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Journal Description
Quote:
Film Quarterly, published since 1958, provides readers with insightful analyses of film, the film industry, and international cinemas. More than a glimpse behind the scenes, Film Quarterly offers serious film lovers in-depth articles, reviews, and interviews that examine all aspects of film history, film theory, and the impact of film, video, and television on culture and society.
It was first published in 1945 as Hollywood Quarterly, was renamed The Quarterly of Film Radio and Television in 1951, and received its current title in 1958.
Film Quarterly has been publishing substantial, peer-reviewed writing on motion pictures since 1958, earning a reputation as the most authoritative academic film journal in the United States. Its wide array of topics, perspectives, and approaches appeals to film scholars and film buffs alike. If you love all types of movies and are eager to encounter new ways of thinking about them, then Film Quarterly is the journal for you!
Scholarly analyses of international cinemas, current blockbusters and Hollywood classics, documentaries, animation, and independent, avant-garde, and experimental film and video fill the pages of the journal. Serious film lovers will find in-depth articles and reviews that examine all aspects of film history, film theory, and the impact of film, video, and television on culture, society, and the academy. Interviews with filmmakers of all kinds, from both the United States and abroad, venture behind the images to demystify their art. Reviews of current and recent books keep the reader abreast of the field; no other journal provides this kind of coverage of film studies publications.
You’ll be provoked by some things that you read: maybe you’ll disagree, maybe you’ll want to discuss a piece with a friend. But you certainly won’t be pandered to by behind-the-scenes and what’s-hot-what’s-not gossip. You’ll be challenged and, in the best sense of the word, informed. Subscribe now to Film Quarterly and enjoy a wider horizon!
JSTOR Discipline(s): Film Studies
Published by: University of California Press
ISSN: 00151386
E-ISSN: 15338630
“Musica Elettronica Viva or MEV as they’re sometimes called, were founded by Ivan Coaquette (pre-Spacecraft), and also included his wife, Patricia and Birgit Knabe, as well as various other collaborators along the way. The music we find here is an extremely experimental form of electronic jazz which is not a million miles away from the styles of early German Krautrock bands such as Kraftwerk and Tangerine Dream. Originally issued in 1970.” This was the second of 2 MEV albums to released by BYG in 1970, following The Sound Pool (which featured Alvin Curran, Richard Teitelbaum & Frederic Rzewsi amongst others). It features floating, droning free music freakouts of the finest cosmic quality and this reissue is a major event by any sensible standard. A note of explanation from Frederic Rzewski about the various incarnations of MEV: “In 1968/69 MEV experimented with audience participation and took on a number of new younger people, many of whom were not musicians. We wanted to see how far we could extend the idea of free improvisation, surrounding the core group with people who happened to be around. The group expanded and spawned separate communities. In the early 70’s there were three MEV’s: one in Rome, led by Alvin Curran; one in New York, where Richard Teitelbaum & I were based; and one in Paris, which was organized by the Coaquettes. Birgit nd Nona were members of the Living Theatre, with whom we also hung out a ot, and Stefano was one of the younger acolytes. The record you are talking about was a kind of hippie child who chose MEV as its identity. Nobody ever found out really who was in MEV. At that time, it was part of a movement, and that part of it that was a part of the movement lived and died with that movement.”
A Message
Engineer – Ivan Coaquette, Jean-Luc Young
B Cosmic Communion
Engineer – Daniel Vallancien, Ivan Coaquette Performer – Nona Howard, Stéphano Giolitti
Actuel 35.
Gatefold cover.
Recorded June 1970.
Alvin Curran most probably refers to this record when he states that “a couple of French kids [which] we just took […] in [the group] actually stole the name of the group and put out their own record” (“Live in Roma”, ed. Daniela Margoni Tortora, Die Schachtel, 2010, pp. 156-157).
This centennial edition of E. E. Cumming’s Complete Poems, published in celebration of his birth on October 14, 1894, contains all of the poems published or designated for publication by the poet in his lifetime.
