, Jam June Paik, LaMonte Young, Klaus-Heinz Metzger, and Hans G. Helms.

[9] A performance claiming to be complete can be found on Cornelius Cardew’s Treatise album on the Swiss HatArt label.

[10] Peter Niklas Wilson Hear and Now: Gedanken zur improvisierten Musik, Wolke Verlag: Hofheim, 1999 (11).

[11] The American composer Christian Wolff—son of the legendary publisher Kurt Wolff, who emigrated with his family to the USA in the 1930s, where Christian, having just turned 16, met John Cage and joined his “school”—began to compose for non-musicians. The score of Stones (1968) consists exclusively of a poem, which in a few lines provides instructions on how sounds can be created with stones: “Make sounds with stones, draw sounds out of stones, / using a number of sizes (and colours); / for the most part discretely; sometimes in rapid / sequences. For the most part striking stones with / stones, but also stones on other surfaces (inside / the open head of a drum, for instance) or other than / struck (bowed, for instance, or amplified). Do not / break anything.” (From Prose Collection 1968-74). Interestingly enough, at the same time Cardew was also working on a piece, The Great Learning, that also contained (improvisational) passages played exclusively with stones. Concerning Wolff’s series of compositions Excercises, the performer Eberhard Blum writes: “For the performers, the point of orientation is the act of playing in unison, but they are free to decide about tempo, dynamics, articulation, the manner of playing, and the length of pauses, as well as, at any time, whether or not they want to play, i.e., about instrumentation. All of that is decided in the course of the performance, meaning that all of these aspects of the performance are improvised, other than the fact that playing in unison, regardless of how far it might be, is always a point of orientation to which a player must return when straying too far. In other words: every performer is free to the extent that he or she succeeds in time in acquiring the agreement of others for his or her own special manner of performance.” (liner notes to: Excercises 1973-1975, hat ART CD) In his work, Wolff contrasts “parliamentary participation,” which allows interpreters to be free in shaping the reduced compositional instructions, to the “monarchical authority” of the composer, which he wants to see abolished.

[12] Cornelius Cardew, “A Scratch Orchestra: Draft Constitution,” The Musical Times 110:1516, 125th Anniversary Issue (Jun. 1969): 617-619

[13] Quoted in Hanno Ehrler: Radikale Demokratie: Das Londoner Scratch-Orchestra in Musiktexte 75 (August 1998): 52.

[14] Quoted in Ehrler, p. 57

[15] At least, no authorized ones. An unwritten Scratch law states that issuing a record requires the approval of all living members of the group. That will never be the case—that’s at least one point on which the still-divided Scratchers agree (even disregarding the aesthetic implications of issuing a record—what does it mean to choose one concert, and not another, from the mass of recorded material—there are also legal issues: who gets the royalties? Ultimately, the works of the Scratch Orchestra and its composers are regarded by the (copyright) collecting societies as classical music, and the respective royalty payments to individuals—group and collective compositions hardly count at all—might be correspondingly high. Nonetheless, in the year 2000 the California label Organ of Corti issued the CD Cornelius Cardew/The Scratch Orchestra: The Great Learning. It was a reissue of an album that was released in 1971 on the classical label Deutsche Grammophon. The Great Learning, a reference to the classical Confucian canon, is a vocal work consisting of seven paragraphs. In each paragraph, a section of the Confucian canon is declared. The composition, which Cardew worked on between 1968 and 1970—three paragraphs were finished before the group was founded, so they cannot be identified with the praxis of the Scratch Orchestra, even if he dedicated them to the group—is regarded, along with Treatise, as Cardew’s masterpiece. However, The Great Learning is not exemplary of the work of the Scratch Orchestra. In that sense, the reissue, supplemented by a performance of the first paragraph from the year 1982, is more of a Cardew CD than a Scratch one.

[16] Even in cases where the music retreated into the background, as with Cardew, it was a radical step. He did not water down his avant-garde compositions with tonal elements but rather devoted himself completely to simple workers’ songs.

[17] Edwin Prévost, No Sound is Innocent: AMM and the Practice of Self-Invention, Meta-musical narratives, Essays. Essex: Copula, 1995. If one is not further disturbed by its pathos, this book can be recommended as an introduction full of rich material

[18] Ibid., 33f. Prévost has adopted this moralism from Cardew.

[19] From the liner notes to AMMMusic

[anamon-book]

AMM　From A Strange Place (Dedicated To The Tokuoka Family) P.S.F. Records

[musicmakesyousmart]

Eddie Prévost Band - Live Volume 1

Matchless Recordings

1978

[alexlacquemanne]

Aout MMXXII

Films

Mais où est donc passée la septième compagnie ? (1973) de Robert Lamoureux avec Pierre Mondy, Jean Lefebvre, Aldo Maccione, Érik Colin, Robert Lamoureux et Pierre Tornade

On a retrouvé la 7e compagnie (1975) de Robert Lamoureux avec Pierre Mondy, Jean Lefebvre, Henri Guybet, Pierre Tornade et Bernard Dhéran

La Septième Compagnie au clair de lune (1977) de Robert Lamoureux avec Pierre Mondy, Jean Lefebvre, Henri Guybet, Gérard Jugnot, André Pousse et Patricia Karim

Y a-t-il un pilote dans l'avion ? (Airplane!) (1980) de David Zucker, Jerry Zucker et Jim Abrahams avec Robert Hays, Julie Hagerty, Lloyd Bridges, Leslie Nielsen, Robert Stack et Peter Graves

Les Traducteurs (2019) de Régis Roinsard avec Lambert Wilson, Alex Lawther, Olga Kurylenko, Riccardo Scamarcio, Sidse Babett Knudsen et Eduardo Noriega

Ho ! (1968) de Robert Enrico avec Jean-Paul Belmondo, Joanna Shimkus, Raymond Bussières, Paul Crauchet, Stéphane Fey, Alain Mottet et André Weber

Les Fugitifs (1986) de Francis Veber avec Pierre Richard, Gérard Depardieu, Anaïs Bret, Jean Carmet, Maurice Barrier et Jean Benguigui

Les 55 Jours de Pékin (55 Days at Peking) de Nicholas Ray, Andrew Marton et Guy Greena avec Charlton Heston, Ava Gardner, David Niven, Flora Robson et Leo Genn

