AllMusic's BEST OF THE YEAR: "Three Willow Park"

AllMusic​ — the world's largest music database — has included THREE WILLOW PARK among their BEST OF 2017: Favorite Compilations and Reissues — and calls the collection, "An invitation into the secret lab of one of the 20th century's most inventive musical minds."

AllMusic: "The past exists to be repackaged, and 2017 was no slouch in that department, offering treasures like a remastered 50th anniversary edition of Sgt. Pepper, an expanded Purple Rain and a jam-packed Master of Puppets box set, along with anthologies from Elvis, David Bowie and Hüsker Dü."

http://allmusic.com/year-in-review/2017/favorite-compilations

Xylophone

Raymond Scott Songbook (complete video)

Back in March we featured Part 1 of our friend Takashi Okada's video showcasing THE RAYMOND SCOTT SONGBOOK, a 2-cd set which he produced in cooperation with the Scott estate. We promised Part 2 the following week. We subsequently misplaced our calendar, which only now turned up buried under a dog-eared stack of Scientific American magazines from the 1960s. (We have to get this office organized!)

We now offer Part 2 of Takashi's video, which you'll find was worth waiting for.

Includes cameo appearances by Jean-Jacques Perrey, the Mechanical Orchestra of França Xica, Hirofumi Tokutake, Dorothy Collins, Ego Plum, Beth Sorrentino, Optiganally Yours, Benoît Charest, Haruomi Hosono, and others. (Pictured above: the band Noahlewis' Mahlon Taits; below: vocalist Miharu Koshi)

Raymond Scott Songbook (the Video)

Our friend and fellow Scott scholar Takashi Okada, of Tokyo, has produced a 3-1/2-minute video showcasing THE RAYMOND SCOTT SONGBOOK, which he produced in cooperation with the Scott estate.



This is part 1 of a 2-part series; part 2 next week.

Raymond Scott Goes to Middle School

Guest blogger, Deb Scott Studebaker, who is the older daughter of

Raymond Scott and his 2nd wife Dorothy Collins, writes the following:

Tess, Zack H. and fellow poets perform "The White Clothesline"
at The Willows Community School. Photo: Tessa Posnansky

Take 100 middle school students and a lesson on poetry and art that embraces light and shadow. Add careful observation, thoughtful discussion, and provide an environment where these students can sketch, paint, write and share. 

What do you get? A poem called “The White Clothesline,” performed before an audience, with intro music from Raymond Scott Rewired. This mix of words, images and music holds a special meaning for me because Raymond Scott was my father.

Much has been written about Raymond Scott as an unswerving taskmaster, working his musicians relentlessly in pursuit of a lofty standard of perfection. His method of teaching me to play the piano as a young child—practicing endless scales—was anything but fun.

Aidan in "The White Clothesline."  Photo: Heidi Roberts

But my father also had a playful side, as well as a passion for combining and recombining sounds, styles, and genres. That was fun! It was fun for him, and for those who shared his vision. I must have inherited his fascination with combining art forms and modalities.

I’m the third of Raymond Scott’s four children; I am also a writer who teaches poetry at the Willows Community School in Los Angeles. On February 12, ten of my talented students performed a piece that embodied creative confluence—a process dear to my father’s heart. 

Confluence: a place where people or things come together. Confluence came to work with me over the past few weeks: Blending art with poetry. Connecting fragments written by 100 students into an ancient poetic form known as the “cento.” Weaving 6th and 7th graders’ voices and perspectives. Bringing ten of those students onstage to speak the truths hidden within a white towel, a pair of white ski pants, and a tiny white sweater. Finally, adding a musical introduction that was a mash-up in itself!

Schaedyn and Malaika perform. Photo: Tessa Posnansky

When I searched my music library for an intro cue, I wasn’t looking specifically for a Raymond Scott composition. In fact, I brought in three selections to play for my kids. But when I put on “Good Duquesne Air” (audio below)—one of my favorite tunes from the fascinating Raymond Scott Rewired project—we had an immediate groove going on. “That’s so cool!” “What is that?” “Who is that?”  I explained that it was my father’s music, reimagined by mixmaster Mark Vidler (of Go Home Productions). On Poetry Night, the vintage and modern elements of “Good Duquesne Air” gave the audience a mysterious feel for what was yet to come.

In a confluence, streams flow and merge together from various sources. Fusing art with poetry opened up wider vistas for our students. Distilling the writings of many young poets into a cento told a new story. 

And incorporating even a taste of my father's musical legacy into “The White Clothesline” reminded me that a creative confluence is a gift big enough to share.

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.

THE NEW YORK TIMES and WALL STREET JOURNAL praise new live bioplay in New York City

The new live bioplay based on Raymond Scott's life, POWERHOUSE, has received rave reviews — see below.