At the time of his death in 1962, E. E. Cummings was, next to Robert Frost, the most widely read poet in America. Combining Thoreau’s controlled belligerence with the brash abandon of an uninhibited bohemian, Cummings, together with Pound, Eliot, and William Carlos Williams, helped bring about the twentieth-century revolution in literary expression. He is recognized on the one hand as the author of some of the most beautiful lyric poems written in the English language, and on the other as one of the most inventive American poets of his time—in the worlds of Richard Kostelanetz, “the major American poet of the middle-twentieth-century.”
Derrida - A Certain Impossible Possibility of Saying the Event
Derrida - A Letter to Peter Eisenman
Derrida - Adieu (CI)
Derrida - Adieu (PT)
Derrida - All Ears - Nietzsche’s Otobiography
Derrida - An Idea of Flaubert - Platos Letter
Derrida - Archive Fever - A Freudian Impression (D)
Derrida - As if It Were Possible, ‘Within Such Limits’…
Derrida - Biodegradables Seven Diary Fragments
Derrida - But, Beyond… (Open Letter to Anne McClintock and Rob Nixon)
Derrida - By Force of Mourning
Derrida - Cogito and the History of Madness
Derrida - Comment Donner Raison - ‘How to Concede, with Reasons’
Derrida - Countersignature
Derrida - ‘Differance’
Derrida - Economimesis
Derrida - Faith and Knowledge - The Two Sources of ‘Religion’ at the Limits of Reason Alone
Derrida - For the Love of Lacan
Derrida - Freud and the Scene of Writing
Derrida - From Adieu a Emmanuel Levinas
Derrida - Geschlecht - Sexual Difference, Ontological Difference
Derrida - Force of Law - The ‘Mystical Foundation of Authority’ (English and French)
Derrida - Given Time - The Time of the King
Derrida - Hostipitality
Derrida - I’m Going to Have to Wander All Alone
Derrida - Interpretations at War - Kant the Jew the German
Derrida - Interpreting Signatures (Nietzsche-Heidegger) - Two Questions
Derrida - ‘Justices’
Derrida - Like the Sound of the Sea Deep within a Shell - Paul de Man’s War
Derrida - Linguistics and Grammatology
Derrida - Lyotard and Us
Derrida - Maddening the Subjectile
Derrida - Me-Psychoanalysis - An Introduction to the Translation of ‘The Shell and the Kernel’ by Nicolas Abraham
Derrida - No Apocalypse, Not Now (Full Speed Ahead, Seven Missiles, Seven Missives)
Derrida - Of Spirit
Derrida - On Cosmopolitanism and Forgiveness
Derrida - On Reading Heidegger - An Outline of Remarks to the Essex Colloquium
Derrida - Paper or Myself… You Know - (New Speculations on a Luxury of the Poor) - Interview with Marc Guillaume and Daniel Bougnoux, of the Cahiers de Mediologie
Derrida - Performative Powerlessness - A Response to Simon Critchley
Derrida - Politics of Friendship
Derrida - Privilege - Justificatory Title and Introductory Remarks - To Jean-Luc Nancy (from Who’s Afraid of Philosophy? Right to Philosophy 1)
Derrida - Racism’s Last Word
Derrida - Respone to Mulhall
Derrida - Response to Baldwin
Derrida - Response to Daniel Libeskind
Derrida - Restitutions - Of Truth to Size, De la Verite en Pointure
Derrida - Scribble (Writing-Power)
Derrida - Sendoffs
Derrida - Sendoffs (for the College International de Philosophie) (1982)
Derrida - Spectres of Marx
Derrida - Speech and Writing According to Hegel
Derrida - Structure, Sign and Play in the Discourse of the Human Sciences
Derrida - Taking a Stand for Algeria
Derrida - The Animal That Therefore I Am (More to Follow)
Derrida - The Ends of Man
Derrida - The Last of the Rogue States - The ‘Democracy to Come,’ Opening in Two Turns
Derrida - The Law of Genre
Derrida - The Linguistic Circle of Geneva
Derrida - The Majesty of the Present
Derrida - The Other Heading - Memories, Responses, and Responsibilities
Derrida - The Parergon
Derrida - The Politics of Friendship
Derrida - The Principle of Reason - The University in the Eyes of its Pupils
Derrida - The Principles of Hospitality
Derrida - The Purveyor of Truth (1975)
Derrida - The Purveyor of Truth (1999)
Derrida - The ‘World’ of the Enlightenment to Come (Exception, Calculation, Sovereignty)
