Trippy Trance Music Origins

Episode 127 Terry Riley—Analog Organ Works Playlist                                                                                                                                                                                                                       Time Track Time Start Introduction –Thom Holmes 08:08 00:00 1.     Terry Riley, “Journey From The Death Of A Friend” and “Happy Ending” from Happy Ending (1972 Warner Brothers Records). Music composed for the film "Les Yeux Fermes," a film by Joel Santoni. made at the "Strawberry Studio" Château d'Hérouville-France. This is a studio recording. “Journey From The Death Of A Friend” was recorded in real time with the tape delay system timed for a shorter delay, expressly for the Yamaha YC-45D combo organ. The track called “Happy Ending” features Terry on saxophone and uses a longer delay sequence than the organ piece, plus electric piano and organ. Recorded March-April 72. 36:53 08:10 2.     Terry Riley, “Performance Two,” sides 3 and 4, from Persian Surgery Dervishes (1972 Shanti). Composer, performer, Yamaha YC-45D combo organ, Tape Feedback, Terry Riley. Riley plays a modified Yamaha electric organ tuned in just intonation and using a tape delay system. Performance Two performed May 24, 1972,  Théâtre de la Musique, Paris. 47:46 45:01 3.     Terry Riley, “Parts 1 and 2,” sides 1 and 2, from Descending Moonshine Dervishes (1982 Kuckuck). Composer, performer, Yamaha YC-45D combo organ, Tape Feedback, Terry Riley. Riley plays a modified Yamaha electric organ tuned in just intonation and using a tape delay system. Recorded in concert November 29, 1975, at Metamusik Festival in Berlin. 52:00 01:32:54   Opening background music: Terry Riley, “A Rainbow In Curved Air” from A Rainbow In Curved Air (1968 Columbia). Electric Organ, Electric Harpsichord, Rocksichord, Dumbec, Tambourine, Terry Riley.   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found in iTunes and on Bandcamp.  

