Monday, July 21, 2008

Sleepytime

On March 12, a compulsively dedicated and immensely talented Raymond Scott devotee named Adam O'Callaghan directed and performed in a monumental cross-genre Scott centenary concert at Concordia University, Montreal. O'Callaghan recruited 50 or so acoustic and electronic musicians — students and professionals — in various ensemble settings.

The program offered repertoire from Scott's 1937-39 cartoon-jazz and 1948-49 chamber-jazz Quintets; orchestral works; the composer's elegant but rarely heard 1950 Suite for Violin & Piano; tunes from the idiosyncratic 1960 Secret Seven album; and pioneering proto-electronica from Manhattan Research Inc. and Soothing Sounds for Baby. The proceedings included re-enactments of Scott's 1950s electronic TV commercials and a rhapsodic replica of a Space Age Scott invention, The Fascination Machine. The concert was a mind-boggler, never likely to be duplicated. Dozens of performance videos from the concert are on YouTube. One performance (just posted) was particularly stunning and unexpected — a surprise collaborator accompanying the trio Unireverse on Scott's electronic lullaby, "Sleepytime" (from Soothing Sounds). The guest arrives onstage three minutes into the performance.

Friday, July 18, 2008

Mrs. Raymond Scott at 90


Mitzi Scott belongs to a generation among whom it is considered improper to give a woman's age. However, we've been advised by her family that she won't mind us revealing that she turns 90 today. What we won't divulge is her birth name. Just call her "Mitzi."

Mitzi and Raymond met in July 1966—he was recently divorced from his second wife, Dorothy Collins—and they were married six months later. That Raymond was an idiosyncratic man obsessed with music and technology was a fact of their marriage. They lived together at Three Willow Park, a Long Island industrial development which Raymond was comfortable calling home.

"He would come into the living quarters for lunch, and I would put his lunch on the table and go back to the kitchen to get my lunch," Mitzi recalled. "By the time I returned to the table, he was gone. He was back in the lab.

"If he awoke at four in the morning and had a great idea, he would get up. Then he might work until 7:00 or 8:00 or 9:00 in the morning, and then go back to bed. One night I woke up—it was around three or four in the morning--and he was hanging over the side of the bed reading some notes, with the lamp on the floor so he wouldn’t wake me up."

Not content merely having Mitzi prepare lunch, Raymond recruited her for projects. "Even before we got married, he had me wiring," she laughed. "He taught me soldering, and to attach the red wire to the blue wire, and the yellow wire to the green wire. I didn’t like doing it—but I got pretty good at it."

Of course living with Scott meant music was part of the package—although it might not be Mozart or Chopin.

"We would be having lunch, with the Electronium on in the next room," she recalled. "He would just leave it on—it was a self-working machine. It composed and performed at the same time. Sometimes it would play something lovely, and I would say, 'Oh my, isn’t that a pretty phrase!' And it would repeat it as though it had heard me and said, 'Well, if you like it that much, I’ll play it again!' It was so out of this world."

When Raymond was hired by Berry Gordy to work for Motown in 1972, Mitzi oversaw the move to Los Angeles. They settled in Van Nuys, remaining in the same home on Valerio Street until Raymond's death in 1994. Two years later she sold the house and moved to Santa Clarita.

Besides living with and taking care of an eccentric musical genius, over the years Mitzi also took in dozens of stray dogs and cats, many rescued from local shelters.

Mitzi was a dancer in the 1940s. Here's a publicity photo from back in the day. She still dances—not professionally, but with a group of spry senior gals.

Thanks to Bianca Bob for 1993 living room photo above.

Sunday, July 06, 2008

The Sleepwalker

In 1991 I was passing around cassettes of Raymond Scott 78 rpm transfers, trying to get anyone who would listen interested in the man's music. At the time, Scott was just another entrant in the "Where Are They Now?" sweepstakes. His recordings were out of print; he was obscure, a music history footnote.
Journalist/historian Will Friedwald got the message and collaborated with me on the first CD release of Scott recordings, The Man Who Made Cartoons Swing—Powerhouse: Volume 1 (Stash Records).

A few months later, I received an unsolicited call from a character named Wayne Barker. After gushing eloquently about his discovery of Scott's music via the CD, Barker put the phone down and played a note-perfect rendition of Scott's "The Sleepwalker." He had learned the tune by ear from the CD—he had no sheet music to work with.

