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Date: Mon, 20 Aug 2001 10:29:58 -0400
From: lousmith@pipeline.com
Subject: (exotica) [obits] Dave Barry, Jack Elliott,Jeanne Loriod
Dave Barry
LOS ANGELES (AP) -- Comedian Dave Barry, who opened for a number of top performers, including Wayne Newton, died Thursday. He was 82.
The comedian, who was not related to the Miami-based humorist of the same name, was born in New York City and started his career at age 16 on radio's ``Major Bowes and the Original Amateur Hour.''
He moved to California in the early 1940s and served in the Army during World War II entertaining troops.
Toward the end of that decade, Barry began performing in Las Vegas at the El Rancho Hotel. He was featured at the Desert Inn in a revue called ``Hello America.''
He opened for Newton for more than eight years.
Barry had television and film credits, most notably in Billy Wilder's ``Some Like It Hot,'' where he played the role of Beinstock, the band's manager.
In the latter part of his career, he entertained on cruise ships and appeared in the Follies, a Palm Springs variety show.
Jack Elliott
LOS ANGELES (AP) -- Jack Elliott, a composer and conductor who worked on numerous hit television shows and movies, died Saturday of a brain tumor. He was 74.
Elliott came to Los Angeles in the early 1960s to work as a musical arranger on Judy Garland's television show.
He gained a reputation as one of the top composers and arrangers in Hollywood. Elliott and his frequent collaborator Allyn Ferguson worked on such shows as ``Police Story,'' ``Barney Miller,'' ``Starsky and Hutch,'' ``Charlie's Angels'' and ``The Love Boat.''
He also worked in films and teamed with director Carl Reiner on several projects, including: ``The Comic,'' ``The Jerk'' and ``Oh God.''
Elliott served as music director for the 1984 Summer Olympics in Los Angeles, writing the music for the opening and closing ceremonies as well as conducting the orchestra.
Jeanne Loriod
PARIS (AP) -- Jeanne Loriod, the leading performer of an electronic instrument used in film scores and symphonic works to produce mysterious glassy tones, died of a stroke Aug. 3 in Juan-les-Pins. She was 73.
Loriod was the younger sister of pianist Yvonne Loriod, who was married to composer Olivier Messiaen. The three often collaborated.
The ondes martenot -- which translates as ``Martenot waves'' after its inventor French musician Maurice Martenot -- produces electronic waves from a system of transistors, a keyboard and a ribbon attached to a ring on the performer's forefinger.
Loriod's career took her all over the world. She performed with the Boston Symphony Orchestra and the Berlin Philharmonic, among others.
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Date: Mon, 20 Aug 2001 23:20:35 +0800
From: "william" <king8egg@ms60.url.com.tw>
Subject: (exotica) the prisoner
hi all,
today i was watching the prisoner. and found myself quite digging the
music. was there ever a soundtrack released?
william in taipei.
ps. are there any toy collectors on this list who can reccomend a good on
line toy shop that doesn't have outrageous shipping? i'm wanting that wind
up bender from futurama...:)
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Date: Mon, 20 Aug 2001 16:41:58 +0100
From: G.R.Reader@bton.ac.uk
Subject: RE: (exotica) the prisoner
William,
The six of one society did a special edition of the soundtrack (along =
with
Bam Caruso I think). I seem to remember seeing it for sale up at =
Portmerion
when I visited in the mid eighties, but I didn't buy it as I was broke =
:=AC(
Which was a shame as its pretty groovy. Man. =20
I've not seen it anywhere. Presumably it'll be up on e-bay from time =
to
time.
I have a dodgy cover on a themes from the 60's LP, recorded in the =
eighties
by session men under a number of assumed aliases. Somewhere, I've not =
seen
it for a long time, the prisoner theme wasn't too bad.
Needless to say there was a terrible UK rave version released in the =
early
90's. (I'll tape it for anyone who wants, if you really need it I'll =
try
to talk my girlfriend into letting it go as its hers and she doesn't =
Flip Phillips, Saxophone Star With Bands in the Swing Era, Dies at 86
By BEN RATLIFF,NYTimes
Flip Phillips, a tenor saxophonist who was one of the last links to the swing era and who gained his greatest fame through his performances in the epic Jazz at the Philharmonic concerts of the 1940's and 50's, died yesterday at a hospital in Fort Lauderdale, Fla. He was 86 and lived in Pompano Beach, Fla.