Episode 126 The Japanese Shigin Vocal Tradition—and Electronics Playlist   Track Time Start Time Introduction –Thom Holmes 04:46 00:00 1.     Mix of Susumu Yokota, “Saku” from Sakura (1999 Skintone) plus Abe Shũfu II, “Mount Fuji” from Music Of The Shigin: Chanting To Chinese Poetry (1975 Folkways). Album of electronic music from the late composer Susumu Yokota and a track from Folkways of Japanese shingin folk music. 05:42 04:54 2.     Mix of Shiro Michi,“マドンナの宝石 (Intermezzo From "The Jewels Of The Madonna)” from エレクトーン 名曲アルバム (Electone Masterpiece Album)(1965 Polydor). Plus a female shigin performer accompanied by koto from a Japanese collection of shigin singers (1973 Toshiba TY-40077), side 2, track 6. Shiro Michi, Shiro Michi, was a popular Japanese Hammond organist in the 1950s, and Electone artist from the 1950s-2000s since 1958. This track was performed on the Yamaha Electone. 03:02 10:34 3.     Mix of Shiro Michi, “ドナウ川の漣 (Danube Waves Waltz)” from エレクトーン 名曲アルバム (Electone Masterpiece Album)(1965 Polydor). Plus a male shigin performer accompanied by bamboo flute and koto from a Japanese collection of shigin singers (1973 Toshiba TY-40077), side 1, track 2. 04:46 13:34 4.     Mix of a fragment of Shiro Michi and shigin, which I have called “Shigin Skip Organ” because of the prominence of the LP skip throughout. “ドナウ川の漣 (Danube Waves Waltz)” from エレクトーン 名曲アルバム(Electone Masterpiece Album)(1965 Polydor) plus a skipping record of a male shigin performer with koto. 04:08 18:17 5.     Omoide Hatoba, “Alternative Funkaholic” from Kinsei (1995 Earthnoise). 02:30 22:24 6.     Omoide Hatoba, “Satellite Groove” from Kinsei (1995 Earthnoise). 03:53 24:52 7.     Neohachi, “Dog More Than Cat” from Lovecadio Hearn (2013 White Paddy Mountain). Neohachi is a Japanese female duo, formed in 2005 and featuring Lily (Shigin Vocals) and Elly (Synthesizers). 06:09 28:40 8.     Neohachi, “Eternal, Eternal, Eternal” from Lovecadio Hearn (2013 White Paddy Mountain). 02:31 34:36 9.     和楽器バンド (Wagakki Band), “Akatsuki no Ito”from    八奏絵巻(Wildflowers Scroll). Bass, 亜沙 (Asa); Drums, 山葵 (Wasabi); Guitar, 町屋 (Machiya); Koto, [箏], いぶくろ聖志(Ibukuro Masashi); Shakuhachi, [尺八], 神永大輔 (Kaminaga Daisuke); Shamisen, [津軽三味線], 蜷川べに(Ninagawa Beni); Taiko, [和太鼓], 黒流 (Kurona); Shigin Vocals, 鈴華ゆう子 (Suzuhana Yuko). Suzuhana Yuko provides the shigin vocals in this convergence of hard rock and traditional Japanese music. The whole outfit is outstanding but I like the pre-eminence of female musicians. For example, check out this Japanese video of Ninagawa Beni shredding the Shamisen. Here’s a 2023 performance by Wagakki Band featuring a vocal by Yuko. 03:28 37:22 10.   和楽器バンド (Wagakki Band), “Nadeshiko Zakura” from 八奏絵巻(Wildflowers Scroll). Bass, 亜沙 (Asa); Drums, 山葵 (Wasabi); Guitar, 町屋 (Machiya); Koto, [箏], いぶくろ聖志(Ibukuro Masashi); Shakuhachi, [尺八], 神永大輔 (Kaminaga Daisuke); Shamisen, [津軽三味線], 蜷川べに(Ninagawa Beni); Taiko, [和太鼓], 黒流 (Kurona); Shigin Vocals, 鈴華ゆう子 (Suzuhana Yuko). 04:44 40:48 11.   Shigenori Kamiya(神谷重徳), “ファラオの墓 (Farao (Pharaoh) No Haka)” from Digital Trip ファラオの墓 シンセサイザ ファンタジ (Digital Trip Pharaoh's Tomb Synthesizer Fantasy). Composed By, Synthesizer, Shigenori Kamiya (神谷重徳). 03:12 45:28 12.   Gagaku Shigenkai, Ryōō from Unesco Collection, A Musical Anthology of the Orient: Japan II (1962 Musicaphon). "Ryōō" was recorded in Tokyo in 1962. Shigenkai, was a traditional Japanese music ensemble attached to the Imperial Household Agency, playing flutes, drums, and string instruments. I did a remix of this, adding delay and some droning tones and then double-tracking the whole piece as a way to transforms these lovely, acoustic tonalities into an electronic mélange. 07:18 48:38 13.   Otomo Yoshihide (大友良英), “Film Maker From Kreuzberg,” from We Insist? (1992 Sound Factory). Turntables, Sampler, Tapes, Guitar, Otomo Yoshihide. 02:55 55:50 14.   After Dinner, “An Accelerating Etude” from After Dinner (1984 Recommended Records). Engineer, Producer, Voice, Synthesizer, Tape, Koto (Miniature 13 String, Taisho-goto), Plastic Flute, Percussion, Haco. Vocalist/lyricist-composer/multi-instrumentalist/sound-artist. Album compiled for the UK release from the original Japan records known as the Glass Tube LP and an After Dinner 7.” 04:11 58:42 15.   After Dinner, “Sepia-Ture II” from After Dinner (1984 Recommended Records). Alto Saxophone, Kaname Nakagawa; Arranged by, Y. Utsunomia; Bass, Drum, Miyuki Komori; Bass, Violin, Tadahiko Yokokawa; Koto (Taisho-goto), Yasushi Utsunomia; Snare, Masaaki Kawaguchi; Soprano Saxophone, Masaharu Ito; Tenor Saxophone, Seiichi Kuroda; Voice, Haco. 02:25 01:02:50 16.   Wha Ha Ha, “Keiro No Hibi” and “On The Floor” from 死ぬ時は別 (It’s Different When You Die) (1981 Better Days). The second part of this combination track is a different of “On the Floor” that is sung by Mishio Ogawa. The version I am most familiar with was sung by a man so this is a refreshing variation. Computer, Takafumi Fuse; Effects [Sound Effects], Fujio Akatsuka; Engineer, Kazuhiro Tokieda, Takafumi Fuse; Guitar, Shigenori Kamiya; Keyboards, Shuichi Chino; Percussion, Kiyohiko Senba; Saxophone, Voice, Akira Sakata; Voice, Mishio Ogawa. 11:57 01:05:09   Opening background music: Ryuichi Sakamoto, “Nuages” from Heartbeat (1991 Virgin Japan). Written by Sakamoto, the vocal is delivered by the remarkable Algerian singer Houria Aichi (2:15).   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.    

