A Rhythm Ballet

NPR's "Songs We Love" premieres "A Rhythm Ballet," a track from the forthcoming Raymond Scott electronica album, Three Willow Park: Electronic Music from Inner Space, 1961–1971. The track is "performed" by Scott's Electronium—the "Mark II" version he built for Berry Gordy of Motown. Three Willow Park will be issued on June 30, on Basta.

The Portofino Variations

Raymond Scott's 1962 tune "Portofino" has become a belated "hit." It's been licensed for the TV show Narcos, the film Best of Enemies, used in a Gucci commercial, and garnered more single-track downloads than any track on Manhattan Research Inc., the Y2K anthology of vintage Scott electronica on which it was first released. Basta has commissioned 20 contemporary versions of the composition and collected them on a new album, The Portofino Variations. The album, officially released today, features "Portofino" recorded by Fay Lovsky, Arling & Cameron, the Metropole Orchestra, Ocobar, Davide Rossi (Goldfrapp, Coldplay, The Verve), Jacco Gardner, Eva Auad, and others. The tune is interpreted in a wide array of styles: surf guitar, whistling, electronica, chamber ensemble, minimalism, pop, rock guitar, and scat vocals. The compilation even contains two song versions with original lyrics. The album is available on CD and digitally on Basta, and on LP by Music on Vinyl (a limited edition of 1,000 numbered LPs on gold vinyl, featuring two previously unreleased 1962 takes by Scott). The cover art features an adaption of a painting by Jim Flora entitled Portofino—which by coincidence was rendered in 1962.

Listen here on Spotify.

Three Willow Park: Electronic Music from Inner Space, 1961–71

THREE WILLOW PARK: ELECTRONIC MUSIC FROM INNER SPACE, 1961–71, a new collection of previously unreleased Raymond Scott electronica, will be issued June 30th by Basta Music. The album features 61 tracks, many showcasing the Motown-era Electronium — Scott's invention that composed using programmed intelligence — which will be heard for the first time on disc. This long-awaited followup to Manhattan Research Inc. (recorded 1953-69) will be available in 3-LP, 2-CD, and digital formats, and includes a 20-page book, plus a free 350-page downloadable PDF of archival artifacts. Produced By: Gert-Jan Blom and Irwin Chusid • Associate Producer: Jeff Winner • Art Direction: Piet Schreuders • Order from Amazon here: http://amzn.to/2q2NZ11

Shooby Taylor Rewired

The new Basta album Raymond Scott Rewired features a radical overhaul of the entire Scott catalog by three of the music world's premiere remix artists — The Bran Flakes, Evolution Control Committee, and Go Home Productions. It was released on February 18.

The final track, Scott's iconic "Powerhouse," which was collaboratively layered by the three mixmeisters, features a special guest. The late, legendary outsider scat-master William "Shooby" Taylor, a.k.a. "The Human Horn," takes a few vocal turns throughout the mix. I chronicled Taylor's story over at a website devoted to my Y2K outsider music book and CDs, Songs in the Key of Z. Taylor's idiosyncratic vocal stylings were studio-recorded in the 1980s over commercial LPs by artists like Miles Davis, the Harmonicats, Erroll Garner, Eddie "Lockjaw" Davis, and Johnny Cash. Needless to say, these artists were not consulted about the collaborations, and all went to their graves none the wiser.

I own the dozen or so Shooby master reels, which contain 94 tracks, many of which I intend to release digitally in the near term. The samples used in "Powerhouse" originated from a series of a cappella recordings by Taylor. Buy the album — or at least the track — to appreciate Shooby in a remarkable setting. You can hear (and buy) four Shooby solo recordings in the iTunes Store: "Stout-Hearted Men," "Lift Ev'ry Voice and Sing," "Indiana," and "It Gets Better All the Time."

Raymond Scott Rewired

UPDATE (Feb 6): Raymond Scott Rewired now has a website.

