Music Dick Schory

Jan Boerman - The Complete Tape Music (1998) {5CD Set Donemus CV NEAR 04-08 rec 1959-1997}
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© 1959-97, 1998 Donemus Composers' Voice / NEAR | CV-NEAR 04~08
Classical / Musique Concrète / Electronic / Electroacoustic Music / Experimental

Jan Boerman (born 30 June 1923) has been a composer working in electronic music studios since 1959. He was born in The Hague. The Delft Polytechnic in Utrecht, from which the Institute of Sonology was developed, housed the first electronic music studio in the Netherlands after the Philips laboratory in Eindhoven, which was not generally open to composers.

As the title implies, this is very much a swing set. Pianist Dick Hyman (a master of all pre-bop styles) has little difficulty emulating Teddy Wilson, Art Tatum and Count Basie (among others) plus his own style in an octet also featuring trumpeter Joe Wilder, trombonist Urbie Green, altoist-clarinetist Phil Bodner, baritonist Joe Temperley, rhythm guitarist Bucky Pizzarelli, bassist Milt Hinton, drummer Butch Miles and (on three tunes) altoist Frank Wess. The opening and closing numbers are ad-lib blues both titled "From the Age of Swing"; sandwiched in between are ten swing-era standards plus a couple of obscure Duke Ellington items. Among the highlights are "Topsy," "Them There Eyes," "Rose Room" and "Mean to Me." No real surprises occur, but mainstream fans should like this swinging set.

Robert Dick - Ladder of Escape 5 (1991) {Attacca BABEL 9158-1}
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© 1991 Attacca | BABEL 9158-1
Jazz / Classical / Post-Modern / Modern Composition / Avant-Garde / Flutes

Prince of the postmodern flute, Robert Dick has once again taken the listener on a journey where he or she thought they couldn't be taken. With his revolutionary techniques for extending the tonal possibilities of instruments – such as multiphonics and other technical modifications – Dick has presented his chosen instrument in an entirely new light as both a concert instrument and as an instrument to be composed for. While Dick has recorded other composer's works before – his infamous recording of Jimi Hendrix being a case in point – he has taken the works of 20th century composers here and juxtaposed them against his own, which stacks up even.

Robert Dick - Venturi Shadows (1991) {O.O. Discs #7}
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© 1991 OODiscs | O.O. DISCS #7
Jazz / Avant-Garde / Modern Classical / Experimental / Electronic / Flute

It would be easy to argue that Robert Dick is the most important living 20th century flutist. He might bridle at being called avant garde (and then again, he might not), but his explorations of extended flute technique have helped do for his instrument what Bertram Turetsky did for the string bass and John Cage for the piano – opened up a new realm of tonal possibilities that had either never occurred to those before him, or which had never been extended quite as far as they could have been. Harmonic vocalization and the percussive smacking of keys, for example, are not new techniques, but they sound brand new in Dick's work.

Harvard WHRB radio station has been on the air for nearly 80 years. In the 1940s, it transmitted to Harvard dormitories only. In the 1950s, the station obtained an FM license and become the first source for exciting, entertaining, classical music, jazz, news, and sports broadcasts to the entire Boston area. Harvard Radio’s daily broadcast explored a great repertoire of music left largely untouched by other commercial stations.

GNP's Greatest Hits is a fairly good collection of all the prime Dick Dale material – "King of the Surf Guitar," "Let's Go Trippin'," "Miserlou," "Death of a Gremmie" – but it's been supplanted by Rhino's superior, definitive single-disc King of the Surf Guitar.

Bernard Herrmann, born in New York in 1911 to Russian immigrants, is best known today as a composer of film music. Most notably he worked with Alfred Hitchcock on classic productions such as North by Northwest, Vertigo, and Psycho, as well as on Orson Welles’s Citizen Kane and Martin Scorsese’s Taxi Driver. But despite his strong ties to Hollywood, Herrmann always thought of himself as a composer who worked in film, and never as a ‘mere’ film composer.