Episode 125 Trippy Trance Music Origins, Part 2 Playlist   Track Time Start Time Introduction –Thom Holmes 05:01 00:00 1.     Pete Namlook, “Power Supply II” from Namlook IV (1994 Fax +49-69/450464). “The music originated instinctively whilst being played live. There was no concept for the composition before, only a kaleidoscope of sounds stemming from the given instruments. The music of this CD is “dedicated” to the missing 220V power supply, the broken EMS Synthi which I dropped during the setting-up of my equipment, the SE-1 which instantly created its own sounds during the live recording and the Studio 440 with 2 faulty pads and a disk drive which had to be convinced to cooperate.” 5:00 05:16 2.     Pete Namlook, “Power Supply III” from Namlook IV (1994 Fax +49-69/450464). See explanation for part II above. 5:00 10:15 3.     Pete Namlook, “Power Supply IV” from Namlook IV (1994 Fax +49-69/450464). See explanation for part II above. 5:00 15:16 4.     Bill Laswell and Pete Namlook, “Psychic And UFO Revelations In The Last Days” from Psychonavigation (1994 Subharmonic). Written, arranged, and played by Bill Laswell, Pete Namlook; Axiom ambient, Bill Murphy, Peter Wetherbee; Material, Inc., Tracy McKnight; Subharmonic, Robert Soares. 38:46 20:13 5.     Pete Namlook, Klaus Schulze and Bill Laswell, “Obscured by Klaus, Part III” from The Dark Side Of The Moog 7 (1998 Fax +49-69/450464). Performers, Bill Laswell, Klaus Schulze, Pete Namlook; Written-by Bill Laswell . 19:01 58:54 6.     Pete Namlook, Klaus Schulze and Bill Laswell, “Obscured by Klaus, Part IV” from The Dark Side Of The Moog 7 (1998 Fax +49-69/450464). Written and performed by Bill Laswell, Klaus Schulze, Pete Namlook. 06:37 01:17:54 7.     Tetsu Inoue and Pete Namlook (2350 Broadway), “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Produced by Peter Kuhlmann (Pete Namlook); written and performed by Tetsu Inoue and Pete Nambook. Recorded at Bretton Hall, New York and Klanglobor Hödeshof, Germany. Linited to 500 discs. 7:00 01:24:28 8.     Tetsu Inoue and Pete Namlook (2350 Broadway), “Sustained Energy” from 2350 Broadway 4 (2007 Fax +49-69/450464). Produced by Peter Kuhlmann (Pete Namlook); written and performed by Tetsu Inoue and Pete Nambook. Recorded at Bretton Hall, New York and Klanglobor Hödeshof, Germany. Linited to 500 discs. 9:35 01:31:21   Opening background music: Bill Laswell and Pete Namlook, “Black Dawn” from Psychonavigation (1994 Subharmonic). Written, arranged, and played by Bill Laswell, Pete Namlook; Axiom ambient, Bill Murphy, Peter Wetherbee; Material, Inc., Tracy McKnight; Subharmonic, Robert Soares. (21:22) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.  