Du haut de la terrasse (From the Terrace) (1960) de Mark Robson avec Paul Newman, Joanne Woodward, Myrna Loy, Ina Balin, Leon Ames et Barbara Eden

Soleil vert (Soylent Green) (1973) de Richard Fleischer avec Charlton Heston, Leigh Taylor-Young, Edward G. Robinson, Chuck Connors, Joseph Cotten et Brock Peters

Quai d'Orsay (2013) de Bertrand Tavernier avec Thierry Lhermitte, Raphaël Personnaz, Niels Arestrup, Bruno Raffaelli, Julie Gayet, Anaïs Demoustier, Thomas Chabrol, Thierry Frémont et Alix Poisson

Les Compères (1983) de Francis Veber avec Pierre Richard, Gérard Depardieu, Anny Duperey, Michel Aumont, Stéphane Bierry et Philippe Khorsand

Le Téléphone rose (1975) de Édouard Molinaro avec Mireille Darc, Pierre Mondy, Françoise Prévost, Michael Lonsdale, Daniel Ceccaldi et Gérard Hérold

Dies iræ (2003) d'Alexandre Astier avec Alexandre Astier, Tony Saba, Thomas Cousseau, Lionnel Astier, Alexis Hénon, Nicolas Gabion, Franck Pitiot et Jean-Christophe Hembert

La Chèvre (1981) de Francis Veber avec Pierre Richard, Gérard Depardieu, Pedro Armendáriz Jr, Michel Robin, André Valardy et Corynne Charby

Les Vieux Fourneaux (2018) de Christophe Duthuron avec Pierre Richard, Roland Giraud, Eddy Mitchell, Alice Pol, Henri Guybet et Méliane Marcaggi

Les Vieux Fourneaux 2 : Bons pour l'asile (2022) de Christophe Duthuron avec Pierre Richard, Eddy Mitchell, Bernard Le Coq, Alice Pol, Myriam Boyer, Jean Sarrus : Baba et Claire Nadeau

Guet-apens (The Getaway) (1972) de Sam Peckinpah avec Steve McQueen, Ali MacGraw, Ben Johnson, Sally Struthers, Al Lettieri et Slim Pickens

Vice (2018) de Adam McKay avec Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Tyler Perry & Alison Pill

Le Masque de fer (1962) de Henri Decoin avec Jean Marais, Sylva Koscina, Jean-François Poron, Gisèle Pascal, Philippe Lemaire et Jean Rochefort

Sous le plus grand chapiteau du monde (The Greatest Show on Earth) (1952) de Cecil B. DeMille avec Charlton Heston, Betty Hutton, Cornel Wilde, Gloria Grahame, James Stewart et Dorothy Lamour

Séries

The Rookie Saison 4

Acétylcholine - Chasse au trésor - Combat à mort - Menace sur a ville - Remise en cause - Le coeur au bord des lèvres

Les Nouvelles Aventures de Lucky Luke

Liki Liki - Lucky Luke en Alaska - Les Dalton contre Sherlock Holmes - Lucky Luke contre Lucky Luke - Lumière dans l'Ouest - Ni Dalton, ni maître - Roulette indienne - Fort Custer - Le Trésor des Dalton- L'Homme volant - Les Indiens Dalton - Les Héritiers - Pour une poignée de Dalton

Détective Conan Saison 1

Le Plus Grand Détective du siècle - Le Commencement - Méfiez-vous des stars - Le Poisson lumineux - La Bombe roulante - Le Meurtre de la Saint-Valentin - Le Mystérieux expéditeur - Meurtre au musée - Festival fatal - Conan marque un but - Sonate pour crime au clair de lune - L'Enlèvement d'Ayumi - Le Meurtre déconcertant - Un message à déchiffrer - Un cadavre a disparu - Le Meurtre du collectionneur d'antiquités - Cambriolage au supermarché - La Mariée de juin - Meurtre dans l'ascenseur - La Maison hantée - Meurtre sur un plateau - Les meurtriers en série embarquent sur le Luxury Liner : 1re partie - Les meurtriers en série embarquent sur le Luxury Liner : 2e partie - La Mystérieuse amnésique - Enlèvement contre rançon - John et l'Assassinat - La Réunion de classe de Kogorô : 1re partie - La Réunion de classe de Kogorô : 2e partie - Meurtre en direct - Un alibi parfait - Meurtre au studio de télévision - Meurtre au coffee shop - Rendez-vous mortel - L'Homme aux bandelettes : 1re partie - L'Homme aux bandelettes : 2e partie - Lundi 19h30 - Meurtre au cactus - La Fête du Feu - Le Meurtre de l'héritière : 1re partie - Le Meurtre de l'héritière : 2e partie - L'Affaire du drapeau en lambeaux - Meurtre au karaoké

Dix pour cent Saison 4

Charlotte - Franck - José - Sandrine - Sigourney - Jean

Le Visiteur du Futur : Néo-Versailles Saison 4

La Balade de Raph et Stella - La Cour Royale - Le Sauveur malgré lui - Un Nouvel Espoir - Le Bal - Le Réveil - Coup de Théâtre - Les Ficelles - La Révolution - Le Clou du Spectacle

Affaires sensibles

L'incendie de Notre-Dame de Paris - Irak 2003 : Quand la France résiste - Sports Sensibles IV : Springboks'95, la mort en arc en ciel - Les 24H du Mans de 1955 : le diable est dans la ligne droite - L’affaire du Watergate ou la chute du président Nixon - L'affaire des archives volées de la franc-maçonnerie

Columbo Saison 13, 12, 2

En grandes pompes - Le meurtre aux deux visages - Dites-le avec des fleurs

Kaamelott Livre I

Heat - Les Tartes aux myrtilles - La Table de Breccan - Le Chevalier mystère - Le Fléau de Dieu - Le Garde du corps - Des nouvelles du monde - Codes et Stratégies - Le Maître d’armes - Le Négociateur - Dîner dansant - Le Sixième Sens - Arthur et la Question - Monogame - Les Défis de Merlin - Le Banquet des chefs - Le Signe - En forme de Graal - Le Repos du guerrier - La Dent de requin - La Taxe militaire - La Queue du scorpion - La Potion de fécondité - L’Interprète - Le Sacrifice - À la volette - De retour de Judée - La Botte secrète - L’Assassin de Kaamelott - Le Trois de cœur - Basidiomycètes - L’Imposteur - Compagnons de chambrée - La Grotte de Padraig - Ambidextrie - Raison d’argent - La Romance de Lancelot