As a musician, composer, bandleader, and inventor, Raymond Scott was a perfectionist, but not a stylistic purist. His late-1930s six-man "Quintette" crafted novelty jazz that layered ethnic contours and pan-global riffs over a propulsive beat. In the 1940s Scott's antic melodies were adapted in Warner Bros. cartoons because WB music director Carl Stalling found the compositions genetically animated. Scott's mid-century orchestral works were danceable, except when they veered into complex, cerebral concert-jazz. In the 1950s and '60s Scott invented and recorded with electronic instruments. He was a genre-hopper, reflecting a musical restlessness and adventurousness. Scott loved what he did, but craved what came next.

As archivist for the Scott musical estate, I commissioned three remix artists to take apart Scott's catalog and reshape it in a fresh way. The Bran Flakes (Otis Fodder, Montreal), The Evolution Control Committee (TradeMark Gunderson, U.S.), and Go Home Productions (Mark Vidler, U.K.) were ftp'ed hundreds of Scott recordings in various genres, including unreleased material, spanning the 1930s to the 1980s. They were invited to have fun, but keep it rhythmic. Each contributed six audio montages with new titles, and they collaborated on Scott's signature tune, "Powerhouse."

The result is RAYMOND SCOTT REWIRED, produced for the Basta label. The album will be released in North America on February 18. Three tracks can be streamed on Soundcloud.

Over 250 sample sources were used in the construction of these 19 tracks. Those samples were edited, looped, flipped, and stretched; they were tweaked with EQ, pitch-shifted, compressed, and transformed. Disassembling one man's sonic legacy and reassembling the pieces into something different, something worth hearing repeatedly, requires an intuitive gift that approaches songwriting. Scott fans will recognize some passages, but in countless cases, the source recordings have been altered beyond recognition. The composer himself would have difficulty identifying his own works. The reconfigurations were done playfully, but respectfully. Nothing was destroyed. The originals still exist.

The cover art was adapted from an unfinished, untitled, black & white Jim Flora illustration from the 1950s.

A mixed-up, mashed-up composer

Coming from the Basta label in February 2014.

We turned over the entire Raymond Scott catalog ...

... to three celebrated mixologists who work under group names: The Bran Flakes, The Evolution Control Committee, and Go Home Productions.

They were given hundreds of recordings owned by the Scott estate, in all genres, including unreleased material, spanning the mid-1930s to the mid-1980s. Jazz, orchestral, electronic, experimental, studio chatter, one-of-a-kind rarities.

These gents were invited to have fun, keep it rhythmic, and make it percolate. Each contributed six audio montages with new titles, and they collaborated on Scott's signature tune, "Powerhouse."

The project is titled RAYMOND SCOTT REWIRED.

It's finished. Mixed, mastered, designed, packaged, and manufactured. You can preview three tracks on Soundcloud. Official release date is February 18.

Note: This post was originally published in May 2013. However, the US release was postponed due to a change of distributor for this release. 

Arnold Eidus (1922-2013)

Raymond Scott and Arnold Eidus, 1950

With sadness we note the passing on June 3 of world-renowned violinist Arnold Eidus, at age 90. With pride we note his Raymond Scott connection: in 1950 Eidus performed in a duet setting at Carnegie Hall the only 20th century public recital of Scott's Suite for Violin and Piano. The five-movement Suite was Scott's only known "serious," classical composition, and we've heard anecdotal accounts that it was composed specifically as a showcase for Mr. Eidus. Though he was only 27 at the time, it was not the first time Eidus had appeared at Carnegie Hall—he had performed there as soloist on Lalo's Symphonie Espagnole at age thirteen!

A rehearsal recording of the Suite was discovered in the Scott collection at the Marr Sound Archives, and was released last year on Basta, coupled with a 21st century recording by Davide Rossi and Ramon Dor.

While researching liner notes for the CD, I interviewed Eidus by phone at his Boca Raton home on August 24, 2011. He was a gracious man, and while he could not recall recording or performing the Suite ("I've done thousands of sessions over the years"), he did remember Scott—fondly. "I got along well with him, never had a problem," Mr. Eidus recounted. "I had a pleasant time with him." Unlike a number of musicians who worked in the 1940s and '50s under the demanding bandleader, Eidus said, "I can't say anything bad about him." (Not that we were asking.) The 1950 disc did not indicate the identity of the pianist, but subsequent research revealed it was Carlo Bussotti, who had accompanied Eidus at the 1950 Carnegie concert.

