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Ode To Gravity:
The Eventide Harmonizer and Henry Kaiser

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Item Type: Sound Recording Duration: 112 min
Event Type: Interview and Music Program Origin: KPFA

From a program recorded on September 14, 1981, Charles Amirkhanian gets a demonstration of the Eventide Clockworks Harmonizer from Laurie Anderson. The Harmonizer is the piece of equipment that Anderson has used, with such great effect, to lower the pitch of her voice in real time, during her concerts. Amirkhanian then interviews Richard Factor, the co-inventor of this ingenious device, in his busy New York City office. Amirkhanian also presents brief interviews with Margaret Jory, Director of the American Music Center, the United States’ official information center and repository for contemporary classical music; and with Phill Niblock, composer and director of the Experimental Intermedia Foundation, and who was preparing to broadcast his, “Concerts for Composers,” a collection of live performances recorded in Niblock’s New York City loft. Interspersed among these interviews are engaging musical interludes from Anderson, Philip Glass, Stephan Von Huene, and Meredith Monk. Henry Kaiser then joins Charles Amirkhanian in the KPFA studio for the second half of the program. Kaiser's introduces "The Shadow Line" and other selections from his album "Aloha" on Metalanguage Records. The two discuss Kaiser's album, his approach to the guitar and use of electronics, free music vs. free improvisation, and their gripes with the digital technology of the early 1980s. Kaiser also explains how Derek Bailey, Korean music, and the Blues influenced some of his playing.

Part 1 of 2:  
Musical Selections:  The Language Of The Future (ca. 1983) (7:03) / Laurie Anderson -- Victor’s Lament [from “North Star” the film score for “Mark Di Suvero, Sculptor”] (ca. 1977) (3:34) / Philip Glass -- Washboard Band [a sound sculpture] (1967) (3:10) / Stephan Von Huene -- Rally, for 25 voices [from the opera “Quarry”] (1976) (3:25) / Meredith Monk -- Procession, for voice and piano [from the opera “Quarry”] (1976) (7:40) / Meredith Monk -- The Invisible Hand (ca. 1981) (2:32) / Henry Kaiser
Performers:  Laurie Anderson, voice and electronics (Language)
Philip Glass, electronic keyboards (Victor’s)
Dickie Landry, saxophone (Victor’s)
Meredith Monk, voice (Procession)
Genres:  Electro-Acoustic / Electronic; New Music
Subject:  Eventide (Firm); American Music Center (New York, N.Y.); Electronic music; New music; Monologues with music (Electronics); Performance art; Electronic musical instruments; Motion picture music; Sound sculpture; Choruses, Unaccompanied; Vocalises; Songs with piano; Operas -- Excerpts; Jazz
People:  Amirkhanian, Charles; Anderson, Laurie, 1947-; Factor, Richard; Glass, Philip; Landry, Richard; Jory, Margaret; Huene, Stephan von, 1932-; Monk, Meredith; Niblock, Phill, 1933-
Recording Date:  9/14/1981
First Broadcast Date:  9/14/1981
 
Part 2 of 2:  
Musical Selections:  The Shadow Line (ca. 1981) (18:51) / Henry Kaiser -- Future-Jinx Blues (ca. 1981) (5:30) / Henry Kaiser -- Twenty Four Eyes (ca. 1981) (2:40) / Henry Kaiser -- Tundra, for percussion and tape [excerpt] (ca. 1980) (4:12) / Bob Ostertag -- Lynn’s Mad Music (ca. 1981) (3:18) / Henry Kaiser -- What The Dead Men Say [excerpt] (ca. 1981) (1:10) / Henry Kaiser -- Christmas On Bear Mountain (2:23) / Henry Kaiser
Performers:  Henry Kaiser, guitar, electronics, etc... (all, except Tundra)
John French, drums (Future ; Lynn’s)
Scott Colby, slide guitar (Future)
Charles K. Noyes, percussion (Tundra)
Genres:  Jazz; Electro-Acoustic / Electronic
Subject:  Jazz; Electronic music; Blues (Music); Rock music
People:  Amirkhanian, Charles; Kaiser, Henry; Ostertag, Bob, 1957- ; Colby, Scott; French, John ; Noyes, Charles K.
Recording Date:  9/14/1981
First Broadcast Date:  9/14/1981
 
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