Stargate SG-1 Saison 3, 4, 1

Némésis - Victoires illusoires - De l'autre côté du miroir - Une dimension trop réelle

Spectacles

Double Mixte (1989) de Pierre Mondy avec Christian Clavier, Marie-Anne Chazel, Gérard Rinaldi, Marc Dudicourt, Stéphane Bouy, Julie Arnold et Marcel Philippot

Livres

Sherlock Holmes : Un scandale en Bohême suivi de trois autres récits de Sir Arthur Conan Doyle

Lucky Luke, Tome 18 : Le Bandit manchot de Morris et Bob de Groot

Le visiteur du futur : La meute de Slimane-Baptiste Berhoun et François Descraques

Quai d'Orsay, Chroniques diplomatiques, Tome 1 de Christophe Blain et Abel Lanzac

Quai d'Orsay, Chroniques diplomatiques, Tome 2 de Christophe Blain et Abel Lanzac

De la Terre à la Lune de Jules Verne

Kaamelott, tome 7 : Contre-attaque en Carmélide d'Alexandre Astier, Steven Dupré et Picksel

Autour de la lune de Jules Verne

OSS 117 : Atout cœur à Tokyo de Jean Bruce

[crushingdeath]

TAUPE + N.O. MOORE & EDDIE PRÉVOST

Thu 22nd Sep @ The Blue Moon, CB1 Doors 8pm, £8 adv from here

TAUPE

Get hyped for Glasgow's skronkiest polyrhythmic freakout crew, Taupe. Taking all sorts of pieces from the knottier ends of the jazz spectrum and smashing them into the realms of the most cerebral art-rockers, the sax-guitar-drums trio create highly charged tunes that veer from the complexly quantum to the howlingly amorphous, but always fired up with a super-high wattage energy - crazy numbers of Joules per second, people. Fresh from supporting Melt-Banana, Deerhoof, and Richard Dawson & Circle, Taupe come to bring all your dystopian gnarled jazz fantasies to life. https://taupe.bandcamp.com/

N.O. MOORE & EDDIE PRÉVOST

Totally essential free improv collaboration between a bona fide legend of experimental music, Eddie Prévost (AMM, EAR, etc.), and more newly-established electric firebrand, N.O. Moore (of Cambridge's recent Soundhunt sessions). Expect everything.

[dustedandsocial]

June, previously. The end of the month rundown of what was best in June: but in July. June: July. There’s plenty where June came from. Christ’s Kingdom is eternal. June (July)

Was on vacation at the end of last month and forgot to upload this June rundown. So here it is. I’m better than Pitchfork. I’ll fight everyone at Vice HQ. I unearth more underground music than The Wire and The Quietus combined. I’m the best. Down with all with music mags, sites for profit, music content subsidiaries of Old Spice, Monster Energy Beat Camp etc. Bring info exchange to the fans, build the community, Patreons for our celebrated writers, donations for our artists, down with the for-profit content factory. Long live the independent, community-oriented content factory. I’m #1.

Here, this:

Rock, hard rock, rock music, rock and roll, heavy hard rock

Full-Lengths Acolytes - Rupture LP (Alter) Al Doum & The Faryds - Spirit Rejoin LP (Black Sweat) Alameda 4 - Czarna Woda CD (Instant Classic) Big Blood - Operate Spaceship Earth Properly LP (Feeding Tube) Boyhood - Bad Mantras LP (Shuffling Feet) [nice follow-up to their underappreciated lp from a few years back, although a bit more traditionally pop] Brian Case - Plays Paradise Artificial LP (Hands In The Dark) Chaos Echœs - Mouvement LP (Nuclear War Now!) Danielle Dahl - Loosening Orion's Belt CS (Abstract Tits) Dreebs - Forest of a Crew LP (Ramp Local) The End - Svårmod Och Vemod Är Vardesinnen LP (RareNoise) [complete rager] Eugene Chadbourne, Steve Beresford, Alex Ward - Pleasures Of The Horror LP (Bisou) Flesh Narc - Pillow Talk CD (Heavy Baby) H E X - BLDG CS (Wetwear) Ivan The Tolerable - Le Monde Inversé 10" (Vinyl, Ack! Ack! Ack!) [far removed from prior Ben Wallers homages, Ivan brings something unexpected to every new release] Jukka Nousiainen - Ei enää kylmää eikä pimeää CD (Jukan Musiikki) [the only rock star on earth] Larry Wish & His Guys - The Mouth is the Most Promising CS (Bumpy) Maxine Funke - Home Fi CS (Brierfield Flood Press) [lo-fi folk, every song a winner] Palberta - Roach Going Down LP (Wharf Cat) Patois Counselors - Proper Release LP (Ever Never) Slushy Guts - The Blasted Stump CS (Cusp Recordings) [most underrated band in the UK] Society's Decline - No Angel On The Shoulder Of The World LP (Skrammel / Kibou) [favorite hardcore record in quite some time, pretty straightforward, thuggish. Brainbombs approved] Stefan Christensen - City Code LP (Knotwilg) Überkrøppling - Sådan Ka' Det Gång Gadagång (Mastermind) Uniform & The Body - Mental Wounds Not Healing LP (Sacred Bones) VA - Para Cuando En Mi Te Mueras  20 Unearthly Sissy And Sassy Hits CS (Comidillo Tapes) Yunclas - De lingua ad mortem CS (Grabaciones Autobombo)

