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140 performances ran as part of the Merce Cunningham Dance Company Repertory, and in 1973 Tudor invited other artist to collaborate on the project, leading to the sound sculpture and installation Rainforest IV. The first version of Rainforest was conceived by Tudor following a commission from the choreographer Merce Cunningham in 1968. This version of the site-specific piece runs until 4 March. Following Tudor’s death in 1996, Composers Inside Electronics continued to perform the Rainforest installation, which in 2009 became Rainforest V – a self-running installation created for Arte Alameda in Mexico City. You can read excerpts and find more information here.Ĭomposers Inside Electronics artists John Driscoll, Phil Edelstein and Matt Rogalsky have installed David Tudor's Rainforest V at Broadway 1602 gallery in New York. He has now produced a paperback edition of Nineteen +, via Amazon's self publishing platform. Some time later, Caylor Jr read a Garrison Keillor article about changes in publishing and "decided to get the thing done by my own resources”, he says. Firstly, Jason Weiss asked Caylor Jr if he could use some of it in a book he was writing about saxophonist Steve Lacy. Two events prompted him to self publish it.
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“I was disappointed and embarrassed to have bothered so many people, now my friends, for their ideas and hospitality, which were hidden away in a file folder,” he writes.
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“All I can say is that I urge you with every ounce of conviction I have to publish it,” Gleason wrote to Little Brown Company, adding that he had “read it twice and both times found it fascinating, but more than fascinating, I have found it illuminating”.įinding no takers, Caylor Jr eventually filed the book away. He finished the book in 1965 but couldn’t find anyone to publish it, despite a letter of glowing recommendation from Ralph J Gleason, rock and jazz critic and cofounder of Rolling Stone. This approach, he adds, was influenced by his friend and author John Arthur, who had developed a conversational technique of interviewing realist painters. As such, he talks to Carla Bley about the body's capacity for absorbing plastics to Giuffre about security versus substance and to Ornette about the architect Edward Durrell Stone. Why did he choose to talk to these musicians? “Each one had produced – to my thinking – moving and memorable music,” he replies, “and I could find them, meet with them and learn, first-hand, about the theory of their music and the life context of it.”Ĭaylor Jr says he let the interviews take shape by following cues in the musicians’ interests and thoughts. “The conversations are about jazz music at its centre in New York City, at a time of social unrest and accelerating change,” says Caylor Jr, via email. Called Nineteen +, it documents his meetings with Herbie Hancock, Milford Graves, Bill Evans, Steve Lacy, Paul and Carla Bley, Jimmy Giuffre and Ornette Coleman, among others, in New York City between 1964–65. Hecker Leckey Sound Voice Chimera will be released by Pan in March.ĥ0 years after he wrote it, Garth W Caylor Jr has finally published his book of jazz interviews. The collaboration is another iteration of Hecker’s recent Chimera series, where he subjects spoken texts from writers such as Reza Negarestani, Stefan Helmreich and Catherine Wood to extreme electronic manipulation, while much of Mark Leckey’s recent work has taken sound systems as an inspiration. A third channel of the installation is available as a download. Each side of the LP version features a single sound channel of the installation, with fragments of Leckey’s voice emerging from and submerging into Hecker’s dense electronic structures. The resulting installation was a hybrid of Leckey’s monologues and Hecker’s sonic structures. In its original installation context, Hecker deconstructed the vocal track of a Mark Leckey piece, GreenScreenRefrigeratorAction, on which the artist intoned the monologue of a refrigerator and patched it together with an earlier installation, 3 Channel Chronics. Called Hecker Leckey Sound Voice Chimera, Florian Hecker and Mark Leckey’s new LP is rooted in a 2011 performance event at London’s Tate Modern of the same title.