Friday, August 23, 2013

Free Download John White, Gavin Bryars

Obscure No. 8: Machine Music – John White, Gavin Bryars (1978)

  1. John White – Autumn Countdown Machine

    Bassoon, Percussion – Christopher Hobbs Double Bass – Sandra Hill Double Bass, Percussion [Metronome] – Gavin Bryars Tuba, Percussion [Metronome], Percussion – John White

  2. John White – Son Of Gothic Chord

    Piano – Christopher Hobbs, John White

  3. John White – Jew's Harp Machine

    Jew's Harp – Christopher Hobbs, Gavin Bryars, John White, Michael Nyman

  4. John White – Drinking And Hooting Machine

    Percussion [Bottle] – Brian Eno, Christopher Hobbs, Gavin Bryars, John White, Susan Dorey*

  5. Gavin Bryars – The Squirrel And The Ricketty Racketty Bridge

    Acoustic Guitar [Steel Stringed] – Derek Bailey
    Electric Guitar – Brian Eno
    Electric Guitar [Double-headed] – Fred Frith
    Guitar [Concert] – Gavin Bryars

    Recorded At – Basing Street Studios
    Phonographic Copyright (p) – Obscure Records Ltd.
    Engineer – Rhett Davies
    Producer – Brian Eno
    Written-By – Gavin Bryars (tracks: B), John White (tracks: A1 to A4)
    Recorded at Basing Street Studios 1976.

Gavin Bryars composed a guitar piece for Derek Bailey called "The Squirrel & the Ricketty Racketty Bridge". A piece for one guitarist playing two simultaneous guitars. Bailey ended up recording the composition with four players on eight guitars ... we wanted to treat the eight & add three more .... different instruments.
Basil Psanoudakis - Turntables & ebow bass
Paul Pax Andrews - Saxophone
Wheldon Thornley - Keyboards
"There is no doubt in my mind that my friend Derek Bailey was one of the major figures in music – and not just improvised music – over the last thirty years. I was a 19-year old philosophy student, and beginning jazz bass player, in Sheffield when I first met him in 1962. Along with drummer Tony Oxley, our trio – called Joseph Holbrooke - developed over the next four years an original and experimental approach to improvisation that led us away from jazz into uncharted areas of collective free playing."