     THE NEW YORK TIMES Critic's Pick (Andy Webster):

     "An electrifying account of the life of the composer Raymond Scott. ... Scott had eccentric ideas: He believed in telepathy; despite his roots in swing, he discouraged improvisation from his bands; and his lifelong passion for technology led him on a quest to invent the electronium, a machine that could compose and perform music on its own."

     THE WALL STREET JOURNAL (Will Friedwald):

     "The most ambitious event is 'Powerhouse' in the West Village, a theatrical meditation on the iconoclastic composer Raymond Scott, whose quirky compositions helped Looney Tunes live up to their name. This highly original one-act play concerns itself with Mr. Scott’s three wives as well his lifelong obsession with transforming musicians into machines and computers into composers, and is at its most inspired when enacting Scott’s cartoon career with a cast of delightfully 'animated' animal puppets."

     Get tickets for the final week: here

Alarm Will Sound/Dance Heginbotham: Twinned

John Heginbotham's dance work, Manhattan Research, featuring the music of Raymond Scott, premiered in August 2013 at Lincoln Center Out of Doors. Heginbotham returns to the Scott catalog with Twinned, a collaborative performance with music ensemble Alarm Will Sound, which debuts at the Metropolitan Museum of Art on February 20, in New York. Heginbotham will use seven short Scott electronic works as transition music during the evening's program, which includes music by Aphex Twin, Tyondai Braxton, and Edgard Varèse.

This is a one-evening performance at the Met's Charles Engelhard Court. Tickets are available here.

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.

Gotye: State of the Art

Earlier this year we noted that Australian-based international pop star Gotye, with his multi-platinum album Making Mirrors, had (indirectly) put Raymond Scott back at the top of the charts. Scott's voice (from the Manhattan Research, Inc. 2-cd set) is sampled in the album track "State of the Art." We hadn't gotten around to posting the official video for the song, and herein rectify our oversight. Unfortunately, Scott's voice was omitted from the video soundtrack, but it's still a great recording, set to eye-popping animation by Greg Sharp and Ivan Dixon of Rubber House.

QUESTLOVE & others present live concerts titled "ELECTRONIUM: The Future Was Then"

Ahmir “QUESTLOVE” Thompson (THE ROOTS) returns to the Brooklyn Academy of Music with an all-star mash-up that celebrates pioneering works of electronic music. From the press release: 

The production’s title references the first electronic synthesizer created exclusively for the composition and performance of music. Created by composer-technologist Raymond Scott, the Electronium was designed but never released for distribution; the one remaining machine is undergoing restoration. Complemented by interactive lighting and aural mash-ups, the music of Electronium: The Future Was Then honors the legacy of The Electronium in a production that celebrates both digital and live music interplay. 

R&B singer-producer Tom Krell (How to Dress Well), avant-R&B outfit Sonnymoon, beatboxer Rahzel, guitarist Kirk Douglas (The Roots), DJ-composer Jeremy Ellis, and conductor Andrew Cyr & Metropolis Ensemble join Grammy Award winner Questlove to sample and deconstruct seminal recordings by everyone from RAYMOND SCOTT and Bob Moog, to Stevie Wonder and George Clinton, into a feverishly modern new playlist. Old-school blips and beeps, sine waves, and analog synth solos mix with live vocals and contemporary electronics in this ecstatic riff on the analog revolution that paved the way for our music today.

TICKETS & DETAILS: here

The Orchestrette boards a Ghost Train

Raymond Scott Orchestrette gigs have been few and far between (they have a lousy—cough, cough—booking agent). Now, following their triumphant August 8 Lincoln Center Out of Doors stint accompanying the John Heginbotham dance ensemble, the RSO has been invited to open for the Ghost Train Orchestra's CD release party on October 26. The GTO also features Raymond repertoire (along with Alec Wilder, John Kirby and Reginald Foresythe), so the evening offers a double shot of Scott. The concert takes place at a new downtown Manhattan venue, SubCulture, at 45 Bleecker Street.

GTO is led by Brian Carpenter, who has been studying Scott scores and creating new arrangements over the past five years. His previous band, Beat Circus, released a 2008 CD entitled Dreamland, whose cover was illustrated by Orchestrette multi-instrumentalist Brian Dewan.

LINCOLN CENTER presents Free Concert

Lincoln Center's Damrosch Park Bandshell

LINCOLN CENTER Free "Out Of Doors" Concert Series Presents:

Dance Heginbotham creates highly structured, technically rigorous, and theatrical choreography, frequently set to the music of contemporary composers. Along with signature pieces "Twins" and "Blown Away," Dance Heginbotham will present a world premiere of "Manhattan Research," a new work based on the music of midcentury maverick Raymond Scott. Best known for his Loony Tunes ditties, the composer, bandleader, and musical inventor’s spirit — leaping from zany to sultry — lives on thanks to The Raymond Scott Orchestrette, whose dynamic performance of pieces like “Powerhouse” will provide the spark for Dance Heginbotham’s trademark 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. Admission is free. Details: here

"Manhattan Research" commissioned by Lincoln Center for "Lincoln Center Out of Doors."

