Xylophone

Amber Alert

"Bernstein," a German name, means "amber" in English. In the early 1940s, a young composer-conductor in New York working under the pseudonym "Lenny Amber" produced piano transcriptions and arrangements of popular tunes. Among the titles arranged by young "Lenny" Bernstein are four compositions by Raymond Scott: "Powerhouse," "The Penguin," "Toy Trumpet," and "In an 18th Century Drawing Room." The sheet music is available for FREE download at RaymondScott.net. You can access the complete folder of Scott works arranged for piano and organ here. 

Powerhouse Passacaglia

Geoffrey Burleson performs "Powerhouse Passacaglia," a "Fantasy-Homage on Raymond Scott's 'Powerhouse'," composed by Burleson, at the New West Electronic Arts & Music Organization Festival, at Brooklyn’s ShapeShifter Lab, December 7, 2015.

Here's the work performed by the No Exit New Music Ensemble, November 2013:

Oui d'Accord: "Powerhouse" (in Super 8)

The Berlin-based trio Oui d'Accord present an original arrangement of Raymond Scott's "Powerhouse" for guitar, bass and accordion. Filmed in Super 8! Unless the guys wrote it down, no sheet music exists for this instrumental configuration. 

February 20, 1937

Raymond Scott music travels at various velocities. It can be delivered on LPs that spin at 33-1/3 revolutions per minute. There are a handful of rare 45 rpm singles. His electronic music was captured on tape that rolled at 3-3/4, 7-1/2, or 15 inches per second. The rotational speed of a Basta compact disc of Scott's Soothing Sounds for Baby varies from 210 rpm (outer edge) to 480 (inner edge). But Scott's music first came to prominence on fragile platters that whirled at 78 rpm.

It is therefore fitting that 78 years ago today, Raymond Scott entered a New York studio with his legendary Quintette to record his first commercial sides. It was a productive day. While no one knows how long the February 20, 1937 session lasted, by the time Scott and his cohorts mopped their brows and went home, they had recorded two timeless classics — "Minuet in Jazz" and "Twilight in Turkey" — and two immortal works — "The Toy Trumpet" and "Powerhouse." Not only were these four recordings all approved for commercial release, they are inarguably the definitive versions of all four works.

How long did it take Brian Wilson to complete Smile? Is it done yet?

Al Brackman, an associate producer for the Master label, which signed the RSQ, told historian Michèle Wood: "Our studio at 1776 Broadway was basically just an office with a seven- or eight-foot ceiling. There was a long hall leading to it from the elevators. Opposite the office door, there was a men's room lined with tiles. Scott insisted on recording at night so he could put one mike in the hall and another in the men's room. With that and the other mikes in the office he achieved what they call 'echo' and gave the recordings a big auditorium sound."

We don't have any photos of that makeshift Broadway chamber, but we have lots of photos of the RSQ during radio gigs (see above—saxophonist Dave Harris was cropped out by the cameraman). 

The first RSQ release was "Twilight in Turkey," backed by "Minuet in Jazz." The disc sold out within a week. "It had nothing to compete with it," said Brackman. "If you liked Scott, you had to buy Scott."

Fans first bought "Powerhouse" on the Master label, which went bankrupt in late 1937. The track was reissued on Brunswick in 1938, and in 1939 on Columbia. Same recording each time.

Powerhouse for string quartet

Violinist Jeremy Cohen, leader of Quartet San Francisco, has been a longtime champion of Raymond Scott and recorded a number of Scott tunes arranged for string quartet on the QSF album Whirled Music. Cohen has made the string arrangement for Scott's "Powerhouse" available through his ViolinJazz Editions series ("New pearls for adventurous chamber musicians").

Scott's early Quintette works have occasionally been referred to as "chamber jazz," so it's fitting that they be arranged for and performed by chamber ensembles. The Kronos Quartet recorded an arrangement of Scott's "Dinner Music for a Pack of Hungry Cannibals" on their album Released 1985-1995. Kronos have also performed Scott's "Powerhouse," "The Penguin," and "Twilight In Turkey," but they haven't recorded these titles nor have they published the arrangements.

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. 