Singles, EPs, Demos

Alienation - Bitter Reality 7" EP (Warthog Speak) [best hardcore band in north america] Chloe Alison Escott - Hard Femme in Argyle EP (Self-Released) Cremalleras - Mercado Negro 12" (Thrilling Living) Dead C - On The Outbreak Of Civil War 7" (I Dischi Del Barone) Dame Area - Immagina il passato- ricorda il futuro CS (U-Bac) DEAFKIDS - Espiral da Loucura (Self-Released) Full of Hell / Intensive Care - Split 7" EP (Anthems of the Undesirable) HEX [UK]- TOUR DEMO 2018 (Self-Released) Ivan The Tolerable - Ring Around The Country 8" EP (Endless Records) La Misma - Negociac¸o~es De Paz Continuam Como As Fabulas 7" (Toxic State) Lion's Cage - Lion's Cage 7" EP (Heavy Dose) Perverted Ceremony - Perverted Ceremony 12" (Nuclear War Now!) Pig Frenzy - Pig Frenzy CS (Smikkelbaard) Pineapple RnR - Pineapple Rik n Roll 7" EP (Lumpy) Puke Puddle - Detox CS (Epileptic Media) Pumice - Platelets 7" (Soft Abuse) Sect Pig - Crooked Backs CD (Nuclear War Now!) SSRi - SSRi CS (Sexy Romance) Stef Ketteringham - Marcos' Bomber Jacket 8" (Endless) Thackery Earwicket - Lost My Heart In Space CS (Un je-ne-sais-quoi) Urbanoia - Nådeløs Vold 12" (Byllepest Distro) [*Pictured] YOR - YOR THE FUTURE CS (U-Bac)

Experimental, Avant-Garde, who even knows

◉ ╋ ◑ Stefano Pilia & Massimo Pupillo - κένωσις (Kenosis) LP (Soave) Black Crumbs - Black Crumbs CS (Chthonic ) City Dragon - Owl Drugs CS (Andesground Label) Dan Olsson - Relaxing and Stress Relieving Music for Smartphone Users CS (Zeon Light) Embassador Dulgoon - Hydrorion Remnants LP (Nonlocal Research) Gate - Winter Songs LP (8mm) Gonçalo F Cardoso - Impressões De Uma Ilha (Unguja) LP (Edições CN) Helicopter Quartet - Last Death of the Phoenix (Self-Released) i_like_dog_face - Sleepless Illusions LP (Hot Releases) Lärmschutz - Fruits CS (Faux Amis) Laurie & Olly - Ample Profanity LP (Slip) Micromelancolié - Streaming CS (Never Anything) Monopoly Child Star Searchers - Make Mine, Macaw II LP (Discrepant) Noel Meek and Cameron Stallones - ADVENTURES IN OBJECT-HOOD! CS (Ikuisuus) Officina Errante - Recorder! Ricorda CS (Linear Obsessional) Ophüls - The Demons (Sentencia) [*Pictured] Stilluppsteypa - Beach Jolanda LP (Ultra Eczema) Sunk Heaven - Where All Sides Collapse LP (Hot Releases) URBI-FLAT - 8 Petites Pièces De Variété LP (Replica) VA - Studies On Regression Of Organic Substances And Sounds CDr (Sounds Against Humanity) Will Guthrie x TSAATAN - Will Guthrie x TSAATAN (Noise Bombing) Yngel - Indonesia CS (Insula / Abstract Tits)

Free Jazz, Fake Jazz, music with instruments and no vocals, etc

BACZKOWSKI ∕ PADMANABHA - Mastoid Process 7'' (Iron Lung) Charlie Morrow - Toot! Too LP (Recital) Didi Kern & Philipp Quehenberger - LINZ LP (Shameless Rocks) Evan Parker & Eddie Prévost - Tools of Imagination (Fundacja Sluchaj) Flamingo - LOUD CD (Relative Pitch) Grabek - Day One CD (Gusstaff) Konstrukt - Oryantal 12" (Holidays) Les Conférences Bunker - Malédiction / Bénédiction (Self-Released) [*Pictured] Madalyn Merkey - Happy Birthday Julie Moon! (Self-Released) Malaikat dan Zoo - Malaikat dan Zoo (Noise Bombing) Marc Sinan & Oguz Buyukberber - White (ECM) Michel Kristof and Vinnie Paternostro - A Place You Could Not See... (Muteant Sounds) Nathan Corder and Tom Weeks - Anaconda (Noise Pelican) Oiseaux-Tempête - طرب TARAB LP (Sub Rosa) R A I C - Symbiosis- Vol. 1 CS (Lurker Bias) Sam Weinberg, Teté Leguía, Weasel Walter - Weinberg / Leguía / Walter CD (Buh) Toad - Toad LP (La Nòvia) Verneri Pohjola & Mika Kallio - Animal Image LP (Edition Records) WIG - Music For Birds (CRAM)

Reissues, Archival

Agathocles - If This Is Gore, What's Meat Then LP [Rec. 1988-1990] (Nuclear War Now!) Anima - Anima [Orig. 1972] (Pilz) Anima - Der regt mich auf [Orig. 1982] (Ohr) Anima - Stürmischer Himmel [Orig. 1971] (Ohr) Basa Basa - Homowo LP [Orig. 1979] (Vintage Voudou / Bombay Connection) Blurt - Blurt / Singles CS [Rec. 1980-1984] (Post-Materialization Music) Carsickness - 1979-1982 (Get Hip) Crack Cloud - Crack Cloud LP [Rec. 2016-2017] (Meat Machine) Dimitris Kamarotos - Electromagnetic Landscapes (Unreleased Recordings 1983-2016) LP (Intersonik) Dive - Concrete Jungle 2xLP [Orig. 1993] (Mecanica) Frank Hurricane - Holy Archives Vol. 1 LP [Rec. 2010-2012] (No Fidelity Audio) Graham Lambkin - No Better No Worse (Vol 2) [Rec. 2001-2007] (Self-Released) Happy Rhodes - Ectotrophia 2xLP [Rec. 198x] (Numero Group) Heroin in Tahiti - Casilina Tapes 2010-2017 LP (Boring Machines) Jean-Marie MASSOU - La citerne de Coulanges LP [Rec. 1978] (Vert Pituite La belle) John Foxx - Metamatic 3xCD [Orig. 1980, Remastered] (Metamatic) Jonah Dan - Intergalactic Dub Rock LP [Orig. 1995] (Bokeh Versions) Joanne Forman - Cave Vaults of the Moon LP [Rec. 1987] (Séance Centre) Mercy - Mercy LP [Orig. 1984] (Nuclear War Now!) Mercy - Swedish Metal / Session 1981 LP (Nuclear War Now!) Morgen - Morgen LP [Orig. 1969] (Replica) Muziekkamer - II - Popmuziek LP [Orig. 1983] (Contort Youself) Pacewon - The Pacewon Affect [Rec. 1999] (Roc-a-Blok / Ruffhouse / Blingnot) Plastic EP & The Records - Best Of 7" EP [Rec. 1981-1982] (Xerox Music) Plastic EP & The Records - Well You Want To Make A Record 7" EP [Rec. 1981] (Xerox Music) Poulson Studio - Poulson Studio CS [Rec. 200x] (Albert's Basement) Pseudocode - Next One's Called LP [Rec. 1980-1982] (Sub Rosa) Sam McClellan - Music of the Five Elements LP [Orig. 1982] (Séance Centre) Shahara Ja - I'm An Arabian Knight (Egyptian Lover Remixes) (Left Ear) Sprung Aus Den Wolken - The Story of Electricity LP [Orig. 1986] (Vestibular) [*Pictured]   Sprung Aus Den Wolken - Sprung Aus Den Wolken EP [Orig. 1981] (Vestibular) VA - Crumbling Concrete and Rusted Iron? A Soviet Punk Cassette, 1985-1992 CS (No Label) VA - Polish Dark Wave 1982-1989 CS (No Label) VA - Satan In Love - Rare Finnish Synth-Pop & Disco 1979-1992 2xLP (Svart) VA - Studio 12 (Recordings 1980-1984) 5xLP+7" (Blowpipe / Vinyl-On-Demand) UTON - See You On The Other Side [Rec. 2012-2016] (Lactofermented Subconsciousness)

