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96 Piece for Cello and Accordion (1974)

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96 Piece for Cello and Accordion (1974) musicians such as Elton Dean, Gary Windo, Nick Evans, Harry so that I moved into a short solo that allowed me to get it all off Miller and Mike Osborne. my chest. Luckily, the engineer gave me a tape of this “blow” I regularly practiced each weekend in the Mildenhall with the solo on the end. My horoscope has a pattern named factory’s canteen for up to 13 hours a day. My father had a by Dane Rudhyar as the Wedge, or Funnel, pattern. For these reel-to-reel that he’d recorded the Black Cat Bones on, and I reasons I’ve named this short piece Wedged Into Release. used to record some of my practice sessions or rehearsals (Mu- In principle, I stopped playing with everyone in 1974 to sicians Union) to gain objectivity, to analyze for improvements “woodshed”—to totally rethink my musical vocabulary. I did a and simply as a record. In 1970, I’d done a summer season in few Ovary Lodge and Ark gigs and around 1977 formed a duo Penzance, Cornwall, with The Jazz Roots and had bought a with David Toop (Tee-Pee). But largely I’ve pursued my solo Philips cassette recorder for the reasons given. I’d also record direction—unfolding meditative soundscapes utilizing various my solo work and the rehearsals with Balance (co-founded combinations from around 700 of my instruments, overtone with guitarist Ian Brighton) at my bedsit in Crouch End, Lon- and undertone chanting and boo flutes, appearing on around don, until the tape recorder was stolen. 60 albums. I decided to move back down to London in January of 1970 and on the evening of the move I had a gig at Ray Man’s club, The Crucible. I began at 7:30 P.M. and emerged “house drum- PIECE FOR CELLO AND ACCORDION (1974) mer” at 7:30 A.M. Evan Parker played as part of SME and also Composer: Michael Parsons happened to live down the road from Mike Sullivan’s place in Performers: Michael Parsons (cello), Howard Skempton (accor- Kilburn. We’d often go down there, so I got to play with Evan, dion) then formed The Frank Perry Trio with Derek Bailey and we Note by Michael Parsons, Flat 4, 148 Fellows Road, London, did a few gigs. NW3, U.K. Being part of the Beat generation, I’d been listening to mod- ern jazz (Modern Jazz Quartet, Miles Davis, John Coltrane, etc.) After the break-up of the Scratch Orchestra and the split be- since 1963. I’d also gone out and bought Spirits by Albert Ayler, tween its “political” and “experimental” factions, there was a re- being interested to read that he thought of the recording ses- grouping of composers (including Howard Skempton and my- sion as a kind of séance (I’d discovered that I was a “trance me- self, John White and Chris Hobbs) who did not wish to associate dium” in 1965) that brought another energy to the proceed- themselves with the political line adopted by Cornelius Cardew ings. I dug what Albert was doing but never thought of playing and others. We also reacted against the more anarchic aspects of that music myself! Who would I play it with? Then I discovered early Scratch performances and became interested in a return the improvised music scene as it was happening in London. Yet, to elementary musical procedures. At around this time I took up whilst SME was free, it wasn’t the same style as Albert’s. playing the cello for a while, in order to take part in perfor- By playing regularly at Ray Man’s Crucible, I got to play with mances with groups of art students in Portsmouth, where I was many individuals. Ray’s stayed open all night—so players a visiting lecturer. Although my bowing technique remained ru- would often come over after playing at Ronnie’s (wherever), dimentary, I found that I could play plucked notes with reason- which closed at 3 A.M. One time Chris McGregor and Mongezi able accuracy (especially if some of them were on open strings). Feza popped in and asked if I wanted to jam. Actually, I’d In 1974 Howard Skempton and I formed a duo to perform never heard their music and didn’t have any idea who they our own pieces (mostly for voices and percussion). I was at- were. We played a remarkably “happening” set—a kind of tracted by the contrast of sonority between the cello’s low spiritual unity reminiscent of Albert Ayler’s music—and so I’ve pizzicato notes and sustained sounds in the high register of the titled this piece: Blowing in the Wind. Whenever I met Chris accordion, and this piece, written in February 1974, was one of he’d always say that we must release that jam. the first