Eidus enjoyed a storied career as a studio accompanist in the jazz, classical, pop, and Latin fields. His session logs include dates for Sinatra, Perez Prado, Wes Montgomery, Lena Horne, Cal Tjader, Doris Day, Freddie Hubbard, and hundreds more. Among his other professional pursuits, Eidus facilitated the hiring of musicians for various projects. When Scott was named conductor on TV's Your Hit Parade in 1950, he needed a string section. Eidus contracted a half-dozen players, and landed a violin chair in the YHP orchestra himself for a year or two. He also recalled touring briefly with Scott, and launched his own classical record label, Stradivari Records, in the 1950s. A busy man, now eternally at rest. Condolences to his family.

New release: "SUITE FOR VIOLIN & PIANO"

Raymond Scott created a diverse body of work that included jazz novelties (often considered "cartoon music"), orchestral ballads, a Broadway musical, film scores, commercial jingles, electronic miniatures, and avant-garde musique concrète. However, the Suite for Violin and Piano, composed in 1950 and never commercially released, was unique in his catalog.

The same daredevil who gave the world “The Toy Trumpet” and “Powerhouse” composed this exquisitely crafted classical jewel. True, Scott was a 1931 Juilliard grad, but the closest his prior compositions had inched towards the classics were jazzed-up reinventions of Mozart, Verdi, and Schubert.
 
The five-movement work was publicly performed just once, at Carnegie Hall in 1950, by renowned violinist Arnold Eidus and pianist Carlo Bussotti. The work was then recorded by Eidus and Bussotti, under the supervision of the composer. However, Scott did not release it commercially for reasons historically unknown.

In 2004, after Scott's widow, Mitzi, discovered the score at home, a new recording was produced by Beau Hunks Orchestra leader Gert-Jan Blom in the Netherlands, featuring violinist Davide Rossi and pianist Ramon Dor.

The two versions are now coupled on this new Basta release. The package is adorned with vintage 1940s and '50s music illustrations by noted artist Jim Flora, and features liner notes co-written by Gert-Jan Blom and Scott authority Irwin Chusid.

Producer: Gert-Jan Blom
Executive Producer: Jeroen van der Schaaf
Art Direction: Piet Schreuders
Illustrations: Jim Flora
Research: Irwin Chusid and Jeff E. Winner

On a special note, we are offering free copies of the sheet music at http://bastamusic.com/suite

• Get the CD or download from Amazon.com here, or the iTunes Store: here

2 New Vinyl Album Reissues —Party Like It's 1959!

Good news for wax maniacs: to celebrate the 75th ANNIVERSARY of Raymond Scott's music, the Basta Audio-Visuals label (working with the RS Archives) has reissued a pair of classic Scott 1950s LPs in 180-gram 12" vinyl format. Both meticulously replicate the original artwork in every detail.

"THE UNEXPECTED" by Raymond Scott & The Secret Seven — While serving as an A&R director for Everest Records in 1958, Raymond Scott produced an album for singer Gloria Lynne. The LP's sidemen included many of the same session players on Scott's mysterious 1959 album, "THE UNEXPECTED" — performed by his all-star jazz-legend supergroup, The Secret Seven — whose identities remained confidential for decades. The secrecy extended to withholding the band member's names from the LP jacket, but as music historian Nat Hentoff wrote in the liner notes, "Jazz aficionados will instantly recognize the players." The members are now known to be Elvin Jones, "Wild" Bill Davis, Milt Hinton, Harry "Sweets" Edison, Kenny Burrell, Eddie Costa, Sam "The Man" Taylor, and "Toots" Thielemans. NOTE: Basta's vinyl pressing is the extremely rare STEREO mix — the stereo version will not be issued on CD/digital-download. • Order: here <<< • Listen to a track from this album: "Waltz Of The Diddles" by Raymond Scott & The Secret 7