F*ck Art (Let's Dance)

Our friend Sally Eckhoff, a former contributor to the Village Voice, has a new book called F*ck Art (Let's Dance), a memoir about her days living in New York's East Village. A writer for the Paris Review called it, "A Sentimental Education reimagined by The Cramps." Sally tells us there's a Raymond Scott angle, and we invited her to inform our readers. She wrote:

One of the characters is a real-life Oliver Sacks-type genius and piano virtuoso who discovers Raymond Scott in the 1970s, when people with that kind of mind were generally ignored or misunderstood. The guy thought he hit the lottery. Here's a quote about watching him learn to play "Powerhouse: "The songs starts with a grumpy, mechanized rhythm, like someone stomping downstairs, and later fires up into a madly-escalating riff that has unfinished phrases flying out of the horn section like parts off an assembly line."

If you want to read something about the East Village that's not full of famous cranky people in black clothes and their famous cranky friends, check out my book. It's brand-new, in paperback and eBook from Water Street Press, and you can get it on Amazon, iTunes, and all the usual places.

Would Daffy Approve?

The New York Times reviews the Dance Heginbotham/Raymond Scott Orchestrette collaborative choreographic premiere of Manhattan Research at Lincoln Center Out of Doors this past Thursday.

Excerpt:

Mr. Heginbotham — who founded his company, Dance Heginbotham, two years ago — comes with his own associations, primarily the 14 years he spent in the Mark Morris Dance Group. As a choreographer, his most obvious connection to Mr. Morris is a fidelity to music. With antic groupings, Egyptian arm bends and vaudeville steps, “Manhattan Research” doesn’t just capture the spirit of [Raymond] Scott; it makes visual the music’s form and offers an apt move or gesture for nearly every sound. Also, Mr. Heginbotham is funny.

Our take? Brilliant, exciting, vivacious, animated. We look forward to further collaborative projects between Heginbotham's young troupe and the RSO.

The Scott works performed by the RSO were: "Manhattan Minuet" (premiere), "Powerhouse," "Snake Woman" (premiere), "Blue Blue Blue Blue Blue," and "Siberian Sleighride."

Dance Heginbotham: Manhattan Research (August 8, 2013)

Dance Heginbotham, led by choreographer John Heginbotham, creates highly structured, technically rigorous, and theatrical dance works. On August 8, at Lincoln Center Out of Doors, the troupe presents the world premiere of Manhattan Research, a new work based on the music of Raymond Scott. LCOD describes the performance:

Best known for his Loony Tunes ditties, the composer, bandleader, and musical inventor’s spirit—leaping from zany to sultry—lives on with the Raymond Scott Orchestrette, whose dynamic performances of works like “Powerhouse” will provide the spark for Heginbotham’s vigor and humor. Athletic, meticulously rhythmic movement will run alongside cool, witty nods to the subject matter in Scott's melodies, instrumentation, and song titles.

The free concert takes place Thursday, August 8, 7:30 pm, at Damrosch Park Bandshell.

Hear the Orchestrette's album Pushbutton Parfait on Soundcloud.

Raymond Scott for four guitars

The Montreal-based guitar foursome Quatuor Mains Libres have recorded tasty arrangements of Scott's "The Penguin" and "Powerhouse." You can hear the latter at their website and then buy it in iTunes on their EP Eponyme. "Penguin" will appear on their forthcoming first full-length album.

75 years ago today, in 1937...

1937 was a memorable year in US history. Disney released SNOW WHITE, the first full-color, feature-length animated movie. The Hindenburg disaster occurred on May 6. Howard Hughes established a record by flying from LA to NYC in under 8 hours. The Golden Gate Bridge opened in San Francisco. Amelia Earhart disappeared. George Gershwin died. And Daffy Duck was born — on April 17, in the animated short "Porky's Duck Hunt," directed by Tex Avery for the LOONEY TUNES series. This last factoid dovetails with a coincidence that would immortalize Raymond Scott's music in pop culture.

Exactly 75 years ago today, Raymond Scott recorded his iconic hit tune, "Powerhouse." On the same date, following 8 months of rehearsals with his Quintette at CBS, he also recorded "Twilight In Turkey," "Minuet In Jazz," and "The Toy Trumpet" — not a bad day's work. The 27 year-old couldn't have known at the time, but these compositions jump-started his stellar career, and came to underscore cartoon antics for future generations.

To celebrate the milestone, check out this collection of 75 YouTube clips of Scott's classic "Powerhouse," here — and see details about our year-long 75th anniversary events schedule here.