Electronic

Afrodeutsche - Break Before Make CS (Skam) Asger & William Kudahl - Tilnærmelser II 7" (Resonans) Asger Kudahl - Sketches for Revolution LP (Resonans) Bary Center - Betrayal CS (Always Human Tapes) Bead - Deploy Tomorrow's Rations (Self-Released) Belp - Hippopotamus LP (Jahmoni Music) Benedikt Frey - New Now 12" (Live At Robert Johnson) Bill Westerby - KL02 CS (Kavalanic Languages) Boothroyd - Pure Country LP (Fnord Communications) CAPELO - Baby Boom LP (Le Syndicat Des Scorpions) Cosmic Force - Transmitting Illicit Logic 12" (Something Happening, Somewhere) Cleveland - Tusk 12" (ESP Institute) Dravier - Height CS (Jungle Gym) Fluxion - Ripple Effect 2xLP (Vibrant Music) Foodman - Pokopoko CS (Plastic Bags) Graham Dunning - Way Too Much Time 12" (Adaadat) Grøn - Ingen Skår I Frosne Haver CS (Infinite Waves) Haircuts For Men - Possessions LP (Self-Released) HMOT - Inside the Black Box EP (Self-Released) HMOT - Permanent Imbalance 12" (oqko) Jako Maron - The electro Maloya experiments of Jako Maron (Nyege Nyege) Jigga - lillllill LP (Bedouin) Krypton 81 - Concorde (Blind Allies) [*Pictured]   Laksa - Delicates 12" (Ilian Tape) L/F/D/M - X-Enter-O 12" (Midnight Shift) Lee Noble - Q EP (Longform Editions) Lokier - Last One 12" (Squirrels On Film) LQ & Headland - Fat Neck 7" (ZamZam) Magic From Space - Ioeoular CS (Plastic Response) Oscar Mulero - Electric Shades 2xLP (Token) ótimoKaráter - Da Clínica CS (Meia-Vida) Théo Spécial - Ivory 12" (Bordello A Parigi) VA - The Black Wig Throw Off 12" (Contort Yourself) VA - Nein To Five (Nein Records) VA - Patina Echoes 2xLP (Timedance) Violent Quand On Aime - Violent Quand On Aime LP (Knekelhuis) Zuli - Trigger Finger 12" (Haunter)

Hip-Hop Rap

(Liv).e & 10.4 ROG - ​hoopdreams​ EP 03 Greedo - God Level 70th Street Carlos - Loosies (Download C/0) A.G. - The Taste Of AMBrosia ALLBLACK - Outcalls Bandgang Lonnie Bands - Loosies (Download C/0) Bisk - Hardcorepimpfunk Cash Click Boog - Indictment Music Cdot Honcho - Head Honcho EP Chief Keef - Ottopsy EP Chris Crack - Let's Just Be Friends Chris Crack - This Will All Make Sense Later EP Co Cash - Foolhardy DSR Splurge - Hollywood Dopeboy EP  E L U C I D x Haj of Dumhi - No Edge Ups In Uganda Eludem - Films for the Mind IAMSU - 06 Solara Larry June - Sock It to Me, Pt. 2 Lil Blood - Ndugu Lil Yase - Winners Circle MIKE - Renaissance Man Rico Nasty - Nasty Shootergang JoJo - Free Jojo Ski Mask the Slump God - Get Dough Presents EP The Skull Eclipses - The Skull Eclipses Snypa, Rx Peso, Scarfo Da Plug & Drugrixh Hect - Wraith Talk Rx Drug Rixh SOB X RBE & Big Money - Tutuland EP Spitta - Let Me Eat 3 Starlito & MobSquad Nard - Open Cases EP Westside Gunn - Supreme Blientele ZachBlackDiamonds - FreezaMode: All This Ice [Awful-affiliated. Taken down off SNDCLD/BNDCMP, DL HERE] [*Pictured]

(Also made six mixes in June, which cover much of the ground presented in this post: check them out HERE)

[dustedmagazine]

John Butcher & Eddie Prévost — Unearthed (Matchless)

Within improvised music, there are certain recordings that initiate timelines. One of them is John Coltrane’s Interstellar Space, which established the drums and saxophone duo as a creative situation worth exploring and documenting. The album’s name articulated the format’s appeal — maximum freedom. It provided a creative space within which the participants, freed of harmonic boundaries, were limited only by their techniques and imaginations.

Drummer / percussionist Eddie Prévost (born 1942) and soprano / tenor saxophonist John Butcher (born 1954) are members of different generations. A founding member of AMM, Prévost is part of English free improvisation’s first wave. Butcher came on the scene in the 1980s and first played with Prévost in the 1990s. They’ve had differing relationships to the format under consideration. While AMM functioned for several years as a drums / sax duo in the 1970s, Butcher steered mostly clear of drummers, as well as anything else that might push him towards a jazz-oriented way of playing, as he established his singular vocabulary of carefuly inflected, constantly non-obvious extensions of what one expects from a saxophone foror much of the 1980s and 1990s. However, they’ve developed an enduring partnership that spans several contexts, including the duo. Unearthed is their third such recording.