"THIS TIME WITH STRINGS" by Raymond Scott & His Orchestra — Scott musically re-invents his compositions for full-orchestra and strings on this 1957 album. RS favorites like "Powerhouse," "The Toy Trumpet," and "Twilight in Turkey" are retooled for expanded setting — but that's not all. "There are many of the Quintette things in this LP," said the composer in the original liner notes. "Also things for dance band, material written for Broadway, the movie screen, and some of my recent writing. Indeed, a potpourri, given Hi-Fidelity dressing, and a certain vividness in string treatment." The album was recorded in glorious monophonic sound, which is retained on the vinyl. No artificial processing. Crank up the Hi-Fi! • Order: here <<< • Listen to a track from this album: "The Toy Trumpet" by Raymond Scott & His Orchestra

Don’t Overvalue The Present

LuvSound have released a new various artists collection of ambient music in tribute to Marc Weidenbaum, founder of Disquiet. Weidenbaum recently became a father, and the theme of the sampler is Raymond Scott's groundbreaking 1963 three-volume SOOTHING SOUNDS FOR BABY, which Marc declared one of the '16 albums that changed his life':

For a fan of electronic music, hearing this material by innovator Raymond Scott is akin to a comics fan discovering Windsor Mccay’s Little Nemo in Slumberland or Osamu Tezuka’s Phoenix for the first time. The lesson is simple: Don’t overvalue the present. Often the innovations of the past are simply overlooked and under-acknowledged.

Listen to or download the new album here.

The Beau Hunks Sextette: Powerhouse

Beau Hunks Sextette drummer Louis Debij leans into the "Powerhouse" 'B' section

Dutch TV footage of the original Beau Hunks Sextette's performance of Scott's "Powerhouse" from 1994 has been uploaded by designer/historian Piet Schreuders. The seg features some great camera angles of the players.

The band was originally called The Wooden Indians (after a Scott title) when their all-RS tribute CD, Celebration on the Planet Mars, was released by the VPRO that year. When it was reissued the following year on Basta, the band morphed into the BH6, an acknowledged spin-off of the much larger Beau Hunks Orchestra.

Bassist Gert-Jan Blom was in the vanguard of the RS revival. He first contacted me in 1992 after the release of the first Scott CD compilation, Powerhouse: Volume 1, which I co-produced in 1991 with Will Friedwald for the now-defunct Stash label. At the time, Scott was an obscure historical footnote; "Powerhouse" consisted of several melodies instantly familiar to every Earthling from its incessant use in Warner Bros. cartoons, but few knew its name or the composer. Gert-Jan recognized the importance of this music, and began to champion Scott in his native Netherlands in concert, on radio, and on CD. He was a significant force, along with Jeff Winner, in the first commercial release of Scott's historic Manhattan Research Inc. electronica from the 1950s and '60s.

Beau Hunks saxophonist Robert Veen has revived saxophone classics from the early 20th century on several of his own CDs

Dinner Music for a Pack of Hungry Cannibals

Dave Harris played tenor sax in Scott's legendary late 1930s six-man Quintette. In 40 years as a highly sought horn-for-hire in New York and L.A., Harris (1913-2002) released only one record as a bandleader: DINNER MUSIC FOR A PACK OF HUNGRY CANNIBALS, a 1961 tribute to his old boss, for whom he held deep respect. Basta recently released this long out of print album on CD.

After the RSQ, Harris remained with Scott's first swing band, then compiled an impressive resume as a session player on radio and TV, and in the recording studio. In a career that extended into the 1970s, he worked with Billie Holiday, Gene Krupa, Eddie Cantor, Mickey Katz, Stan Webb, Russ Case, Bob Haggart, and countless others.

In late-life interviews, Scott claimed that his 1937-39 Quintette was his favorite band. That opinion was doubtless shared by Harris, who (unlike dozens of embittered RS sidemen) always spoke fondly of working under Scott. Such was Harris's affection that his sole outing as a leader was an album of RSQ favorites in modern high fidelity, with a sextet dubbed The Powerhouse Five. The ensemble recaptured the manic elegance and rhythmic wit of the composer. Nostalgia was the inspiration, but sharp musicianship and a celebratory gusto mark this album as a missing link in the Scott legacy.