Episode 124 Trippy Trance Music Origins Playlist   Track Time Start Time Introduction –Thom Holmes 07:14 00:00 The KLF, “What Time Is Love?” from What Time Is Love? (Pure Trance 1) (1988 KLF Communications). Kopyright Liberation Front (KLF), a duo comprised of Jimmy Cauty and Bill Drummond. Cauty was born in Devon, England; Drummond was born in South Africa but grew up in the Dumfries & Galloway area of Scotland. 07:06 07:14 Sven Väth, “Ritual of Life” from Accident In Paradise (1992 Eye Q Records). Music by Sven Väth. Internationally known DJ / producer from Germany. 13:13 14:17 Sven Väth, “Caravan of Emotions” from Accident In Paradise (1992 Eye Q Records). Music by Sven Väth. Internationally known DJ / producer from Germany. 12:22 27:24 Oliver Lieb, “Dimension X” from  Constellation (1993 Recycle or Die). Frankfurt based DJ & producer Oliver Lieb is involved in the production of electronic music since 1988. 16:35 39:36 Pete Namlook & Dr. Atmo, “Trip“ from Silence (1993 Rising High Records). 20:09 56:14 Pete Namlook and Tetsu Inoue, “Liquid Shade” from Shades Of Orion (1993 Fax +49-69/450464). 20:43 01:16:17 Pete Namlook and Tetsu Inoue, “Biotrip” from Shades Of Orion (1993 Fax +49-69/450464). 24:09 01:36:56   Opening background music: Pete Namlook and Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, programmed, and played by Pete Namlook and Tetsu Inoue. (07:00) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.  

Episode 123 Love Spells in Electronic Sound Playlist   Track Time Start Time Introduction –Thom Holmes 06:48 00:00 1.     Mystic Moods Orchestra, “Love Token” from Love Token (1969 Philips). Sound Effects, producer, sound director, Brad Miller; Vocals and vocal effects, The Mystic Moods. 04:33 06:48 2.     Four Tet, “Love Cry” from There Is Love In You (2010 Domino). Written, produced, and performed by Kieran Hebden. 09:06 11:14 3.     Deborah de Luca, “Love is a Losing Game (Mix Raw)” from Nina (2015 Sola_mente Records). Written, produced, and performed by Deborah de Luca. 07:14 20:16 4.     Steven Halpern, “Hot Chakra” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 06:48 27:26 5.     Steven Halpern, “Thigh Chi” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Flute, Paul Horn; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 05:31 34:08 6.     Klaus Schulze, “Moogetique” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 13:12 39:34 7.     Klaus Schulze, “Stardancer II” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 14:13 52:44 8.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” from Events (1980 Harvest). Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMI, Liner Notes, Eberhard Schoener; Fairlight CMI, Morris Pert; Fender Rhodes, Roger Munnis; Tenor Saxophone, Olaf Kübler; Vocals, Clare Torry. 10:56 01:06:50 9.     Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Written, produced, and performed by Nora En Pure. 05:48 01:17:45 10.   Art Linkletter, “Narrates The Story Of Where Did You Come From?” (side 1) from Narrates The Story Of Where Did You Come From? (1963 20th Century Fox). This was an early 60s sex-education LP. Linkletter was a Canadian-American radio and television personality. I’ve intermixed this disc with tracks of rolling white sound (by me) and a track by Kazumoto Endo, “Falling In and Out of Love” from Never Gonna Make You Cry (1999 Kling Film-Records). Written, produced, and performed by Kazumoto Endo. All to present a slightly odd view of love. 19:12 01:23:32 11.   Donna Summer, “Summer Fever” from Four Seasons Of Love (1976 Casablanca). Written-By Donna Summer, Giorgio Moroder, Pete Bellotte; accompanied by The Munich Machine; recorded in MusicLand Studios, Munich; mixed and produced by Giorgio Moroder. 08:12 01:42:44   Opening background music: The Love Symphony Orchestra, “Let’s Make Love in Public Spaces” from Penthouse Presents The Love Symphony Orchestra (1978 Talpro). Keyboards, Synthesizer, Clifford Carter. (03:12) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

