Selten gehörte Musik
Musikprogramm von Thomas Andre
27. Januar 2009
“Selten gehörte Musik” hieß eine akustische Performance von Oswald Wiener 1974, die jenseits der bekannten musikalischen Formen eine “größere Beweglichkeit des Verstandes” ermöglichen sollte. Das von Thomas Andre zusammengestellte Programm stellt Musikdokumente aus dem Zeitraum von 1953 bis 2008 vor, die unterschiedliche Vorstellung solch einer von allen Begriffen befreiten Kunst hörbar machen. Das Programm umfasst Musik von Mary Lou Williams, Don Cherry, Judy Henske, Moondog, Ursula Bogner, Zeit, The Space Lady, Barton Smith, Scott Tuma und anderen.
Die Musik wird auf Nachfrage gespielt. Die Bar hat geöffnet und bietet Edelbrände der Brennerei Stählemühle am Bodensee an.
Thomas Andre lebt in Berlin, er sammelt und erforscht Musik.
Mary Lou Williams: Black Christ of the Andes (1964)
“Calling this album mainstream is a bit misleading, since it includes four pieces of choral/sacred music and one avant-garde cut. In a way, it’s the perfect mirror of where Mary Lou Williams was in the early 1960s, coming out of a nearly ten year absence from performance. At the beginning of that period she had devoted herself solely to religion and charitable work. Jazz-loving priests within the Catholic church convinced her to convey her religious feelings through what she did best: performing, composing, and arranging. Here we have some of the beautiful results.”
Don Cherry: Brown Rice (1974)
“There is joy laced with confidence in this music, and sadness, or pathos, that is as much connected to the Blues as it is to the huge yearning of that sound in Eastern music… Throughout the record, one can hear the melding of Third World music and mysticism with Western instruments.” (From Stanley Crouch’s original liner notes to Brown Rice)
Judy Henske & Jerry Yester: Farewell Aldebaran (1969)
“This is one of those legendary lost records that ‘everyone’ talks about, where after you finally hear it, you have even less of an idea of what it is than before. Brutally aggressive when it’s not being elegantly folksy or bubblegummy, turning decadent, satirical, apocalyptic, histrionic and demonic, these young marrieds – folk-blues goddess and an ace journeyman with ties to the Spoonful and TMFQ – created a truly unpredictable mélange of pop, antipop, subpop and artifice. With so many disparate facets, the whole of Farewell Aldebaran (1969, Straight Records) can only appeal to the openest of minds, but odds are at least one part of it will blow all of yours.”
Ursula Bogner: Recordings 1968-1988 (2008)
“A message from the afterlife. Don’t worry! Electronic Beats won’t get esoterical. But a quite mysterious discovery was made recently which you should know about. During a flight to Vilnius the Berlin-based DJ / producer Jan Jelinek met Sebastian Bogner, son of the 1994 deceased pharmacist Ursula Bogner. After the usual small talk they started talking about Sebastian’s mother who used to experience with synthesizer. Family and friends discounted these experiments as another eccentric hobby of her. Therefore, these tracks haven’t appeared outside her studio until now.
However, Sebastian provided Jan with the tapes his mother recorded between 1968 and 1988. A selection of her work – which sounds pretty contemporary and could easily have been credited as influence for Kraftwerk and Detroit Techno – if just anybody had known it! – will be released on Jelinek’s brand new label Faitiche on October 24. A unique message from the afterlife.”
Zeit: Un Giorno in una Piazza Mediterranea (1979)
“A group based in Florence, active between 1979 and 1981, they tried as others to mix traditional folk tunes with typical mediterranean and eastern-flavoured atmospheres. Their albums are close to the “world music” experiments made in the same period by Mauro Pagani.”
Scott Tuma: Not For Nobody (2008)
“For those who’ve heard Scott Tuma’s first two solo albums, the opening seconds of Not For Nobody hold a few surprises: the fact that the album features Tuma actually singing for the first time in his solo career is surprise enough, but also is the realization that the vocals are pitched up and Tuma sounds like a damn munchkin. Usually this sort of tape trick is good for giggles and ‘Oh hey, weird’ responses, but the biggest shocker in the first 15 seconds is that, after the initial jolt – when the lyrics are attended to, when the glints of guitar and reverbed sounds of a car starting are assessed, when we all settle down – his voice is incredibly unsettling and saddening.”
Barton Smith: Reelizations 1 + 2 (1980-1982)
“Bedroom electronics from a relatively unknown experimental composer on Folkways circa 1980. While there are a few acoustic guitar-only tracks, the majority of the record contains a wide selection of instruments, ranging from heavily processed synthesizers to Roland drum machines, zithers and brake drums. This track premiered March of 1980 in Los Angeles, California in the Institute of Dance and Experimental Art. The notes go on to explain that no matter how frantic things may appear on the surface, there is always some type of order and form.”
The Space Lady: Recorded live in San Francisco (1990)
“The Space Lady is San Francisco’s most enchanting street musician. Whether on keyboard or accordion, her music stops sidewalk traffic even in this multi-task town. She usually performs wearing a steel helmet with angel wings, making her easy to recognize but belying the credibility of her haunting vocal interpretations of well known songs. Mister SF always requests Time After Time or Spanish Harlem. A San Francisco favorite is Over the Rainbow. The Space Lady, whose real name is Susan Dietrich, made only one recording for sale. It featured Susan performing live on Casio with effects.”