This Time With Strings

In 1957, Scott was in the final season of swinging a baton on TV's long-running Your Hit Parade. That year, he recorded an LP entitled THIS TIME WITH STRINGS in which he musically re-invented eleven older compositions for full orchestra and velvety violins. The album has just been released on CD as part of Basta's Essential Reissue Series.

Many of these tunes were originally recorded by Scott's novelty jazz six-man Quintette in the late 1930s; others date from the 1940s and '50s. All get a lush makeover on THIS TIME WITH STRINGS, including RSQ favorites "Powerhouse," "The Toy Trumpet," and "Twilight in Turkey," retooled for expanded setting.

"There are many of the old Quintette things in this LP," said the composer in the original liner notes. "Also some older things for dance band, material written for Broadway and the screen, and some of my more recent writing. Indeed, a potpourri given Hi-Fidelity dressing, and a certain vividness in string treatment."

The album was recorded in glorious monophonic sound, which is retained on CD. So is the cheesecake cover (above). TTWS is available as an import from Forced Exposure, and individual tracks can be downloaded at the iTunes Store. It will be released in the U.S. in early 2009.

If you're not a Seclusionist ...

... come to Boston on Monday for the concert.

Chesterfield artwork by the brilliant Kellie Strøm.

The Quintet Redux

The first CD to kick off the Raymond Scott centennial is the spooky-titled Ectoplasm. This album spotlights Scott's second six-man "quintet," whose brief existence spanned less than a year (late 1948-mid-1949). Unlike the 1937-'39 RSQ, this sextet didn't create music destined for cartoons. But if you like cartoonish art, the package (released on Basta) boasts an adapted 1951 illustration by legendary LP cover artist Jim Flora.

The arrangements sound like classic Scott, without a nostalgic aping of the first RSQ. Call it "parlor jazz," or "chamber swing"—it's breezy and cerebral, laced with Scott's trademark wit and sophistication. Like the charter RSQ, the redux version is complex and hyperactive, with an undercurrent of wry mischief, befitting the band's namesake. There's swirling horns, muted trumpet, and daredevil tempos. As ever, Scott maintained his penchant for musical vignettes: besides the invocational title track, the album includes "Snake Woman," "Bird Life in the Bronx," "Curley Cue," and "Dedicatory Piece to the Crew and Passengers of the First Experimental Rocket Express to the Moon." Got a short attention span? Lucky you: the album has 34 tracks, many of which zoom by in less than two minutes. Also featured on several tracks: crooning, theremin-like wordless vocals by Dorothy Collins.

Audio samples can be heard at RaymondScott.com.

Update 26 FEB: Now available in the iTunes Music Store.

Retro typography

From the back cover of the mid-1950s LP This Time With Strings (Coral), by Raymond Scott and his Orchestra, which will be reissued next year on Basta:


This Time With Strings was a mid-1950s orchestral LP by Scott, containing 11 originals, some dating from his 1937-39 Quintette (e.g., "Powerhouse," "Toy Trumpet"), others from the 1940s and '50s. The arrangements are sweet (lots of strings!). While not as adventurous as Scott's quintets and electronica, the album will have particular appeal to exotica/lounge/smooth orchestral enthusiasts. Back in the late 1980s, Jim Thirlwell (a.k.a. Foetus), recording as Steroid Maximus, turned this LP's "Powerhouse" into piledriving techno-sludge on the album Gondwanaland.

We've just finished remastering the tapes; the package is currently being designed by Piet Schreuders. This Time With Strings's anticipated street date: Spring 2008.

Ecto-sketch

Ectoplasm, the forthcoming first CD collection of recordings by Raymond Scott's 1948-49 Quintet, features cover art by the late Jim Flora. The work first publicly appeared in a 1951 issue of Mademoiselle magazine illustrating a story by Robert Lowry entitled "The Mammoth Molar." The origins of the art, however, can be traced farther back to Flora's early 1940s sketchbooks:

Does that mean the Ecto-cover actually depicts Kid Ory?