Gotye puts Raymond back on the charts

It's probably been at least half a century since Ray scored a new hit, but thanks to Belgian-born Australian recording artist Gotye, Raymond Scott is back on top of the charts. Kinda. The Gotye song "State Of The Art" features a brief but memorable cameo of Raymond's voice as the track's finale, which was lifted from our Manhattan Research Inc. 2-CD/book compilation. The Gotye album, titled Making Mirrors, reached the Top 10 on the US Billboard 200, is currently the #2 US Rock Album (behind Bruce Springsteen, who holds the top slot at the moment), is the #1 US Alternative Album, and has already achieved global Gold, Platinum, and Triple Platinum sales status. Gotye will be this week's music guest on Saturday Night Live. • UPDATE: Gotye recently gave us this quote:

"Raymond Scott recorded some of the most unique and beguiling electronic sounds. An incessant inventor, designer, tinkerer — he's a big inspiration for me as a producer. His tightly orchestrated preudo-jazz with his Quintette was truly singular too. He was a real musical visionary."

Fan-art by 11-year old girl

Click image above for larger view

A Raymond Scott fan was moved to tears when given this drawing made by an 11-year old girl as a birthday gift — the proud fan explains: "She doesn't know Raymond's personal background, so this emotion is based only on the music. She played piano for 3 years, moving on to clarinet next week. New influences! It made me cry with happiness."

Cindy + Me

Stereogum.com: "Caged Animals is Brooklyn denizen Vincent Cacchione, maker of homespun indie-pop that leverages electronics and guitars in the pursuit of sweetly endearing pop awkwardness. He has an album titled Eat Their Own and EP called This Summer, both on UK label Lucky Number, and he’s back with a new single. The clattering, theremin-y synth-bounce of 'Cindy + Me' is built on a sample from Raymond Scott's 'Cindy Electronium'."

Get Vincent's backstory on the tune and listen to it at Stereogum. Then watch the new video, which features a quintet of medical academy-trained monkeys:

The Guardian's take is here. The original "Cindy Electronium" appeared on the Manhattan Research Inc. collection of Scott's 1950s-60s electronica, and the sample was licensed thru Basta.

The Raymond Scott Orchestrette

THE ORCHESTRETTE brings Raymond Scott's

controlled lunacy into the 21st century!


When producer and Scott authority Irwin Chusid formed the 7-piece RAYMOND SCOTT ORCHESTRETTE in 1999, his only stipulation to the musicians was: 'don't replicate the original Quintette.' The late control-freak composer might not approve, but the Orchestrette has performed radical reconstruction on his compositions. 

Besides such animated favorites as "Powerhouse," "The Penguin," and "Twilight in Turkey," the Orchestrette repertoire includes lesser-known, non-cartoon works such as "Coming Down to Earth," "Naked City," and "A Street Corner in Paris." The Orchestrette also performs acoustic renditions of Scott's later electronic works — such as Soothing Sounds for Baby's "Little Miss Echo" — rarely heard artifacts the composer himself never performed outside the studio.

 The impishness and splashy colors of the originals remain, but these are all-new takes on an old master.

Watch this video slideshow of photos with music that tells the story of The Orchetrette's concert at LINCOLN CENTER in NYC in December of 2011, to celebrate the 75th Anniversary of Raymond Scott's classic tunes. >>> See it on: YouTube (or browse the photo album: here) And listen to 2 tunes here:

The ORCHESTRETTE:

WAYNE BARKER (piano, melodica, arrangements) composed the Tony Award-winning Peter and the Starcatcher, which earned him a Drama Desk Award and a Tony Award nomination. He performed and toured worldwide with Dame Edna Everage for over five years; he wrote music and appeared as Master of the Dame’s Musik for Dame Edna: Back with a Vengeance, and contributed to All About Me, starring Dame Edna and Michael Feinstein. Barker composed for The Three Musketeers and Twelfth Night at Seattle Rep and The Great Gatsby and The Primrose Path at the Guthrie Theater, and orchestrated Mark Bennett’s score for A Midsummer Night’s Dream at La Jolla Playhouse. He has written dozens of symphonic pops arrangements for New York Pops, Los Angeles Philharmonic, Minnesota Orchestra and the Baltimore, Chicago, San Francisco and St. Louis symphonies. He was music director for Shakespeare and the American Songbook (92nd St. Y); Into the Woods and She Loves Me (Westport Country Playhouse); and A Little Night Music,  Caroline or Change, and The Boys from Syracuse (Center Stage, Baltimore). Barker is artistic associate for new musicals and composer–in–residence at New York Theatre Workshop.
BRIAN DEWAN (electric zither, koto, piano, accordion, vocals, arrangements) has worked with the Liverpool Cathedral Bell Ringers, the Pagoda Chinese Children's Orchestra, the Orchestra of St. Luke's, and Kris Perry's Machines. His albums include Tells the Story, The Operating Theater, Words of Wisdom, and Ringing at the Speed of Prayer. 
MICHAEL HASHIM (alto & soprano sax) studied with Albert Regni and Phil Woods, and was mentored by Benny Carter and Jimmy Rowles. He was the Widespread Depression Jazz Orchestra's music director and star soloist, and has played and recorded with Dizzy Gillespie, Muddy Waters, Nancy Wilson, The Village People, Gatemouth Brown,  Sonny Greer, and others.  Hashim was awarded an NEA Performance grant and toured China and the Middle East, playing most of the world's major Jazz and Music Festivals in 20 countries on five continents. His credits include ten recordings as a leader and nearly 100 as a sideman. As a composer he has earned commissions from PBS Playhouse, Oberlin Conservatory, and the NY Times OnLine.
WILL HOLSHOUSER (accordion, arrangements) When Will was a young music student, a friend gave him a musty old accordion, for which he soon began transcribing and learning various types of music. Over the next twenty years he developed his own sound as a player, improviser and composer. Three CDs of Will’s trio music have been released by the Portuguese label Clean Feed. He leads the band Musette Explosion, which revisits French accordion and guitar music, and composes for film, dance and various ensembles. He has performed on several continents and recorded with violinist Regina Carter and with clarinetist David Krakauer. Will has also worked with Antony and the Johnsons, Matt Munisteri, Martha Wainwright, Andy Statman, Mark Morris Dance, New York City Ballet, and others.
GEORGE RUSH (upright bass, tuba) has performed and recorded with such rock artists as Lloyd Cole, Ben E. King, David Johansen, Natalie Merchant, Amy Rigby, Dr. John, Martha Redbone, Vernon Reid, Richard Davies, Hem, and Japan’s Pizzicato 5. Rush's jazz credits include performing with Randy Brecker, Don Byron, Craig Handy, and Steven Bernstein. As a tuba player, Rush has performed on critically acclaimed children’s albums by ex-Del Fuego Dan Zanes. George's Broadway pit credits include The Full Monty, Jesus Christ Superstar, Caroline or Change, Chicago, The Color Purple, and the off-Broadway cult smash Hedwig and the Angry Inch.  He was charter bassist for the Losers Lounge pop tribute series, has worked extensively with the Big Apple Circus, and his studio work is heard in the Sundance Channel documentary series Iconoclasts.
ROB THOMAS (violin) occupies the violin chair in The String Trio of New York. He has toured and recorded extensively with that venerable jazz chamber ensemble, as well as The Mahavishnu Project and the Jazz Passengers. He also appears on recordings by Lee Konitz, Andy Summers and Marc Ribot.  Rob is a professor of jazz strings at Boston's Berklee College of Music
CLEM WALDMANN (drums) has long been the house drummer for the popular New York-based Loser's Lounge tribute series. He has performed and/or recorded with the bands They Might Be Giants, the Kustard Kings, Ui and Baby Steps, and for solo artists Laura Dawn, Elizabeth Mitchell, and Richard Davies. Clem also served as percussionist in (and recording artist with) the long-running theatrical production Blue Man Group.

Invasion from Norway!

• Click image above for larger view •

The amazing Mean Ensemble are coming from Norway to perform their Raymond Scott tribute show for the first time in the USA. The Mean Ensemble are the only band since Raymond's original 1930s Quintette to perform the maestro's tunes without reading sheet music — video evidence of this feat: here. The 3 concerts will be in New York City on March 11th & 12th — details & ticket info here. Preceding the shows, an introduction will be presented by Jeff E. Winner (me) of the RS Archives.

New videos: Steve Bartek & Ego Plum's live show at WALT DISNEY CONCERT HALL • "Lightworks" and "Powerhouse"

ABOVE: Ego Plum's electronic band performs

"Lightworks" featuring Tara Busch vocal

ABOVE: Steve Bartek's band performs "Powerhouse"

2 new videos: Steve Bartek and Ego Plum's live show at WALT DISNEY CONCERT HALL • "Oil Gusher" and "In The Hall Of The Mountain Queen"

ABOVE: Ego Plum's electronic band performs

"In The Hall Of The Mountain Queen"

ABOVE: Steve Bartek's band performs "Oil Gusher"

Stay 'tooned for 2 more videos from this concert next week.