Wayne and I became great pals. In 1999 he helped establish the Raymond Scott Orchestrette, an adventurous repertory septet devoted to re-inventing Scott's compositions. Barker served as the group's co-director, co-arranger and pianist.

In 2007, classical pianist Jenny Lin approached me about hiring an arranger for her projected recording of"Sleepwalker." There was one obvious choice.

Lin's recording of Barker's new arrangement is now available on a just-released CD, InsomniMania. The album's program consists of works with a nocturnal mood: dreams and nightmares; sleeplessness; lullabies. Her press kit observes that "some of the works on this recording were even written during that illusive phase somewhere between consciousness and sleep, which some claim to be an extremely creative period." Scott's is the earliest work in the program. A CD release recital is scheduled for July 10 at Le Poisson Rouge on Bleecker Street.

Wednesday, July 02, 2008

Videos from the Concordia RS gala

Here's a slew of video clips from Adam O'Callaghan's March 2008 Raymond Scott centenary concert in Montreal. Titles performed include "Dinner Music for a Pack of Hungry Cannibals," the rare "Tenor Man's Headache," "Square Dance for Eight Egyptian Mummies," the electronic "Lullabye" from Soothing Sounds for Baby, "Twilight in Turkey," "War Dance for Wooden Indians" (which includes a fabulous tap dance sequence), and a few Secret Seven numbers. A spinoff of the concert, the Concordia Raymond Scott Quintette, performs at the Montreal Jazz Festival on Saturday, July 5.

  Update (21 JULY): Here's a gazillion photos from the CRSQ @ Jazzfest.

Monday, June 30, 2008

Lies!



ALL LIES!!

Status: The third memo, which said that the second memo — the one that said to disregard the first memo — was erroneous and should be disregarded, reinstates the first memo and all executive and administrative directives therein, pending further memos. Conflicting bureaucratic logistics -- we haz dem!

Thursday, June 26, 2008

Byron brings the bugs


"A Bug's Second Life: Clarinetist Don Byron Revisits Infectious Golden Era Swing Tunes," by Derk Richardson, appeared in the San Francisco Music Examiner, June 1. Byron recorded six Raymond Scott Quintette classics on his 1996 Nonesuch CD Bug Music, and 12 years later these tunes remain in his concert repertoire.

This excellent January '97 review in Stereophile named Bug Music "Recording of the Month." You can hear samples of Byron's takes on "Powerhouse" and "The Penguin" here. For a special treat, play both samples simultaneously and create your own Raymond Scott mashup!

Sunday, June 22, 2008

Beam Me Up, Mr. Scott


The latest Photoshopped image from EsoTek (a/k/a Scott Skerchock), who has a long history of creating Raymond Scott remixes of a visual & audio nature:


>>Esotek's RS Gallery
>>ThePlasticSound.com

Saturday, June 21, 2008

The Electronium's diluted gene pool


In the 1960s and '70s, Raymond Scott developed an instantaneous composition-performance machine called The Electronium. It was Beethoven-in-a-Box, designed to compose via artificial intelligence and play new music in real-time. Berry Gordy placed an order for one, and Scott continued to modify it for the Motown mogul throughout the 1970s. The device was never effectively completed, and eventually the inventor cannibalized it for spare parts.

Who knew the thing had punk grandbrats?

Tuesday, June 17, 2008

Back to Scott-Land


Stu Brown's Raymond Scott Project, previously noted when they performed in Edinburgh last February, are taking the stage again, this time in Glasgow. On Saturday, June 21, the band will launch their controlled mayhem in a venue billed as "Scotland's Last Surviving Music Hall"—the Britannia Panopticon, which opened in 1859 (too recent to have an 18th century drawing room).

The evening includes a screening of footage from Raymond Scott: On To Something, a work-in-progress documentary by Scott's son, filmmaker Stan Warnow.

After hearing rehearsal takes of the band, RaymondScott.com's Jeff Winner exclaimed: "I'm completely knocked-out—I thought I was hearing the original Quintette!"

Thursday, June 12, 2008

Sound/Unbound

Paul D. Miller, a.k.a. DJ Spooky that Subliminal Kid, has compiled a new book & CD set titled SOUND UNBOUND: Sampling Digital Music and Culture, published by MIT Press. Included in the text is a chapter, written by me (Jeff Winner), exploring Raymond Scott's pioneering electronic instruments & music, an introduction from Steve Reich, forward by Cory Doctorow, plus contributions from Chuck D of Public Enemy, Moby, Scanner (aka Robin Rimbaud), Pierre Boulez, Brian Eno, Douglas Kahn, & others.