HT: Jeff Winner

Kodachrome

Kodachrome (released on Basta in 2002) was, as the subtitle noted, a collection of "Compositions for Orchestra by Raymond Scott." The album was produced by Gert-Jan Blom (founder of The Beau Hunks), and features the Metropole Orchestra conducted by Jan Stulen.

This repertoire reflects a little-known side of Scott: serious orchestral composer with an idiosyncratic flair. Scott was a renowned big band leader in the early 1940s, but the tunes on Kodachrome are not Swing Era chestnuts. Most of the titles were, by Scott standards, obscure; none had been hits for the composer, and none were featured in cartoons or films. Dating from the 1930s, '40s, and '50s, some had never been commercially released (e.g., "City of New York," "Minor Prelude," "Dreary Weather on Sixth Avenue," and "The Bullfighter and His Piccolo"); others had been released without fanfare or commercial success (e.g., "Naked City," "Symphony Under the Stars," and "Secret Agent"); and a few were radio rarities (e.g., "Rococo," "Hertz Theme," "Confusion Among a Fleet of Taxicabs Upon Meeting With a Fare"). Scores do not exist for many of these titles; performance transcriptions were made from archival recordings by members of the Metropole.

The magnificent cover was illustrated by Kellie Strøm. Here's a rough sketch from the artist:

Raymond Scott meets Jim Flora

In a design sense, anyway. Their professional paths nearly crossed: early in his career Scott recorded for Columbia Records but left the label in 1941, one year before Jim Flora was hired by Columbia's art department. In the late 1940s, Flora (1914-1998) launched a legacy by illustrating quirky, cartoonish jazz album covers for the label. His historical portfolio includes dozens more for RCA Victor during the 1950s.

Through my working relationship with Jim Flora Art LLC, the deceased artist's estate, I've long wanted to revive this tradition by using rare Flora art on new CDs. Seattle's Reptet released Do This! in 2006, the cover bedecked with a Flora three-eyed monster we call a "triclops." Later this year, the first CD collection of the 1948-49 Raymond Scott Quintet will feature a Flora cover (above) designed by the brilliant Dutch art director Piet Schreuders. The 1951 illustration was most likely rendered during Flora's Mexican idyll. Ectoplasm refers to a Scott composition on the CD, which this author is producing for Basta Audio-Visuals.

N.B.: The Lothars album Oscillate My Metallic Sonatas (released in 2000) adapted Flora's 1955 album cover art for This Is Benny Goodman and His Orchestra (RCA Victor).

The Raymond Scott Quintet, 1948-49

Coming later this year on Basta Audio-Visuals:

Ectoplasm: The Raymond Scott Quintet (1948-49)
Recordings by Six—and Sometimes Seven—Musicians

Featuring Raymond Scott, Dorothy Collins, Jerry Winner, Dick Mains,
Joe Palmer, Irving Manning, and 18-year-old drummer Kenny Johns.

RSQ drummer Kenny Johns

It's a different band than the original 1937-39 RSQ, but trademark Scott quirks abound: wit, sophistication, and a touch of eccentricity. Although rowdy bebop was the rage in those days, Scott preferred a more sculpted, controlled approach—jazz with a pop sensibility. His arrangements were spiced with unpredictable twists and his players crafted sharp, tasteful solos. The RSQ was complex and hyperactive, with an undercurrent of wry mischief, befitting the band's namesake.

Projected CD tracks include the following Scott originals:

"Ectoplasm"
"Street Corner in Paris"
"Snake Woman"
"Bird Life in the Bronx"
"Happy Farmer"
"Good Listening (Theme)"
"Blizzard Wit"
"Curley Cue"
"The Penguin"
"Question Mark (?)"

... along with parlor-jazz arrangements of the light classics "Humoresque" and "Song of India," and over a dozen idiosyncratic Scott arrangements of Tin Pan Alley wunderwerks. Also making its CD debut, Raymond goes lunar with the visionary opus:

"Dedicatory Piece to the Crew and Passengers of
the First Experimental Rocket Express to the Moon"

Remember: it ain't cartoon-jazz. But stay tooned.