Derrida - Title (To Be Specified)
Derrida - ‘To Do Justice to Freud’ - The History of Madness in the Age of Psychoanalysis
Derrida - Uninterrupted Dialogue - Between Two Infinities, The Poem
Derrida - Violence and Metaphysics - An Essay on the Thought of Emmanuel Levinas
Derrida - Voice II…
Derrida - What Is a ‘Relevant’ Translation
Derrida - White Mythology - Metaphor in the Text of Philosophy
Derrida and Bonnefoy - Appendix - Translations of Pages 13-16 and 17-21
Derrida and Ewald - A Certain ‘Madness’ Must Watch Over Thinking
Derrida and Habermas - February 15, or What Binds Europeans Together - A Plea for a Common Foreign Policy, Beginning in the Core of Europe
Derrida and Houdebine - Interview - Jacques Derrida
Derrida and Houdebine - Response
Derrida and Kearney - A Dialogue with Jacques Derrida
Derrida and McDonald - Interview - Choreographies
Derrida and Nancy - Interview with Jean-Luc Nancy
Derrida et al - Discussion
Derrida et al - Women in the Beehive - A Seminar with Jacques Derrida
Derrida -The Majesty of the Present
Derrida, Scarpetta and Houdebine - Interview - Part 1
Derrida, Scarpetta and Houdebine - Interview - Part 2
Tracks 1-4 from “À Bout De Souffle”
Tracks 5-10 from “Pierrot Le Fou”
Tracks 11-15 from “Alphaville”
Tracks 16-19 from “Le Mépris”
1. Martial Solal – Duo 2:23
2 Martial Solal – La Mort 2:08
3 Martial Solal – Poursuite 2:21
4 Martial Solal – Dixieland 2:43
5 Anna Karina – Ma Ligne De Chance 2:40
6 Anna Karina – Jamais Je Ne T’ai Dit Que Je T’aimerai Toujours 2:52
7 Cyrus Bassiak / Antoine Duhamel – Ferdinand 7:48
8 Cyrus Bassiak / Antoine Duhamel – Pierrot 5:53
9 Cyrus Bassiak / Antoine Duhamel – Pierrot Nº2 4:54
10 Cyrus Bassiak / Antoine Duhamel – Pierrot Nº3 3:58
11 Paul Misraki – La Ville Inhumaine 2:22
12 Paul Misraki – Valse Triste 2:05
13 Paul Misraki – Theme D’amour 1:37
14 Paul Misraki – La Ville Detraquee 1:36
15 Paul Misraki – Final Reprise Du Theme D’amour 2:15
16 Georges Delerue – Theme De Camille 2:31
17 Georges Delerue – Generique 2:10
18 Georges Delerue – La Rupture Chez Prokoch 2:57
19 Georges Delerue – Capri 1:46
Billennium - J. G. Ballard.mobi
Cocaine Nights - J. G. Ballard.mobi
Complete Short Stories of J. G. Ballard - J. G. Ballard (active ToC).mobi
Concrete Island - J. G. Ballard.mobi
Crash - J. G. Ballard.mobi
Empire of the Sun - J. G. Ballard.mobi
High-Rise - J. G. Ballard.mobi
Kindness of Women - J. G. Ballard.mobi
Millennium People - J. G. Ballard.mobi
Running Wild - J. G. Ballard.mobi
Rushing to Paradise - J. G. Ballard.mobi
Super-Cannes - J. G. Ballard.mobi
The Atrocity Exhibition - J. G. Ballard.mobi
The Burning World - J. G. Ballard.mobi
The Cloud Sculptors of Coral D - J. G. Ballard.mobi
The Crystal World - J. G. Ballard.mobi
The Dead Astronaut - J. G. Ballard.mobi
The Drought - J. G. Ballard.mobi
The Drowned World - J. G. Ballard.mobi
The Garden Of Time - J. G. Ballard.mobi
The Subliminal Man - J. G. Ballard.mobi
The Wind From Nowhere - J. G. Ballard.mobi
You Coma Marilyn Monroe - J. G. Ballard.mobi
MP3s:
During the last two weeks of January 1975 Buckminster Fuller gave an extraordinary series of lectures concerning his entire life’s work. These thinking out loud lectures span 42 hours and examine in depth all of Fuller’s major inventions and discoveries from the 1927 Dymaxion house, car and bathroom, through the Wichita House, geodesic domes, and tensegrity structures, as well as the contents of Synergetics. Autobiographical in parts, Fuller recounts his own personal history in the context of the history of science and industrialization. The stories behind his Dymaxion car, geodesic domes, World Game and integration of science and humanism are lucidly communicated with continuous reference to his synergetic geometry. Permeating the entire series is his unique comprehensive design approach to solving the problems of the world. Some of the topics Fuller covered in this wide ranging discourse include: architecture, design, philosophy, education, mathematics, geometry, cartography, economics, history, structure, industry, housing and engineering.