Unearthed is partly a creation of circumstance. The duo’s previous recordings were made in the greater London area, where Butcher lives and Prévost has often worked, and the latter employed a pared-down percussion set-up. But since it’s a bit harder for Prévost to get around these days, this recording took place in All Hallow’s Church in High Laver, Essex. The building was originally erected over 800 years ago, at which time repurposed Roman tiles and bricks were among the building materials. In addition to antiquity, it is distinguished by its active acoustic qualities. The bounce-back from old stone is not a problem for Butcher, who actively seeks to play in crypts, caverns, cisterns, and other lively acoustic situations,  but an opportunity. He’s a master at incorporating the influences of echoes and absorbent surfaces into his improvisations. But while the space could easily turn an extroverted drummer’s playing into an undistinguished blare, a jazz drumkit is the instrument that Prévost has chosen to play. One of his accomplishments on this set is his deft management of the density of his playing and the clarity with which he’s been recorded. His drumming doesn’t blare, it sings, and the recording conveys both his playing and what the space does to it quite clearly.              

Interstellar Space unveiled potentialities, stripping away limits to permit absolute freedom. But the human condition dictates that even if one can glimpse artistic liberty, absolute freedom is beyond anyone’s grasp. After all, Coltrane died just five months he and Rashied Ali played the session. And barriers aren’t all bad; they give a body something to push against. Prévost inhabits with the boundaries of time in several ways. He not only plays the drums with all the awareness of space, presence, and meter-transcending shape that he’s brought to AMM and so many other musical encounters; he plays them like a jazz drummer, drawing upon the brush technique, cymbal accents, metric subdivisions and syncopated pulses that a young fellow who came up playing bebop and skiffle in the 1950s learned by heart. One might say that he’s surveying his own timeline as a drummer, from back to front. There’s a moment in “Digging,” the second of the album’s long tracks, where he finishes an unaccompanied passage with a flourish that Gene Krupa would recognize as a solo-ending signal. Butcher responds with a lightly feathered, circular breathing-elongated gargle. Earlier in the same piece, he inserts echoing pops into Prévost’s spare perambulations about the snare and tom, focusing the kit’s output. The act is simultaneously contrary and completing, a reminder that one of the limits that this format shatters is the limit of one musician’s imagination. 

Bill Meyer

[bushdog]

Jennifer Allum: violin John Butcher: saxophones Ute Kanngiesser: cello Eddie Prévost: percussion

(via Sounds of Assembly | Jennifer Allum / John Butcher / Ute Kanngiesser / Eddie Prevost | Meenna)

[donaldmckenzie]

Listen/purchase: EMPoWered by John Edwards, N.O. Moore, Eddie Prévost, Alan Wilkinson

[jazzzzaj]

060320 JazzaJ / Anla Courtis (AR) field recordings műhely és koncert

Kivételes alkalom! Anla Courtis, a kultikus Reynols együttes alapító tagja, a zajzenei improvizáció egyik nagyágyúja Argentínából érkezik hozzánk. Az általa vezetett field recordings workshop metodológiáját így határozta meg: "Ahogyan a fotográfia milliók mindennapi életének része a világ minden táján, a hangfelvétel is növeli a szerpét a modern társadalmakban. Ebben az összefüggésben a műhely fő célja a terepfelvételek (field recordings) bemutatása és megvitatása különböző perspektívákból. A témák a következők: változatos fonografikus tendenciák, a hangzás lehetőségei, kreatív hallgatás és a hangfelvétel kifejező felhasználása. A kreatív session-ök azonban a gyakorlásra is összpontosítanak: a műhely a résztvevők aktív és állandó bevonását igényli, akiknek saját képességeik és érdeklődésük figyelmünk egyik fő célpontját jelentik. Az aktív részvételt igénylő gyakorlati feladatok elvégzéséhez a résztvevőknek legalább egy, bármilyen típusú hangrögzítő eszközt magukkal kell hozniuk: digitális felvevőt, tabletet, számítógépet, mini-discet, kazettát, mikrokazettát, DAT-ot, iPhone-t stb. A műhely zenészek, nem zenészek, művészek, szakemberek, hallgatók és minden érdeklődő számára nyitva áll. Munkánk konkrét céljai: • Bemutatjuk a résztvevőknek a terepfelvételezést • A hallgatás kreatív módjainak fejlesztése • A hangfelvétel lehetőségeinek feltárása • A terület fő tendenciáinak és zeneszerzőinek a megismertetése • Különféle technikák és gyakorlatok kipróbálása • Reflektálás ezen témák művészi vonatkozásaival kapcsolatban • A kreatív folyamat ösztönzése A létszám limitált, ezért kérjük jelentkezzetek minél előbb ezen az email címen: info@jazzaj.hu Jelentkezési határidő: 2020. március 2., hétfő A workshop részvételi díja: 5000.- (Diákok, figyelem! Kedvezményes részvételi díj, "ösztöndíjas" lehetőség kérelmezhető a fenti email címen pár soros motivációs levéllel.) A workshop nyelve angol. Órarend: workshop: 13-17h, prezentáció; Anla Courtis és a workshop résztvevőinek field recordings koncertje: 18-19h. *** Anla (Alan) Courtis 1972-ben született Buenos Airesben, gyermekkorát az elnyomó katonai diktatúra és a falklandi háború élményei is erősen meghatározták. Először gitározni tanult (apja hatására, aki ún. gaucho gitáros, azaz Argentin cowboy-folk előadó volt), majd pedig zongorázni. Zeneszerzést, zeneelméletet a Manual de Falla Városi Konzervatóriumban tanult. Ezzel párhuzamosan került kapcsolatba a korabeli Argentin acid- és pszichedelikus rockzenével. 1993-ban Christian Dergarabediannal és Roberto Conlazóval együtt Courtis megalakította a teljesen formabontó The Burt Reynolds Ensemble-t; amikor Miguel Tomasín is csatlakozott az együtteshez, Reynolsra változtatták a nevüket, amelyet a kultikus zenekar 2004-es feloszlásáig meg is tartottak. (Tomasín, aki hamar a Reynols "arca" lett, az experimentális zenei színtér egyik leghíresebb és legkreatívabb fogyatékossággal élő művésze is egyben.) A zene mellett Courtis kommunikációelméletből is diplomát szerzett a Buenos Aires-i Egyetemen, ahol mind a mai napig experimentális zenei műhelyt vezet (ép, de főleg fogyatékossággal élő fiatal zenészek számára). Éppen ezért Courtis zenei világának egyik legizgalmasabb, egyúttal meghatározó eleme a fogyatékossággal élőkkel (főleg Down-szindrómásokkal) és az épekkel közösen kialakított univerzális experimentális zenei nyelv.   Az elmúlt évtizedekben a Reynolsszal és számtalan más projekttel a világ szinte minden táján megfordult, megjelent lemezeinek száma több mint kétszáz. Egyebek mellett olyan művészekkel dolgozott együtt mint Pauline Oliveros, Phill Niblock, a Nihilist Spasm Band, a The New Blockaders, Jim O'Rourke, Keiji Haino, Otomo Yoshihide, Makoto Kawabata (Acid Mothers Temple), KK Null, Jojo Hiroshige (Hijokaidan), Merzbow, Lee Ranaldo (Sonic Youth), Mats Gustafsson, Lasse Marhaug, RLW, C.Spencer Yeh, Okyung Lee, Eddie Prévost... Az akusztikus és az elektromos gitár mellett gyakran alkalmaz ready-made-eket, épít és használ különös hangszer-mutánsokat (pl. húr nélküli gitár), szintetizátorokat, élő elektronikát, komputer-elektronikát, környezeti felvételeket és a mindennapi élet tárgyait. A kritikusok így írnak róla: "Courtis has produced brillant work with the relative primitive tools at his disposal” (The Wire, Nagy-Britannia), "a true mastermind of noisescapes and sonic abstractions” (IEM magazin, Oroszország). Anla Courtis a The Wire-nek adott egyik korábbi interjújában beszélt a folklór és az experimentális zene hatásáról: “It’s about working with the imaginary dimension of folklore. Countries and cultures are collective inventions and, in some ways, we are inventing them all the time. Nowadays, everything is mixed up. Traditions are being constantly redefined. Anything could potentially become the next folklore... When listening to all this music, I realised just how ‘experimental’ music can be. I mean, I’m supposed to be an experimental musician, but in the end it’s quite shocking to notice that ‘experimental’ is not just a genre, label or adjective – it’s a basic quality of music. I think that all powerful music is basically experimental in the sense that it somehow sets its own parameters at some point. And it’s surprising how valid or consistent this idea is for music from all times and places.” Újabb interjú vele a The Wire-ben: https://www.thewire.co.uk/in-writing/interviews/reynols-interview Új Reynols box set (kiadatlan anyagok) + Film DVD-n: https://picadisk.bandcamp.com/album/minecxio-emanations-1993-2018