On the accompanying CD (also
available separately), Spooky weaves three tracks from the Raymond Scott Manhattan Reseach Inc. collection into his mega-mix along with Sonic Youth, John Cage, Phillip Glass, Aphex Twin, Einsturzende Neubauten, Iannis Xenakis, Terry Riley, Sun Ra, Marcel Duchamp, Morton Subotnick, William S. Buroughs, & Iggy Pop.
''A nice antidote to the usual way music history is often categorized. From RAYMOND SCOTT to the hidden racism in digital circuitry to a history of easy listening, there is enough inspiring weirdness here to fuel some musical fires for a good while.''
—DAVID BYRNE

''A marvelous collection! The essays criss-cross over many aspects of sound -- cosmic, chemical, political, economic. Plus you get to meet fascinating characters like Alex Steinweiss and synthesizer pioneer RAYMOND SCOTT. I love this book!''
—LAURIE ANDERSON
>> More info: MIT Press
>> More info: SoundUnbound.com
>> Order book/CD: Amazon.com
>> Order CD: Amazon.com

Sunday, June 08, 2008

A "Powerhouse" delivery?


How often is Raymond Scott referenced in the sports section? There's always a first time. Aaron Schafer, St. Louis Riverfront Times, Cards vs. Nats recap, June 6:

It was still a great game, you know. Joe Mather collected the first of what I think will be many major league home runs, and Mark Worrell collected the first of what I think will be very, very few. By the way, speaking of Worrell, does anyone else hear Raymond Scott's "Powerhouse" in their head as Worrell whirls into that Rube Goldberg delivery of his? Personally, I have no idea how one even begins to go about throwing a ball the way he does, but it sure is fun to watch.

HT: Jeff Winner

Friday, June 06, 2008

The Concordia Raymond Scott Quintette


The Concordia Raymond Scott Quintette was formed in late '07 for a cross-genre Scott Centennial Tribute Concert at Concordia University on March 12, 2008. Following the concert's success, the CRSQ decided to continue performing Scott's work during the centennial. The CRSQ recreates the repertoire of the Raymond Scott Quintette of the 30's and 40's with careful attention to authenticity. Their set features vintage instruments and costumes, and their repertoire includes both well-known Scott titles and a few obscurities. In fact, at the March event they debuted a sextet composition, "Tenor Man's Headache" (watch video), for which hand-written sheet music was discovered in the Scott archives. There is no indication that this work had ever been performed by any Scott band.

The CRSQ is booked for the 2008 Montreal Jazz Festival on the evening of Saturday, July 5. Pictured above: Adam O'Callaghan (leader, tenor sax); Laurent Menard (trumpet); Pierre-Andre Theriault (clarinet); Leah McKeil and Chris Tauchner (piano); Ryan Fleury (bass); and Zoli Filotas (drums).

Tuesday, June 03, 2008

Ray Knew Diddley

Bo Diddley
Raymond Scott, born in 1908, never truly understood Rock & Roll. But he did know Bo — with whom he shared a mutual affinity for home-made musical instruments.

Ray met Bo Diddley (a/k/a Ellas McDaniel) when Scott was A&R Director for Everest Records. A surviving tape in the Scott archives from 1958 is a fascinating aural artifact of what may have been an audition; Scott twirls knobs and adjusts levels while Bo runs through several of what were, at the time, new Diddley tunes that have since become classics. Eventually Scott joins him on piano for an impromptu version of "Stormy Weather."

Bo Diddley died yesterday at age 79, during the 100th anniversary of Scott's birth. The world of music will miss them both.


In 2005, Neil Strauss wrote a
feature about Diddley for ROLLING STONE, and mentioned the encounter with Raymond Scott:

There is a bootleg tape floating around of Raymond Scott, an inventive musical genius in his own right from the swing era, auditioning Bo Diddley for Everest Records. To hear it is to understand the challenge that Diddley was up against: Scott wanted Diddley to play guitar normally. But that wasn't how Diddley played. His music was all jittery high-end rhythm -- from the tremolo-drenched guitar to the constant hailstorm of maracas. The music Diddley was playing didn't swing or boogie-woogie. It was all about the guitar -- played with fat, clumsy thumbs and tuned to an open E. It wasn't commercial. It was strange.

"I couldn't play like other people wanted me to," Diddley says, with some pride. "I played backwards. You can't change my stuff. I am me."