CD1: 1. Du Chant A La Lune
CD2: 1. No. 2
CD3: 1. L’etonnant Serge Gainsbourg
CD4: 1. No. 4
CD5: 1. Confidential
CD6: 1. Gainsbourg Percussions
CD7: 1. Initials B. B.
CD8: 1. Jane Birkin Et Serge Gainsbourg
CD9: 1. Historie De Melody Nelson
CD10: 1. Vu De L’Exterieur
CD11: 1. Rock Around The Bunker
CD12: 1. L’homme A Tete De Chou
CD13: 1. Aux Armes Et Caetera
CD14: 1. Mauvaises Nouvelles Des Etoiles
CD15: 1. Love On The Beat
CD16: 1. You’re Under Arrest
CD17: 1. Singles Et Duos
CD18: 1. Archives Tele/Radio
CD19: 1. Gainsbourg Cinema
CD20: 1. Gainsbourg Cinema (Instrumentaux)
“Live recordings of Angus MacLise, Tony Conrad, and Jack Smith from the MacLise tape archive. In a silkscreened sleeve. Edition of 500” (Boo-Hooray)
Download: Angus MacLise / Tony Conrad / Jack Smith- Dreamweapon I (Boo-Hooray, 2011 *SMRGS-1)
Side A: Les Evening Gowns Damnées (December 20 1964) 16’48”
Side B: S.O.S. (Ca. 1968) 13’28”
“A second LP of previously-unheard recordings of Angus MacLise and Tony Conrad from the MacLise tape archives. In a silkscreened sleeve. Available only on LP! Edition of 500” (Boo-Hooray)
Download: Angus MacLise / Tony Conrad - Dreamweapon III (Boo-Hooray, 2011 *SMRGS-2)
Side A: Untitled (recorded October 18 1968 at Tony Conrad’s apartment) 15’27”
Side B: Short Drum and Viola part 1 & 2 (ca. 1969) 4’49”
Druid’s Leafy Nest (undated) 7’26”
Early Jams (undated) 6’46”
Wild downtown shit from these avant NYC luminaries. Dreamweapon I & III were released in conjunction with the Boo-Hooray Gallery’s recent Angus MacLise- Dreamweapon exhibition. The finest write-up on these LPs probably lives over at Altered Zones. According to Boo-Hooray, both records are now sold out. Anyone with a line on the Dreamweapon II cd-r, please please let the people know. Many thanks to SH for the crucial assist. 320 vinyl rip by yours truly.