Episode 122 Electronic Music for Babies Playlist   Track Time Start Time Introduction –Thom Holmes 09:56 00:00 1.     Raymond Scott, “Lullaby” (14:06) and “Sleepy Time” (4:25) from Soothing Sounds For Baby Volume I: 1 To 6 Months (1964 Epic). Monophonic recording. Mine includes the insert. 18:30 09:56 2.     Raymond Scott, “Tempo Block” (3:15) and “The Happy Whistler” (10:45) from Soothing Sounds For Baby Volume II: 6 To 12 Months (1964 Epic). Monophonic recording. Mine includes the insert. 14:12 28:22 3.     Raymond Scott, “Little Tin Soldier” (9:24) and “Little Miss Echo” (7:23) from Soothing Sounds For Baby Volume III: 12 To 18 Months (1964 Epic). Monophonic recording. Insert is missing. 17:10 42:17 4.     Rosemary, “Undiscovered Island” from Rosemary And Little Andy, Lullaby From "Rosemary's Baby" (Sleep Safe And Warm) (45 RPM) (1968 Columbia). Written by, arranged and conducted by Stan Applebaum; Producer, Wally Gold. This single was not from the movie soundtrack to Rosemary’s Baby, but was inspired by the movie and featured an alternative version of the lullaby from the film. I found that track to be a little too unsettling for a podcast about music for babies, but I did find that the B side, “Undiscovered Island” had a much more calming effect. I believe the instrument heard is a Moog Modular keyboard with the glide feature. Wally Gold, who produced this album, is known to have use the Moog Modular on other recordings. Monophonic recording. 02:57 59:17 5.     Steven Halpern, “Brahams Lullaby Part 3” from Lullabies & Sweet Dreams (1984 Halpern Sounds). Grand Piano, String Synthesizer, Steven Halpern; Violin, Daniel Kobialka. I couldn’t help but include a track from Steven Halpern, one of the founding fathers of new age music. As for electronics on this one, there is a string synthesizer. 02:25 01:02:21 6.     Luke Slater, “Dreams of Children” from X-Tront Vol. 2 (1993 Peacefrog Records). This track is a little bit manic for relaxing babies, but it has a minimalist repetition that becomes trance-inducing. And one could find solace in that sound. 07:50 01:04:44 7.     Howie B., “Music for Babies” from Music For Babies (1996 Polydor). Keyboards and treatments, Howie B. 05:27 01:12:24 8.     N., Tracks 12, 19, 22, 23” from Memories From Before Being Born (2005 + Belligeranza). This is a solo work of one Davide Tozzoli, who lives in Italy. An unusual disc of glitch sounds, processed two empty tape recorders an echo machine, and minimal synthetic filters. I selected four of the more mesmerizing tracks and strung them together. “Two empty tape-recorders, one connected to the other, no sound if not the distortion produced by the tape-recorders themselves in play/rec. On this recording of Nothing the modulations of vintage analogic effects: emptied frequencies, prenatal sounds without any sonic grain, audio for a flat electroencephalogram. Memories from before being born," a possible conceptual-noize manifesto.” 05:41 01:17:41 9.     Pete Namlook, Music for Babies (excerpt) from Music for Babies (2009 Fax +49-69/450464). On Christmas 2011 "Music For Babies" CD release without cover or catalog# was sent out as a give-away with orders directly from the label. All tracks written, mixed, and produced by Pete Namlook. We have hear prenatal heartbeats mixed with electronic music. Perfect! 15:39 01:23:18 10.  Chris Kimbell, “Sleepwave” from Ultrasound / Sleep (2007 Pause). A mellow ambient tune but without any detectable prenatal ultrasounds, as the title might indicate to some. 11:04 01:38:50 11.  Lee Rosevere, “Dreaming” from The Ambient Baby (2009 Kazoomzoom). Composed, performed, produced by Lee Rosevere. All original material designed specifically for infants from birth to about two years of age. “Little ones are engaged early on by rhythmic sounds at the start. The sounds then weave into a gentle and soothing environment to help babies fall asleep.” 05:59 01:49:50 12.  Lullaby Movement, “Ru-Ru (Sleep Little Baby)” from David Holmes – LateNightTales (2016 LateNightTales). An eclectic mix of tracks from DJ David Holmes, includes this muted little lullaby with a haunting vocal. 03:55 01:55:42 13.  Dana Falconberry, “Sea Stones” from Dreamland (Songs For Lulling) (2017 Not on label). Falconberry explains why she created the private recording: “Years ago, I made an album of lullabies for a friend of mine who had just had her first baby. She encouraged me to release a lullaby album to the public, since it helped her with her child so much, which was the main inspiration for this album (thanks Lisa!!). . . . People have been telling me for as long as I can remember that my voice puts them to sleep. Even more common has been fans approaching me at the merch table after a show and telling me that they use my albums to put their babies to sleep. Now, I can say that is a complicated thing for a songwriter to digest, but ok babies, I hear you, let's go. Here's a full album of songs to take you off to Dreamland.” 04:39 01:59:30   Opening background music: Pete Namlook, “Attracting Attention” and “The Womb” from Music for Babies (2009 Fax +49-69/450464). Excerpt (12:57) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

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

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

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

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