results of our collaboration. It is harmonically static, After that initial meeting, Chris often booked me to play in using a limited selection of pitches in the cello part, which are various groups. gradually extended and shifted in relation to the accordion’s Harry Miller was bassist with Chris at the time and had sug- sustained sounds. The process is fairly transparent; it reflects gested that Keith Tippett check me out. Keith rang, then came our association at the time with Systems artists such as Jeffrey and visited. We talked and he asked me to join his group, The Steele and Peter Lowe, who used a similar kind of repetition Keith Tippett Trio, which we soon co-founded as Ovary Lodge. and displacement of elements in their visual work. We did a couple of gigs, and then it was into the recording stu- This performance was recorded by Dave Smith at the British dio to finish what was to become the album Blueprint. Music Information Centre in London on 8 August 1974. Keith’s style was mostly about getting into an emotional groove, and I sometimes found that frustrating, being as I was more sanguine and enjoyed making music of the “Now”— FOUR ASPECTS (1960) where the music was free to change at any one instant. At that Composer: Daphne Oram time I was more familiar with that particular way of listening Note by Hugh Davies, 25 Albert Road, London N4 3RR, U.K. that was of a more intensely intuitive, psycho-spiritual nature. E-mail: <[email protected]>. I never did find a group to improvise with that could em- brace all of the areas/styles of playing that I empathized with, This excerpt consists of the final 5 minutes of an 8-minute and this was one of the several reasons why in 1974 I focused electronic composition, starting near the end of the second more upon unfolding my solo direction. variation-like aspect. It is probably the most interesting of the I had one such attack of frustration during the Blueprint re- earliest British tape compositions for concert performance, cording session where I felt that both Roy Babbington and from around 1960 (several years later than in many other Keith weren’t listening to my “suggestions” and somehow countries). No doubt fortuitously, the main thematic material couldn’t hear what I was “saying.” So I adopted a disruptive and atmosphere of the work uncannily anticipates that of manner of playing—eventually they stopped playing altogether Brian Eno’s first recorded ambient work, Discreet Music (1975). 96 LMJ11 CD Contributors’ Notes Downloaded from http://www.mitpressjournals.org/doi/pdfplus/10.1162/lmj.2001.11.96b by guest on 01 October 2021 Daphne Oram was born in 1925. Following her musical stud- As with its companion pieces, for one and two springs re- ies she worked as a music balancer for BBC radio in London. spectively, this work uses part of an amplified instrument Her unperformed, half-hour-long Still Point (1950), for double called My Spring Collection. The three springs, which are 20, orchestra, prerecorded instrumental sounds and live elec- 25 and 38 cm in length, are amplified by means of four mag- tronic treatments, may well have been the very first composi- netic pickups arranged in a square; two of them are connected tion in any country to incorporate live electronic transforma- to the left channel and two to the right. The springs are tion. In the mid-1950s, having failed to convince anyone at the moved around in different combinations and positions above BBC of the importance of the recently introduced electronic or directly on the pickups and are played by the fingers and a music and musique concrète, she began with Desmond Briscoe variety of small implements. to assemble a temporary tape studio at night after broadcasting Out of more than a dozen significant solo pieces of mine for had finished, producing in this manner, both independently my invented instruments, this is one of only two that have not and in collaboration, background music for several radio and already been issued on a recording or will appear on a CD in TV drama broadcasts. This led in 1958 to the foundation, pri- the course of 2001. marily sponsored by the drama department, of the BBC’s Radiophonic Workshop, of which she was the first director. However, unhappy with the lack of interest in the musical pos- PLUM (1973) sibilities of the medium, she left in 1959 to set up her own pri- Composers/performers: Lol Coxhill/Steve Miller vate Oramics studio. Note by Lol Coxhill, 17 Laney House, Portpool Lane, London, Like Raymond Scott in the same period, Daphne Oram EC1N 7UL, U.K.
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