Disc 1:
1. Wheel Me Out [Remix Version] - Was (Not Was)
2. Bustin’ Out - Material (feat. Nona Hendryx)
3. Drive My Car - Cristina
4. Annie I’m Not Your Daddy [Remix Version] - Kid Creole & the Coconuts
5. Emile (Night Rate) - Aural Exciters
6. Contort Yourself - James White & the Blacks
7. Funky Stuff - Lizzy Mercier Descloux
8. French Boy - Garçons
9. Deputy of Love - Don Armando’s 2nd Avenue Rhumba Band
10. Cowboys & Gansters - Gichi Dan
11. Blame It on Disco - Cristina
12. Encore l’Amore [Italian Version][#] - Garçons
Disc 2:
1. Disco Clone - Cristina
2. Que Pasa/Me No Pop I - Coati Mundi
3. I’m a Wonderful Thing Baby [Remix Version] - Kid Creole & the Coconuts
4. Out Come the Freaks [Remix Version] - Was (Not Was)
5. Fire - Lizzy Mercier Descloux
6. Spooks in Space [Discomix] - Aural Exciters
7. Tell Me That I’m Dreaming - Was (Not Was)
8. Narcissique - Caroline Loeb
9. I Know What Boys Like - The Waitresses
10. Mission Impossible - Lizzy Mercier Descloux
11. Re Bop Electronic - Garçons
12. French Boy Disco Edit - Garçons
13. Faites le Proton - Casino Music
“Mutant disco” doesn’t accurately describe the genre that, in the early 80s, lunged out of ZE Records, hit the UK Top 10, and dissipated into respectable obscurity for fifteen years. Mutant disco was not a genetic fluke in the disco DNA. As the squadrons of recent reparative 80s NY compilations attest, it was exactly the opposite: a small clubhouse of brash intellectuals, avant-garde crackpots, and underground flotsam calculatedly engineering a disco insurrection. They (post-punk, no-wave, new wave, post-wave) brought the disco; the disco didn’t come to them.
The assumption here is that the only thing weirder than being weird is being partially weird. Going from the most outsider music possible to the most polished, mainstream sound smacks of an audacity we can barely comprehend. To list only a few of the credentials: James Chance was on the original No New York comp; Bill Laswell’s Material featured Sonny Sharrock and Fred Frith; and Was (Not Was) littered their early singles with stream-of-consciousness surreal rants. To bring things into the present, this would be an event equal to Jim O’Rourke being produced by The Matrix. By any account, this merger should clear the dancefloor faster than Shaq’s DJing skillz.
On this two-disc reissue of the original 1981 comp (effectively quadrupling the number of tracks), any hesitation is erased in the first moments of Was (Not Was)’s “Wheel Me Out”. The great surge of generic disco hi-hat releases a flittering confetti of tin-foil synths. Jagged god-rawk garage feedback bides its time in the recesses of the track until it’s propelled forward with punk rock slashes courtesy of the MC5’s Wayne Kramer and pistonsful of Latin jazz. Even the lyrics skip along the thin line between naked pleasure-party and obscure psychopathy: “No one’s discouraged by you who never push the wheels. You did it. And I’m next.” You can be a street urchin or a glam princess: This irrepressible beast of a song will, at the very least, make you the most popular person alive and may very well make for the sort of nights that, in appropriate temperatures, cause some people to become pregnant.
Material’s collaboration with ex-Labelle member Nona Hendryx stacks crepitating basslines with entire battalions of gradually digitized guitars lost in their own egomania. Kid Creole’s hit, “Annie, I’m Not Your Daddy”, sticks five genres that would be sublime easy listening by themselves and networks them until they take on a sonic glory, busking cuicas and crashing cymbals. Paternity tests have never been quite this riotous before.
And never mind that James White’s “Contort Yourself” is to 80s NY compilations as “Happy Together” is to 60s Summer-of-Love ones. The rockabilly avant-jazz version of The Contortions’ version is here streamlined and put on dubs with a life-changing beat and enough reckless sax to let you know this band came to disco and can leave at will. The ZE supergroup, The Aural Exciters, begins “Spooks in Space” with the utterly unimpeachable line, “Mama say there’ll be days like this.. but she ain’t say nothin’ ‘bout SPOOKS!” and forms a song out of bubbling potions, banana pratfall sound effects, and haunted dancehall trepidation.
A personal favorite is Cristina, a neglected diva that’s alternately complacent and histrionic. Her version of “Drive My Car” renders the Hollywood dazzle of the lyrics even more playfully vacuous than the original. She sounds like a hollow shell of a ditzy bombshell in a car that refuses to conform to certain air pollution laws. “Blame It on Disco” has a lurching bass and a brass reggae pace, but for some reason there’s also gales of sleet and when the swelled strings and backup singers tell us to “blame it on disco with a fascinating sound/ That’s the talk of the town,” it’s somehow hard to not think of a coke-snorting Rogers & Hammerstein. “Disco Clone” is absolute mayhem: blaxploitating rumble and Bernard Hermann dagger thrusts with a refrain that’s pitched so high my windows broke because the dogs ran into them. Also, it’s a disco song with the word “sauntering” in it. I can die happy.