[kovalcharacters]

17) AMM - brytyjska grupa wolnej improwizacji, która została założona w Londynie w Anglii w 1965 roku. Grupa początkowo składała się z Keitha Rowe'a na gitarze, Lou Gare’a na saksofonie i Eddie Prévosta na perkusji. Trzej mężczyźni byli zainteresowani odkrywaniem muzyki poza granicami konwencjonalnego jazzu, podobnie jak free jazz i free improvisation. AMM nigdy nie był popularny, ale miał wpływ na muzykę improwizowaną. Większość ich albumów została wydana przez Matchless Recordings, którą prowadził Eddie Prévost. W wywiadzie z 2001 roku Keith Rowe został zapytany, czy „AMM” jest skrótem. Odpowiedział: „Litery AMM oznaczają coś, ale jak zapewne wiesz, jest to tajemnica!”.                                                        Członkowie:

1. Eddie Prévost – percussion (1965–present)

2. John Tilbury – piano (1980–present)

3. Keith Rowe – guitar (1965–72, 1975–2004)

4. Lou Gare – saxophone (1965–76 i czasami później do ok. 1992)

5. Cornelius Cardew – piano, cello (1966–73)

6. Lawrence Sheaff – accordion, cello (1966–67)

7. Christopher Hobbs – percussion (1968–71)

8. Rohan de Saram – cello (ok. 1986–94)                                                       Dyskografia (wybór):

a. „AMMMusic 1966“ (ReR Megacorp/Matchless, 1966)

b. „The Crypt – 12th June 1968“ (Matchless, 1968)

c. „AMM at the Roundhouse“ (Incus Single/Matchless CD 1972)

d. „It had been an ordinary enough day in Pueblo, Colorado“ (JAPO 1979)

e. „Generative Themes“ (Matchless, 1983)

f. „Combine + Laminates + Treatise ’84“ (Matchless, 1984)

g. „The Inexhaustible Document“ (Matchless, 1987)

h. „The nameless uncarved block“ (Matchless, 1990)

i. „Newfoundland“ (Matchless, 1992)

j. „Live in Allentown USA“ (Matchless, 1994)

k. „Before driving to the chapel we took coffee with Rick and Jennifer Reed“ (Matchless, 1996)

l. „Tunes without Measure or End“ (Matchless, 2000)

ł. „Fine“ (Matchless, 2001)

m. AMM/MEV: „Apogee“ (Matchless, 2004)

n. „Norwich“ (Matchless, 2005)

o. AMM z John’em Butcher’em „Trinity“ (Matchless, 2009)

p. „Uncovered Correspondence – A Postcard From Jasło“ (Matchless, 2010)

r. „Sounding Music“ (Matchless, 2010, z Christianem Wolffem i John’em Butcher’em)

s. „Two London Concerts“ (Matchless, 2012)

t. „Place Sub. V.“ (Matchless, 2014)

[leprincipedelaschtroumpfette]

Allez-vous repérer la schtroumpfette ? Les voix françaises : Gérard Lanvin : Manfred « Manny », Elie Semoun : Sid, Vincent Cassel : Diego, Philippe Catoire : Soto, Michel Mella : Zeke, Pascal Renwick : Carl, le rhinocéros, Gerard Surugue : Frank, le rhinoceros, Pierre Dourlens : Oscar, Armelle Gysen : Jennifer, la femelle paresseux, Maureen Dor : Rachel, la femelle paresseux, Stéphane Ronchewski : l'un des deux Macrauchenia, Chris Wedge : Scrat et un dodo, Michel Prud'homme : le Moeritherium adulte, Yoann Sover : les dodos, Jérémy Prévost : un dodo, Pascal Nowak : Eddie, la tortue qui croit voler.