Cloud One: Atmoshere Strut (1976)
“Since the disco underground communicated through the 12″ format, containing A-sides and B-sides that almost always surpassed the several-minute mark, full-length albums were a rarity. Cloud One’s Atmoshere Strut is one exception to the rule. As with the remainder of Cloud One’s material, each song on this LP was produced and arranged by Patrick Adams, a remarkably prolific cult legend whose name should be just as instantly recognized in dance music circles as Giorgio Moroder and Arthur Baker. Not only was Adams an incredibly talented figure behind the boards (and a label operator on top), but he also revolutionized synth playing – no one before, during, or since has played the synthesizer like him. Atmoshere Strut is one of several testaments to these facts, containing a handful of classic disco cuts that remain in DJ crates decades after being recorded. ‘Atmoshere Strut’ and ‘Disco Juice’ have the highest profile of these six songs. Both are euphoric but completely distinct from one another. ‘Atmoshere Strut’ is a nine-minute drift carried by a light, winding groove; a repeated refrain of ‘We’re gonna fly, fly away’; crazy synth squiggles; human handclaps; and incidental exclamations of delight. ‘Disco Juice’ is downright colossal; with its humid, nocturnal feel; shimmering strings; taut bassline; and a dazed, wordless refrain, it practically forces anyone within earshot to involuntarily twirl in a state of bliss. The delirious ‘Spaced Out’ the smooth/easy ‘Dust to Dust’ and the jubilant closer ‘Doin’ It All Night Long’ put a cap on this brilliant album.” (Andy Kellman, All Music Guide)
Metabolist: Hansten Klork (1980)
“Metabolist were a short-lived UK experimental group forming in January 1977, consisting of Malcolm Lane (guitar, synth, vocals), Simon Millward (bass, vocals, synth) and Mark Rowlatt (percussion), with Jacqueline Bailey dedicated to cover designs. Within the UK press their sound was roughly lumped alongside several other UK experimentalists, The Pop Group, Cabaret Voltaire, Throbbing Gristle & This Heat. While tied to many preconceived conceptions, ‘a poor mans This Heat’ comes as a classic example; the group procured a different sound upon each release. Asides from British counterparts, the band also claimed influences from Can, Gong and Magma.Early on, Metabolist came to the executive decision to steer clear of capital record labels, forming Drömm Records. Each member took an active responsibility in recording, mixing and editing; giving freedom to ideas, time, and money. In their short career Metabolist only release one full-length LP.”
Agnes Baltsa: Songs My Country Taught Me (1986)
“Theodorakis, Hadjidakis, Xarhakos, Songs My Country Taught Me, Agnes Baltsa, Athens Experimental Orchestra, Stavros Xarhakos”
“Baltsa’s singing – clean, clear, cultivated, and free, with a bewitching sound – is world class.” (Opus/USA, 1 December 1987)
“Singing in her native tongue Baltsa phrases and projects the words with the subtlety and boldness only possible with total familiarity and understanding. No operatic popmosities here, but the sureness and strength of a trained voice doing full justice to a collection of infectiously melodic songs, ranging from the dreamily sensual to the playfully rugged, which seem to have an element of the operatic in them. The convincing arrangements by Xarhakos mostly use plucked instruments for the essential Greek sound [...]. At least we have one opera star who can let her hair down without becoming simply dishevelled.” (Hi-Fi News/UK, 1 March 1987)
“Der Vortrag der Mezzosoranistin ist von einer Leichtigkeit, als seien die Lieder der bedeutendsten zeitgenössischen Komponisten Griechenlands ihre Domäne. Statt Opernposen begegnen sängerische Tugenden wie einwandfreie Intonation, klare Diktion und wohldosierte Emotionaliät. Das erleichtert es dem Hörer, sich auf die vom Zeitgeschehen unabhängige Qualität der Werke zu konzentrieren.” (Stereo/Germany, 1. März 1987)
“… eine Aufnahme voller musikalischer und interpretatorischer Reize. Denn Agnes Baltsa singt die hier versammelten Lieder der Klage, der sanft aufbrechenden Liebe und des unerlässlichen Abschieds, des Widerstandes wie der Todesbotschaften mit einem anrührenden, aber gänzlich unsentimentalem Pathos und mit einem enormen, durch lange Opernerfahrung sensibilisiertem Feingefühl, die diesen Erfindungen zwischen hehrer Kunst und populärer Unterhaltung erst die rechte Durchschlagskraft gibt.” (Die Welt/Germany, 23. Januar 1987)
Moondog: On the Streets of New York (1953)
“An audio study of New York 19, a postal zone in Midtown Manhattan where Tony Schwartz lived. The material on this record was selected from thousands of recordings, dating back to 1952. It was during this time that Tony Schwartz extensively taped the exotic sounds of blind street musician Moondog, which resulted in the seven-inch EP, Moondog on the Streets of New York (Mars MREP A-2).”
“‘Moondog on the Streets of New York’ is the second presentation in a series of on-the-streets recordings made as a part of the project in New York 19. While working on this project of recording the folk expressions of the community of which I live, I recorded many street musicians of whom Moondog was the most unique. Moondog, born in 1917, is a blind street musician who was born in Kansas and raised in Indian country in Wyoming. He was influenced by both Oriental and Occidental music. Snake time is the name he has given to the type of music he writes and plays. It is blending of primitive and classical elements.
Moondog came to New York in 1943 to establish himself as a composer. He designs, makes and writes music for many of the instruments he plays. The Oo, Utsu and Uni are introduced in this record. Suzuko, Moondog’s wife, who has transcribed much of his music, sings and accompanies him in several of these selections. I have selected the music on this record from the many on location recordings I have made of Moondog his arrival in New York.” (Tony Schwartz)