This is the tip of the iceberg. For a genre that often encompasses some of the most flagrantly irritating music this side of ragtime, there is such diversity here, from hewn guitar pyrotechnics to lilting bossa nova, two hours isn’t hardly enough. We have hit the day when disco made a better double album than Pink Floyd. It just goes to show that two (or more) genres don’t need any similarities except hedonism, narcissism, and drug abuse. Tell the hardcore punks it’s time to go home.
— Alex Linhardt, December 7, 2003
http://pitchfork.com/reviews/albums/2028-mutant-disco/
Title Mothra No Uta (Song Of Mothra)
CD Label King Record Co., Ltd.
CD Number KICS-2303/4
Music by: The Peanuts (Emi & Yumi Ito)
Number of tracks Disc 1: 18
Disc 2: 18
Running time Disc 1: 62:01
Disc 2: 60:52
Number of discs 2
Year of release/manufacture 05-28-1999
Disc 1 contains the “A” sides. Track 18 is from “Mothra”. This set contains the longest running times of any of these “Singles” sets with both discs here clocking in at over an hour each. This set had the least number of songs I recognized and had a more 70’s flavor to it than the previous volumes. I have always enjoyed the singing and harmonies of these women in the “Mothra films which is why I sought out more CD’s by them. The songs on this CD are a mixture of Japanese, Japanese with some English, some English and possibly a few other languages. I find their music fun and relaxing to listen to and some of the cover versions of US pop hits can be amusing. If you enjoy soft pop from the 50’s & 60’s and 70’s funk, then you may enjoy this CD. The songs here are done in a soft pop style done by U.S. artists in the 60’s with some of the funk style of the 70’s. I enjoyed this CD as well as the others on this site. One word of warning, several of the songs are repeated on more than one CD on this site. There are no repeated tracks on any of these four (4) volumes of “Singles” discs with the exception of “The Girls From Infant Island” that also appears on Volume 1. The Peanuts Singles - Mothra No Uta (Song Of Mothra)
Disc 1
The Glass Castle
The Sad Tango
The Sorrowful Valentino
Picking Wild Strawberries
World Of Men And Women
The Woman Of Tokyo
The Woman Of Osaka
In Calmness
The Woman Of San Francisco
The Woman Of Rio
Goodbye So Soon
Behind The Ring
Desert Of Passion
Rumor Becomes A Spirit
Whereabouts Of Love
It’s Over, Dear
The Fickle Guy
The Song Of Mothra
http://www.mediafire.com/?2ca2k80oeu1adz4
Morton Feldman - Edition 9 - Composing by Numbers
The Barton Workshop plays graphic scores
The Barton Workshop
James Fulkerson, director
Projection I (1950) (2:56)
Taco Kooistra, cello
Projection II (1951) (4:43)
The Barton Workshop, James Fulkerson, conductor
Projection III (1951) (2:01)
Philip Corner and Frank Denyer, pianos
Projection IV (1951) (4:33)
Marieke Keser, violin and Frank Denyer, piano
Projection V (1951) (2:27)
The Barton Workshop, James Fulkerson, conductor
Intersection I (1951)* (12:40)
The Barton Workshop, Jos Zwaanenburg, conductor
Marginal Intersection (1951)* (6:02)
The Barton Workshop, Jos Zwaanenburg, conductor
Intersection II (1951) (11:01)
Frank Denyer, piano
Intersection III (1953) (2:41)
Frank Denyer, piano
Intersection IV (1953) (3:10)
Taco Kooistra, cello
Out of ‘Last Pieces’ (1961)* (9:16)
The Barton Workshop, Jos Zwaanenburg, conductor
The Straits of Magellan (1961) (5:09)
The Barton Workshop, James Fulkerson, conductor
In Search of An Orchestration (1967)* (7:44)
The Barton Workshop, Jos Zwaanenburg, conductor
When Feldman met Cage in the winter of 1949, they quickly established a friendship based upon a similarity of intent and a mutual respect for the work each was doing. Soon thereafter, Feldman showed a string quartet he had been writing to Cage. Cage’s enthusiasm for this work, and delight in Feldman’s being unable to explain “how” he had written it, gave Feldman an all important “permission” to follow his intuition.