[spaceintruderdetector]

AMM (Eddie Prévost, John Tilbury, Keith Rowe)   2016

[alexlacquemanne]

Mars MMXXI

Films

Network : Main basse sur la télévision (Network) (1976) de Sidney Lumet avec Faye Dunaway, William Holden, Peter Finch, Robert Duvall et Ned Beatty

Agent secret (Sabotage) (1936) d’Alfred Hitchcock avec Sylvia Sidney, Oskar Homolka, Desmond Tester et John Loder

Les Vieux Fourneaux (2018) de Christophe Duthuron avec Pierre Richard, Roland Giraud, Eddy Mitchell et Alice Pol

Elle boit pas, elle fume pas, elle drague pas, mais… elle cause ! (1970) de Michel Audiard avec Annie Girardot, Bernard Blier, Mireille Darc et Sim

L'Ombre d'un doute (Shadow of a Doubt) (1943) d’Alfred Hitchcock avec Teresa Wright, Joseph Cotten, Macdonald Carey et Hume Cronyn

Spectacles

Rumeurs (1991) de Neil Simon avec Jean Poiret, Pierre Mondy, Eva Darlan et Claire Nadeau

Drôle de couple (1989) de Neil Simon avec Daniel Prévost, Etienne Draber, Jacques Balutin, Jean-Pierre Gernez, Julien Cafaro, Kelvine Dumour et Sylvie Le Brigant

La Poule aux œufs d'or (1995) d'Alexandre Vial avec Michel Galabru, Marthe Mercadier, Roger Muni, Cécile Perrier et Michel Caccia

Trois partout (1991) de Ray Cooney et Tony Hilton avec Michel Leeb, Odile Mallet, Charlotte Kady, Christian Pereira et Francis Lax

Noix de Coco (1972) de Marcel Achard avec Caroline Silhol, Didier Haudepin : Antoine, Madeleine Robinson, Jean Richard, Christiane Muller, Gaëlle Romande, Jean-François Calvé, Jacques-Henri Duval et Jean Degrave

Les Petites Têtes (1979) de d’André Gillois avec Michel Roux, Geneviève Fontanel, Hélène Duc, Roland Armontel,  Francis Lax et Jean Berger

Hold Up (1980) de Jean Stuart avec Katy Amaizo, Christiane Jean, Jacques Ferrière, Katia Tchenko, Tony Librizzi, Jacques Balutin,  Louisa Colpeyn, Marie-Claude Mestral, Armand Mestral, Jean Raymond et Michel Vocoret

Duos sur canapé (1989) de Marc Camoletti avec Marcel Philippot, Jacques Balutin, Marilys Morvan, Michèle Charry et Daniel Prévost

Délit de fuites (2007) de Jean-Claude Islert avec Roland Giraud, Elizabeth Bourgine, Patrick Zard', Arlette Didier, Pascale Louange et Delphine Depardieu

Vacances de rêve (1997) de Francis Joffo avec Marthe Mercadier, Olivier Lejeune et Jean Pierre Castaldi

Séries

The Grand Tour Saison 2, 1, 3

Coup de vieux - Les bras cassés à la Barbade - Spéciale Colombie : Première partie - Spéciale Colombie : Seconde partie

Top Gear Saison 12, 7, 10, 20, 14, 8, 9, 21

12000Km en un plein - Supercars petit budget - Les pires voitures anglaises - Ils ont roulé sur l'eau! - A l'abordage ! - Du grand art ! - Peugeot 207 contre free runners - Un train peut en cacher un autre - Défilé à Buckingham - Mercedes, folle du desert

L’agence tous risques Saison 2

Les mustangs 1re partie - Les mustangs 2e partie - La guerre des taxis - Agitateurs - La pêche miraculeuse - Histoire d'eau - Acier - Le candidat - La vache maltaise - Eclipse - Tirez sur le Cheik

Dark Side of The Ring Saison 2

Les dernier jours d'Owen Hart

Kaamelott Livre III, IV, VI

Les Tourelles - La crypte Maléfique - La Baliste - Arthur in Love II - La Grande Bataille - L’attaque nocturne - La Restriction II - La Baraka - Les Auditeurs libres - La Fête de l’Hiver II - Le Tribut - Alone in the Dark - Le justicier - Le Mangonneau - Sous les Verrous II - Le Culte Secret - La Dispute 1er Partie - La Dispute 2eme Partie - Le Trophée - Hollow Man - Tous les matins du monde 1er Partie - Tous les matins du monde 2eme Partie - Raisons et Sentiments - Le Dédale - Les Tartes aux Fraises - Les Pisteurs - La Faute 1er Partie - La Faute 2eme Partie - L’Ascension du Lion - Le Traitre - Præceptores

Friends Saison 4, 5

Celui qui avait des menottes - Celui qui apprenait à danser - Celui qui avait une nouvelle copine - Celui qui fréquentait une souillon - Celui qui poussait le bouchon - Celui qui était dans la caisse - Celui qui savait faire la fête - Celui qui draguait au large - Celui qui posait une question embarrassante - Celui qui gagnait les paris - Celui qui se gourait du tout au tout - Celui qui n'avait pas le moral - Celui qui jouait au rugby - Celui qui participait à une fête bidon - Celui qui avait la chaîne porno - Celui qui cherche un prénom - Celui qui faisait de grands projets - Celui qui va se marier - Celui qui envoie l'invitation - Celui qui était le pire témoin du monde - Celui qui se marie (partie 1) - Celui qui se marie (partie 2) - Celui qui avait dit Rachel - Celui qui embrassait - Celui qui a des triplés - Celui qui accepte l'inacceptable

Chapeau melon et bottes de cuir Saison 5

Le Dernier des sept - Le Joker

Livres

Pour en finir une bonne fois pour toutes avec la culture de Woody Allen

Superman Poche N°28

Lucky Luke contre Pat Poker de Morris

Indiana Jones et la cité de la foudre de Claude Moliterni et Giancarlo Alessandrini

Le Flambeur Flambé de John Garforth