No.: QDK 044|
||SURFACE LOOP ONE (00:46)
||THOSE “OLD STOCK-PAVILION BLUES” OR “WILL THE BIG BANDS EVER FEEDBACK?” (15:00)
||THIN ICE FOR THREE (07:37)
||BULLET TRAIN (02:15)
||SKY LOGIC (02:00)
||CHAMBERPIECE FOR BEARDED PERCUSSIONIST AND TWO-CHANNEL TAPE (05:49)
||ZETOS 2,...,2* (05:15)
1. Surface Loop One - tape. (1969) Constructed at the Experimental Music Studio, Urbana, Illinois
2. Those “Old Stock-Pavilion Blues” or “Will the Big Bands Ever Feedback?” for prepared jazzmen, computer, and tape. (1967)
Jim Knapp-fluegel horn, Charlie Braugham-drums, Bob Witmer-bass, Mitch Hennes-guitar, Jim Cuomo-soprano saxophone.
This was written for John Cage’s Musicircus. A fine time was had. Tape - typical concrete manipulation with some material from
the Harmonic Tone Generator. Constructed at the Experimental Music Studio, Urbana, Illinois.
More about the computer: 0’00” - 1’30” - the band arrives , late. 1’30” - 4’30” - lights. they snap in tempo, then play the “allegro”
4’30” - 7’00” - the dressing room, the long break. 7’00” - 15’00” - lights. tango til dawn...
3. Thin Ice for Three - tape. (1968) Jim Stroud-trombone, Paul Chouinard-viola, Jim Cuomo-soprano sax
4. Bullet Train (1972/1988) Camille Saféris-percussion, Amiga sequence/samples, Jim Cuomo-woodwinds.
5. Sky Logic (1985/1988) Camille Saféris-percussion, Amiga C++, Jim Cuomo-alto saxophone.
6. T-Tango (1967/1988) This received the Golden Tilt Award in 1985.
Camille Saféris-percussion , Amiga sequence/samples, Jim Cuomo-woodwinds.
7. Chamberpiece for Bearded Percussionist and Two-Channel Tape
Jean-Pierre Arnoux-acoustic percussion. (1968/2001)
The main pecularity of this piece, other than the sparkling 2001 performance by my long-time friend and colleague - Jean-Pierre
Arnoux, is the simple fact that the tape “is” the score - “it” being a musique concrete construction using as sole source material
a single female voice (Sue Braugham) reading percussion instructions. The piece was written for Charlie Braugham. Constructed at the Experimental Music Studio, Urbana, Illinois. This piece is published by Media Press, Inc. from whom the tape (score) can be obtained. The frontcover-photo is from a 1971 performance by the composer in Paris.
From the original 1968 “score”: “The voice on tape will give all necessary instructions ... When voice is garbled, unintelligible,
or ambiguous - percussionist must use own discretion. Through following instructions one may achieve a state of child-like
confusion or one of well-tooled virtuosity ... whatever.”
8. Semaphore drum&sax live in Paris during the storms(1999). Music from a radio-play originally(1981) broadcast on RadioFrance
Jean-Pierre Arnoux-acoustic and electronic percussion, Jim Cuomo-acoustic and electronic woodwinds.
9. Zetos 2,...,2* for tuba, flute, and computer. Mike Russell-tuba, Don Elam-flute, IBM 7094 Algol/Scatre/Musicomp (June 1967)
Five minutes of processing time each week. Total. Quite a lot, actually, as there were only a handful of composers using this technique at that time. Very carefully punched cards in; - huge reels of computer tape out. Huge reels of computer tape in - audio tape out or printed events which when transcribed (by hand) became the score.
This piece is published by Media Press, Inc. from whom the tape and the score can be obtained.
The Village Voice said this in 1973:
James Cuomo’s Zetos... is more sensitive. By this time a great variety of colors could be programmed, and this short piece has
some lovely splashes of notes. Less was left to chance here, and the material and its sequence all make normal musical sense.
In “The Computer and Music”, Columbia University Press 1972, is found :
Zetos 2,...,2* based on the jazz blues form, consists of twelve 12-measure choruses. Probability changes are substitiued for
harmonic changes. Parameters so controlled include rhythm, octave choices, timbre, density, and instrumentation. The tape part
was written to conform with the instrumental parts, and was prepared with the ILLIAC II system.
10. Earthshine - Amiga C++ (1985)
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