Reviews:
Morton Feldman
Composing by Numbers / The Graphic Scores 1950 - 67
Mode 146
This ninth volume of Mode’s Feldman Edition brings together 13 of the 17 works the composer notated using graph instead of normal manuscript paper (between 1950’s “Projection I” and 1967’s “In Search of An Orchestration”, though Feldman temporarily abandoned his graphic notation after 1953’s “Intersection IV” and only returned to it five years later with “Ixion”), performed with customary aplomb by the Amsterdam-based Barton Workshop under the baton of Jos Zwaanenburg and their music director James Fulkerson, who also provides the perceptive liner notes. Feldman collectors had better get their credit cards ready, as the disc includes the first recordings of three ensemble works: “Intersection I”, “Marginal Intersection” and “In Search of An Orchestration”. (1961’s “Out of ‘Last Pieces’” is also billed as a first, though my Feldman database lists another recording of the work conducted by Leonard Bernstein as part of Sony’s Bernstein Century edition.)
1951 was quite a prolific year for Feldman - he composed no fewer than 14 works, of which “Intersection I” and “Marginal Intersection” call for the largest forces - but while his graphic scores for chamber line-ups are no longer surprising to our ears, having been performed and recorded relatively frequently (five commercially available versions exist of “Projection I” and there are several readings of the later works in the “Projections” series, even including another by the same ensemble), the same compositional techniques used with a full ensemble lead to a rather thick, chromatically saturated texture at odds with the quasi-Webernian sparsity of the chamber pieces. The music is uncompromising, and, though recognisably Feldman, not always attractive. It’s surprising, though, that “Marginal Intersection” hasn’t been released before, as it’s remarkably colourful, if atypical. In addition to the instrumental ensemble, in which percussion features quite prominently, the piece calls for two oscillators - one senses the influence of Varèse somewhere in the background, though the once more rather claggy pitch world is far removed from his razor-sharp set theory. In contrast, notes in Frank Denyer’s version of “Intersection II” sound so good I’m tempted to wonder if Denyer, a talented and woefully underestimated composer in his own right, didn’t prepare his own performing version of the score (à la David Tudor, as mentioned in the review above) prior to the recording session. His muscular bravura in “Intersections III” also gives the lie to the idea that Feldman’s music must, of necessity, be slow, quiet and fragile. A comparison of the two solo cello works, “Projection I” (1950) and “Intersection IV”, dating from three years later, both splendidly performed by Taco Kooistra, reveals how sophisticated Feldman’s graph paper notation had become by the time he abandoned it later in 1953. When he returned to the medium at the end of the decade, the results were deceptively complex, and strikingly beautiful. Compared to the rather muddy textures of “Intersection I”, “Out of ‘Last Pieces’” and “The Straits of Magellan”, both written in 1961, positively shimmer - and I thought the Turfan Ensemble’s reading of the latter on Mode 103 couldn’t be equalled - and it’s wonderful to finally hear “In Search of An Orchestration”. Not that Morton Feldman had to search all that far: his mastery of instrumentation is evident throughout this fine disc.
—- Dan Warbuton, www.paristransatlantic.com, June 2005
Tracklist
1 The Forest Of No Return 5:39
2 Someday My Prince Will Come 7:53
3 Frisco Fog 3:20
4 I’m Wishing 10:18
5 Zip A Dee Doo Dah 7:28
6 Second Star To The Right 9:58
7 High Ho! High Ho! 9:06
8 Whistle While You Work 10:33
Credits
* Alto Saxophone, Clarinet, Bass Clarinet – Eloe Omoe
* Alto Saxophone, Clarinet, Flute – Marshall Allen
* Alto Saxophone, Flute – Noel Scott
* Artwork By [Front Cover] – Paul & Rachel Howard
* Bassoon, Oboe, Voice – James Jackson*
* Drums – Earl ‘Buster’ Smith*
* Edited By – Steve Plews
* Electric Bass – Arthur Joonie Booth*
* Electric Guitar – Bruce Edwards
* Liner Notes – Hartmut Geerken
* Mastered By – Alan Mosley
* Piano, Synthesizer, Voice – Sun Ra
* Producer – Leo Feigin
* Recorded By – Herbert Zaussinger
* Surdo, Percussion – Nelson Nascimento Santos*
* Trombone – Julian Priester, Tyrone Hill
* Trumpet, Voice – Michael Ray
* Violin, Voice – June Tyson
Notes
Recorded live at the Jazzatelier, Ulrichsberg, Austria on April 29, 1989.