P.S. Thank you to Cory Doctorow at Boing Boing:
http://boingboing.net/2012/02/20/happy-75th-birthday-to-raymond.html

LEONARD BERNSTEIN Arrangements: "2 Pianos, 4 Hands"

In 1943, LEONARD BERNSTEIN wrote this piano duet arrangement of Raymond Scott's 1938 hit tune, "In An 18th Century Drawing Room," published under Bernstein's pseudonym Lenny Amber. (Bernstein is a German and Jewish name meaning "amber.") Bernstein, who, according to THE NEW YORK TIMES, was "one of the most prodigiously talented and successful musicians in American history," also arranged versions of Scott's classics, "Huckleberry Duck," "The Toy Trumpet," "The Penguin," and "Powerhouse," seen below:

LINCOLN CENTER concert report & photos: The Raymond Scott Orchestrette

Watch the new video slideshow of photos with music that tells the story of The Orchetrette's concert at LINCOLN CENTER in NYC, last month, to celebrate the 75th Anniversary of Raymond Scott's classic tunes. >>> See it on: YouTube (or browse the photo album: 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

New "Looney Tunes: Platinum Collection"3-DVD Blu-ray set

Just in time for the cartoon geeks on your holiday shopping list, the new "LOONEY TUNES: PLATINUM COLLECTION" 3-DVD Blu-ray set includes 2 Raymond Scott "Behind the Tunes" featurettes with movie-music maestro, John Williams, and Devo's Mark Mothersbaugh:

• "Powerhouse in Pictures"

• "Twilight in Tunes: The Music of Raymond Scott"

More info: here

Yes And Also Yes

''I had a big thing for Raymond Scott loops. Hell, I could probably eke out a living producing hiphop records, using nothing but breakbeats and Raymond Scott compositions.''

—MIKE DOUGHTY

Today Mike Doughty dropped his new album, YES AND ALSO YES. There's no connection to Raymond Scott on this record, but we wanna plug it anyway. Irwin and I are big fans of Doughty's music and his 1990s band Soul Coughing — and not just because they released three tracks with Raymond Scott samples.

"Bus To Beelzebub," from their first album RUBY VROOM, was based on adapted loops from Scott's "Powerhouse," as heard in numerous Bugs Bunny cartoons. "Uh, Zoom Zip," from the same album, uses samples from the RS Quintette's recording of "The Toy Trumpet" that are so distorted they went unidentified for years. By contrast, the loops from the RSQ's "The Penguin" heard throughout SC's "Disseminated," on their 2nd album, IRRESISTIBLE BLISS, are easy to spot. I love the track and think it's one of the coolest uses of Scott samples by any artist, but Doughty is ambivalent. "The lyrics are not my proudest," he explained for SCUG.net. "Don’t get me wrong, I’m pro-nonsense, but at the time we were sequencing the record I dismissed the song as 'harmelodic vaudeville.' Democracy won out, the song made the record, and it ended up being the only damn song on the record that Robert Christgau liked when he reviewed it in Spin."

Doughty has been busy — he also released an album of loop-based electronic music this month called DUBIOUS LUXURY. He explains, "I wasn’t noisy about it, at the time, but much of the sampled stuff in Soul Coughing was my work: the crazed Bugs Bunny sample on 'Bus to Beelzebub,' the peculiar Raymond Scott sample on 'Disseminated'." But don't expect more Raymond Scott samples. "After the first record, my bandmates were increasingly unreceptive to loops I brought in from other people's music. Maybe they were right, we woulda been poorer, giving our money away to other composers," he said at MikeDoughty.com. "I could only use the majority of the loops live — gone are the days when Warner Bros. would write a fat check to pay off the Raymond Scott estate and Toots Hibbert for their unsuspecting contributions! Even rappers are too smart to use samples these days."

ADDED BY I.C.: Doughty just confirmed he'll perform live on my WFMU program on Weds. September 21, between 5-6pm (Eastern). MD also performed a couple of songs on WFMU's snarky SEVEN SECOND DELAY, hosted by Ken Freedman and Andy Breckman, broadcast from the UPRIGHT CITIZENS BRIGADE on July 27.

Powerhouse Road

During a research mission in April of 2001 to locate Raymond Scott’s Manhasset mansion, Piet Schreuders and I found only this evidence of its previous existence — the access road to the house that Scott named in honor of his classic tune. The mansion can be seen in its full glory here:

Caption on this photo reads: "On the sloping backyard lawn of their Manhasset, Long Island, home, singer Dorothy Collins and her husband, composer-conductor Raymond Scott, hoist daughter Debbie, 2½, aloft for a giddy dash downhill. Their 30-room home is in the background. Credit (United Press Photo) 5/3/57"