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.
Monday, July 21, 2008
Friday, July 18, 2008
Mrs. Raymond Scott at 90

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.

"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."

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.

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.
Saturday, July 12, 2008
Sunday, July 06, 2008
The Sleepwalker

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.
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.

Labels:
CDs,
compositions,
contemporary takes,
Orchestrette
Wednesday, July 02, 2008
Videos from the Concordia RS gala

Update (21 JULY): Here's a gazillion photos from the CRSQ @ Jazzfest.
Labels:
centennial,
compositions,
concerts,
contemporary takes,
Montreal
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!
Labels:
delusional digressions,
insane ramblings,
myths,
unbiography
Thursday, June 26, 2008
Byron brings the bugs

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


>>Esotek's RS Gallery
>>ThePlasticSound.com
Saturday, June 21, 2008
The Electronium's diluted gene pool

Who knew the thing had punk grandbrats?
Tuesday, June 17, 2008
Back to Scott-Land

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!"
Labels:
concerts,
contemporary takes,
Europe,
Stu Brown's RS Project
Thursday, June 12, 2008
Sound/Unbound

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.''>> More info: MIT Press
—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: SoundUnbound.com
>> Order book/CD: Amazon.com
>> Order CD: Amazon.com
Labels:
CDs,
contemporary nods,
electronics,
Manhattan Research,
profiles
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:

HT: Jeff Winner
Friday, June 06, 2008
The Concordia Raymond Scott Quintette

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).
Labels:
centennial,
concerts,
contemporary takes,
Montreal
Tuesday, June 03, 2008
Ray Knew Diddley
![]() |
Bo Diddley |
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."
Labels:
1950s,
artifacts,
biography,
Marr Sound Archives,
profiles
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