Until 2001, I had always followed the mainstream view: experimental cut-ups, remixes and other manipulations were fairly recent innovations. It all started with Christian Marclay and John Oswald, and that was that. Or it was, until the release of some lost and largely forgotten works by minimalist pioneer Terry Riley. Here’s You’re No Good, a live performance using moog and tapes from 1968. He takes Harvey Averne’s r&b song of the same name and cuts it up, layering and multitracking parts above and below.
I know it’s something I always write, but this really is extraordinary stuff. First of all, it’s Riley being years ahead of the game when it comes to what we now think of as plunderphonics. Secondly, he’s doing this in live performances. Terry Riley as the godfather of turntablism, anyone? Were it not for the fact that he’s working with tape rather than vinyl, I think he’d have a great claim. Was there anyone else doing DJ work like this at that time?
Here for your pleasure is all 20 minutes of You’re No Good. It starts with a reminder of why the moog was such a great instrument, a massive crescendo which builds and builds only to be released into the main r&b theme. Riley pulls you away from this several times, mesmerising you with rhythmic intricacies before allowing it to resurface unalloyed. Part way through, he reintroduces the keyboards, layering extra levels of dirt upon the sounds. Never mind the historical significance of this recording, it’s also great listening.
http://rapidshare.com/files/231614046/G_R_O_U_P_I_E_S.part1.rar
http://rapidshare.com/files/231619144/G_R_O_U_P_I_E_S.part2.rar
http://rapidshare.com/files/231623953/G_R_O_U_P_I_E_S.part3.rar
http://rapidshare.com/files/231629067/G_R_O_U_P_I_E_S.part4.rar
http://rapidshare.com/files/231634262/G_R_O_U_P_I_E_S.part5.rar
http://rapidshare.com/files/231639778/G_R_O_U_P_I_E_S.part6.rar
http://rapidshare.com/files/231645406/G_R_O_U_P_I_E_S.part7.rar
Director: Ron Dorfman | Peter Nevard
Cast:
Patty Cakes … Herself
Chaz … Himself
Joe Cocker … Himself
Goldie Glitters … Himself
Miss Harlow … Herself
Katy
Alvin Lee … Himself
Lixie … Herself
Cynthia Plaster Caster … Cynthia Plaster Caster
Terry Reid … Himself
Peter Shelly … Himself
Keith Webb … Himself
Andrea Whips … Herself
Description:
In the late ’60s and early ’70s, seemingly every major rock festival and a number of top rock bands had become the subjects of documentary films, so it was probably just a matter of time before someone decided to take a look at the backstage scene in the wild world of heavy rock. For Groupies, filmmakers Ron Dorfman and Peter Nevard spent several months on the then-thriving rock ballroom circuit, filming a few notable bands, but spending most of their time with the women who’d devoted their time to following and “getting to know” their favorite rock stars (as well as a handful of young men who try, with little success, to share their affections with members of Ten Years After). Ranging from young unknowns new to the music scene to the royalty of the groupie community (including Miss Pamela — aka Pamela Des Barres, who wrote an entertaining book on her experiences — and Cynthia Plaster Caster, who preserved the “instruments” of a number of well-known rockers in plaster of Paris), Groupies follows these women and attempts to explain how they came by their decadent lifestyle. If nothing else, Groupies offers your only opportunity to hear several women onscreen debate the pros and cons of sleeping with Luther Grosvenor from the band Spooky Tooth. Groupies also features onscreen performances from Joe Cocker, Ten Years After, and Terry Reid.