Label: Creel Pone

オリジナルは個人的に聞き込んだ名作！！アカデミックなコンポジションのみならずインダストリアル・フィルムのサントラまでも手掛け幅広く活動、惜しくも2015年に他界した米電子音楽家のRobert Ceely。自身が設立した電子音楽スタジオ"Beep"より1965年に発表した1st LP[Instrumental And Electronic Music]、83年の2nd[Piano Variations / Totems For Oboe And Tape]、CRIから74年に発表されたコンピレーション用の音源、氏が生前残した音源ほぼ全てを纏めた上げた大変お得な編集版。ダブルベースやチェロ、ピアノ、オーボエといった生音主体の楽曲が多く、そこへヒリヒリとした厳ついエレクトロニクス&コンクレートを容赦無く投下するダークな構成が超魅力的。全てのジャケットが綺麗にプリントされています。



This was the 12th of the ca. 2003 "Proto Creel Pone" titles, compiling both LPs on Boston-area Composer Robert "Bob" Ceely's BEEP imprint: BEEP 1001; "Instrumental & Electronic Music" (1975) & BEEP 1002; "Piano Variations b/w Totems For Oboe And Tape" (1983), with the addition of the two pieces from CRI SD 328; "Electronic Music " (1974); his only other appearances on record.

Tales of Ceely were prevalent in Boston during the time that C.P. was about to come into existence; he had recently staged a "Nude Electronic Opera" at NEC (where he "made a lifelong friend" of Cecil Taylor shortly after enrolling in 1950) called "The Automobile Graveyard" (with a libretto by Fernando Arrabal, no less) which had local conservatives up in arms for the obvious reasons. After taking on a residency at Studio di Fonologia in Milan (RAI; alongside Luigi Nono, no less) in the early 60s, Ceely became enamored by the possibilities of Electronic Sound, and upon his return to Boston in 1966 established both the Electronic Music department at NEC & his own BEEP studios in nearby Brookline, and inaugurated the "Electric Wednesday" series of concerts in the mid-70s.

These records were fixtured in the 90s Boston Record-Store landscape (one with a magnifying glass can spot what is likely a Looney Tunes price-sticker on the cover; a fair $24.99 paid then) but have all but disappeared from the International landscape in the interim, making this replica edition something of a gem.