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.
Composer David First has explored microtonal systems and pitch bending with instruments ranging from the Casio to the theremin to his electric guitar, and more than one reviewer has pointed out the relation of his music to that of composer Alvin Lucier. While growing up in Philadelphia, First was exposed to opera through his grandmother, a former opera singer, and learned about just intonation and overdubbing from his father. While his primary instrument is the guitar, First also plays synthesizer and EBO bass on his recordings. Some of First's compositions can be heard on the 1991 release Resolver (with Joseph Celli and the World Casio Quartet) and The Good Book's (Accurate) Jail of Escape Dust Coordinates (1995), both on O.O. Discs.
Premiere American recording of Karlheinz Stockhausen, Joseph Celli , Malcolm Goldstein, and Elliott Schwartz. Wonderful performances by Joseph Celli in this historic recording re-released on CD. Contains the only American release of Stockhausen's "Spiral" (1968) for soloists on short-wave radio and other instruments, Celli's "Sky:S for J" (1976), Elliott Schwartz' "Extended Oboe" (1973-74) for oboe and electronic tape, and Malcolm Goldstein's "A Summoning of Focus" (1977) for wind instruments.
A continuous work in four sections – "Drift," "Contact," "Gallop," "Assemblage" – for winds, synthesizers, many types of guitars and percussion. "Drift" is a lovely, meditative piece with slowly changing drones on a synthesizer which are added to by other instruments playing sustained tones or soft percussion, while a muted bass guitar plays a quasi-random staccato line. The second section, "Contact," a kind of interlude, features synthesizer alone with slow de-tuning beats and additional waveforms.
From the Gaia Cycle Matrix. A work in UMI (Universal Mode Improvisation), a style created by Elodie Lauten, combining key signatures and ethnic modes as a basis for tonal, polytonal or atonal improvisations. Elodie Lauten has been described as a seminal figure, one of the leaders of the postminimalist movement (20th Century American Music, Schirmer, 1997), "a force on the experimental music scene" (Fanfare, Spring 98). Recordings have been released by o.o. Discs, Nonsequitur, Tellus, Polygram/Point, Lovely Music, Silenzio, Frog Peak and New Tone. Lauten has received awards from the National Endowment for the Arts, ASCAP, Meet the Composer, and commissions from Lincoln Center, The Soho Baroque Opera, The Queen's Chamber Band, The Lark Ascending, Elinor Coleman Dance Company, and David Hockney, to name a few.