Born Joseph Filippelli in Brooklyn, Mr. Phillips began his career while still a teenager, playing alto saxophone and clarinet in Brooklyn restaurants. By the tail end of the swing era, in the early 1940's, he was playing on Manhattan's 52nd Street with Frankie Newton, and then performed with Benny Goodman, Wingy Manone and Red Norvo.
In 1944, his fortunes changed. He joined Woody Herman's First Herd, as one of the main soloists, and soon won attention thanks to the improvisational freedom given him by Herman. He had a warm, smoky ballad sound on tenor saxophone, but as he began to show toward the end of the 1940's ù most famously on a 1947 Jazz at the Philharmonic recording of "Perdido," with Illinois Jacquet, Hank Jones and Howard McGhee as other members of an all-star band ù he could get tremendous crowd reaction by roaring, honking, squealing and playing in a style considered inelegant by the standards of Lester Young, who was then a leading light of the tenor saxophone. He was criticized for doing so, but made a name for himself and went on to play in the Jazz at the Philharmonic's touring revues for 11 years; many of these performances were recorded, and a few are classics.
In the 1950's he occasionally co-led a group with the trombonist Bill Harris, and he worked with Benny Goodman again in 1959. In the mid-50's, Mr. Phillips settled in Broward County, Fla., where he came out of retirement sporadically to play at festivals and jazz parties.
Last year, Mr. Phillips made a record for Verve, "Swing Is the Thing," which paired him with a top- class rhythm section and two of today's top tenor saxophonists in jazz, Joe Lovano and James Carter; it was greeted warmly as the return of a beloved figure.
He is survived by his wife, Miyoko; a sister, Theresa LeBlanc of Brooklyn, N.Y.; and a grandson.
- ----------
August 19, 2001
Jeanne Loriod, Who Transformed Electronic Wails Into Heartfelt Music, Dies at 73
By DOUGLAS MARTIN,NYTimes
Jeanne Loriod, whose artistry playing the ondes martenot ù a rare electronic instrument known for its haunting wail ù made her the instrument's most celebrated performer, died on Aug. 3 at Juan-les-Pins, France. She was 73.
The cause was a stroke, British newspapers reported.
The instrument, also known as ondes musicales, French for musical waves, was first demonstrated in France on April 20, 1928, by its inventor, Maurice Martenot. Miss Loriod was born in Houilles, near Paris, three months later, on July 13.
She followed her sister Yvonne to the piano class of Lazare Levy at the Paris Conservatory, where she soon became fascinated by the new instrument. She studied it with Martenot, who had just begun teaching it at the conservatory. Her high grades enabled her to join a quartet begun by Martenot's sister, Ginette.
She was in the middle of a futuristic electronic music movement that never went remotely as far as its pioneers dreamed. Beginning with the 200-ton telharmonium, and on through at least a dozen instruments with strange-sounding names and even stranger sounds, proponents of the new music delighted in making previously unimaginable noises.
For example, the theremin, an electronic instrument conjured up by a Russian scientist, Leon Theremin, in 1920, can make a sound that has been likened to a violin being played while submerged in deep water. Other electronic instruments include the trautonium, the sfaerofon, the gnome and the orgatron.
Not surprisingly, the new instruments found their most welcome home in movie soundtracks, including those for "King Kong," "The Lost Weekend" and "Spellbound." Rock groups also liked the eerie sounds. The Beach Boys used a theremin in "Good Vibrations."
But those who loved the ondes martenot had higher aspirations. It uses radio tubes to produce electronic pulses at two supersonic sound-wave frequencies. These in turn produce a lower frequency within the audible range, which is amplified and converted into sound by a loudspeaker. Many tones can be created by filtering out some of the tones of the audible notes.
The instrument is played with a keyboard and by manipulating a ribbon with a ring for the player's right index finger. Ondes were manufactured individually, to order only.
But like the theremin, the ondes martenot achieved its widest exposure not in avant-garde music, but on the screen. Maurice Jarre, a friend of Miss Loriod, played the instrument for "Lawrence of Arabia" and "Mad Max."
One early composer who took an immediate liking to the ondes martenot was Olivier Messiaen, who married Jeanne's sister Yvonne; she became a renowned pianist. Particularly in his 10-movement symphony, "Turangalila," Messiaen used the ondes martenot to create shimmering, swooping musical effects. Virtually everywhere "Turangalila" was performed, Jeanne Loriod was to be found, her sister often playing the virtuoso piano part. Miss Loriod recorded her part in the symphony at least six times and performed it live with conductors like Pierre Boulez, Seiji Ozawa, AndrΘ Previn and Zubin Mehta.
In addition to Yvonne, Miss Loriod is survived by another sister, Jacqueline.
