Label: Creel Pone

オリジナルは1982年に出版されたインディアナポリスの作曲家Roberts Owenの唯一作[Immature Oocytes]、1983年に出版されたカナダのコンポーザーSteve Tittleの1st LP[(One Of The) Merely Players]。全く関連の無い作曲家ですが、作風及びコンセプトが似ているという事からCreel Poneが勝手に組み合わせてしまった面白編集版。テープと生楽器を用いたDIY感満載の内容で、民族音楽からジャズ、厳ついプログレ風までを縦横無尽に行き来する奔放な楽曲が聴けます。

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November 2023; coming up on the 20th "CP 199.XX" title, I'd like to take a moment to point out the raw, socialized patience I've had in dealing with all of these otherwise "Questionable" titles, capped off here by possibly the most patience-trying entrant yet (which, in a bizarre twist of fate & in the spirit of full disclosure, features two titles I nominated myself; take that cabal!) Much like the CP 199.10 pairing of the two South African titles by Hans Rosenschoon & Gerald LaPierre (which seems to have been oddly popular) this "Two-for-One" set combines two actually-unrelated-yet-aesthetically-linked titles (one of "Music for tape, acoustic/electronic instruments, and voice" & one of ostensibly home-recorded "Prog").

Recorded by the keyboardist of the Indianapolis-based Free Jazz / Prog band Maelstrom (whose 1975 Private "Paradigms" has its moments) between 1979 & 1981 & issued, similarly, privately on his own Mortsleam imprint, "Immature Oocytes" has, from the outside looking in, all of the trademarks of an early Creel Pone banger: per-song equipment list (mentioning brand-names as a pride-point: Moog, Korg, Arp) with effects explicity listed as "Instruments" (Ring Modulator, "Ondes Sol Digital Audio Processor") & the ever-present reach for canonic art forms ("Homage a Max Ernst", indeed). It's a fascinating blend of improvisations, tape-music experiments, and blown-out room recordings, bathed in the ever-present glow of studio trickery (in this regard it most resembles the various self-released LPs by Bob Downes).

The following year, up in Halifax, the Canadian composer Steve Tittle began recording the pieces that would make up "(One Of The) Merely Players;" in his words:

"This album contains studio versions of a few of the pieces that i perform in my solo concerts. Some of the instruments used are Korg and Arp synthesizers, trumpet, flugelhorn, bamboo sax, broken-down guitar, and various percussion. The tape was produced in my home studio and at the Experimental Sound Studio of the Dalhousie Music Department. It was recorded on TEAC 4 and 8-track machines and mixed with a TEAC model 5 mixer to a TEAC 35-2 half track deck. It was entirely a one-man operation."
With a statement like that you can't go wrong, and in fact it's a neat mix of styles & attitudes, closely recalling similar energies from that canonic Glenn Williams LP ([CP 208 CD]). Taken together, these two, again, completely independent (in terns of both geography & framework) suites of Electronic Music share a similar outlook, and the outcomes both benefit from a one-man-against-the-world ethos that should be familiar by followers of the series thus far...

Comes in a nice glossy six-panel booklet recreating all of the setail from both LPs in micro-miniature; closing out this series (for now) on a high note!