Miss Loriod also took ample advantage of two other masterworks that Messiaen wrote for the instrument. "Trois Petites Liturgies de la PrΘsence Divine" (1943-44) mixes its qualities with women's voices, piano, strings and percussion. "Saint Franτois d'Assise" (1975-83) features the ondes in three of the eight tableaus in a work lasting nearly four hours.
Other composers who wrote for the instrument included Arthur Honegger, Darius Milhaud, Edgard VarΦse, Charles Koechlin, Florent Schmitt and Jacques Ibert.
Jeanne Loriod performed in more than 500 works, 14 of them concertos. She added to the repertoire herself by creating 85 works for a sextet of ondes she formed in 1974, initially to revive Messiaen's first ondes piece, "La FΩte des Belles Eaux" of 1937.
She taught at several French conservatories and wrote a three-volume book that became the standard text for the instrument: "Technique de l'Onde Electronique Type Martenot" (Leduc, 1987).
Hugh Davies, a performer and musicologist specializing in electronic instruments, estimated that more than 1,000 works had been composed for the ondes.
Thus Miss Loriod bristled when an interviewer suggested to her in 1988 that the instrument's repertory might be less than extensive.
"Since 1928 we have 15 concertos and over 300 works of chamber music," she answered, also citing the 85 she wrote for her sextet.
But the success of the exotic instrument seems to have been diminished by the small number of players.
"The fact is that any instrument with no institutional grounding of second- and third-raters, no spectral army of amateurs, will wither and vanish: how can it not?" Mark Singer wrote in "The Wire" in 1997.
He continued, "Specialist virtuosos may arrive to tackle the one-off novelty ù the theramin's Clara Rockwell, the ondes martenot's Jeanne Loriod, the trautonium's Oskar Sala ù but there's no meaningful level of entry at the ground floor, and, what's worse, no fallback possibility of rank careerism if things don't turn out."
Not just anybody, after all, had Ms. Loriod's versatility. Shortly before her death, she had hoped to perform with the British pop group Radiohead.
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Date: Mon, 20 Aug 2001 16:12:02 -0400
From: bump@defectiverecords.com (Bump Stadelman)
Subject: Re: (exotica) david shea
funny you should mention him as i was going to since i just bought
his Tower of Mirrors cd this week. 1995 and was going to bring it up
here today.
a quick freek description would be obscure concept freeflowing ambient
orchestrations with real instruments, samples and wild sound.
based on ancient chinese story.
makes use of Stereo Action lps and and the 3 Suns among others.
only listened to it once so far.
would not say it is one of my favorite records or anything but
i am digging it.
i am kinda put off by the "avant" scenesters but i am trying not to be
judgement these days.
from forced exposure
This is already the third album released by Sub Rosa, after the
acclaimed PRISONER and I (for sampler solo), this one gives a more
complex figure of the sampler composition. Composed and produced by
Shea in New York City, it includes 24 tracks (each one is a room to
explore with ist own mood). Featuring David Morley (R&S) on analog
synthesizer programming, Dave Douglas on trumpet, Zeena Parkins on
piano & prepared piano and Jim Pugliese on percussions. David Shea was
born in 1965. He has been a pupil of Morton Feldman and since he was
very young he has been active in the New York downtown new music scene.
For the last four years he has been involved in many projects of John
Zorn...He has also worked in close collaboration with Marc Ribot, Jim
Pugliese and Anthony Coleman. From 1986 to 1990 he worked as a club DJ
playing hip hop, house and jazz at many clubs in New York. Shea works
now as composer for string quartet and sampler solo and it is close to
nothing known in music today. "The Tower of Mirrors" is a work that
began as a collection of pieces for sampler solo and for sampler and
solo instrumentalist, a series of 'mirrors' for solos and duos based on
parts of the novel. Also a collection of tributes to composers in
ambient dance music, exotica, easy listening film music and
experimental music formed separate points of entry. In particular many
of the great arrangers and composers of the period from 1955-64 who
were the pioneers of stereo recording such as: Esquivel, Marty Gold,
The Three Suns, Andre Popp and all the engineers and players on the RCA
stereo experiments were very extreme and were a combination of music
technology and experimentation that was unique before or since. Also
the exotica records of Les Baxter, Martin Denny, Arthur Lyman, Ferrante
& Teicher, and Mystic Moods were direct influences. Historical
teachings (often completely out of order), religious lessons and a host
of allegorical, historical encountered much in the same was as in
Dante's La Divine Comedia.
listen to bits of this cd here
click on track 7 first to hear the use of exotica samples.
