John White / Gavin Bryars - "Machine Music" Vinyl, LP, Album, UK, 1978/1976 (Obscure Records)

Although no one will mistake Brian Eno as precisely as a pop star, yet, he is in a sense, but of course with that something extra, which is his interest in Experimental or new music.  In the mid-70s Eno started a record label, Obscure Records, to focus on modern music composers, most of them are British, and very much in Eno's social and music world.   One interesting album (of many fascinating titles) is  the John White and Gavin Bryars album "Machine Music."  

White is by design a minimalist composer, but I find labels too limiting and not very accurate in the sounds one hears.   On side one he has four pieces.  The opening cut is "Autumn Countdown Machine" which is a playful series of notes between a Bassoon, Double Bass, and Tuba that has a sound of various percussion instruments and a metronome underlining the main instrumentation.  To me, I can tell it's British because of its character.  It's a funny piece, but beautiful as well.  Perhaps it's that dynamics that gives this work such character.  "Son of Gothic Cord" is a piano piece played by White and Christopher Hobbs.  It reminds me of a bit of a Steve Reich piano work, but usually, his music is based on another culture, this I think is more numeral orientated or with a strict system in place.  It has an echo that fills the room. One thought but with four hands.  "Jew's Harp Machine" is sort of a super session with White, Michael Nyman, Gavin Bryars, and Christopher Hobbs (the Obscure house band!) all playing Jew's Harp, in a rhythmic fashion that has echo and delay (at least to my ears).  "Drinking and Hooting Machine" is a bottle blowing composition and it's eerie, and I can imagine this being heard over a rural countryside, with nothing but owls looking down on the musicians.  

On side two we have one composition by Gavin Bryars which is all guitars.  Played by Bryars, the great Derek Bailey, the amazing Fred Frith, and professional beginner Brian Eno, called "The Squirrel and the Ricketty Racketty Bridge."  A riff that reminds me a bit of White's first composition on the other side "Autumn Countdown Machine."   Four types of guitars that have separate and distinctive sounds that has a beautiful layered aural presence.  Not The Ventures or The Shadows mind you, but still a fresh piece of music.   

Obscure Records had only eight or nine releases but all of them are real gems, and it's excellent to re-hear them in 2019.   Eno should be applauded for presenting new music in such a fashion that's enticing and thrilling at the same time. 

John Zorn - "Naked City" CD, Album, U.S., 1990 (Nonesuch)

When I was living in Japan in 1989/1990, it was impossible to go to a good music store and not run into a large John Zorn section.  Zorn at the time had a Japanese label and was living in Osaka.  Me, having a lot of time on my hands, started to investigate the world of Zorn, which is (and still) like jumping into Alice's rabbit hole.  One never knows what they will find at the end of that hole.  The one CD I purchased was Zorn's "Naked City," which is also the name of his all-star band.  Fred Frith on bass (mostly known as a guitarist), Bill Frisell on guitar, Wayne Horvitz on Keyboards, and Joey Baron on drums Zorn on sax, with the Boredoms' Yamatsuka Eye on vocals.   At the time, I thought this would be a good introduction to the world of John Zorn, and I still think it's a great starter to the Zorn aesthetic. 

"Naked City" is a mishmash of different music styles.  Listening to the album for the first time is like going from one neighborhood to another and not being able to distinguish the differences between the areas, due to the speed of the journey.   Ultra hyper, noisy, and extreme melodic beauty all at the same time.   I never really heard music like this before, and hearing it in a foreign (at the time) land added a unique sense of intensity for me.   The very first Zorn album I purchased was in the 1980s, and it was his tribute/take on Ennio Morricone's music.  This was my first introduction to the world of Morricone, so it's interesting to be introduced to the iconic Italian genius through the medium of another genius Zorn.  

All the pieces here are short, and a burst of energy.  Even Georges Delerue's "Contempt" theme which is a beauty of a melody is done at a faster pace.   I have seen the Godard film but was never aware of the music piece till I heard this recording.  Now, I'm obsessed with getting any version of this melody on vinyl.  That with the theme of "Batman," The James Bond Theme," Mancini's "A Shot in the Dark," and the great "The Sicilian Clan" by Morricone.   Zorn, without a doubt, introduced me to the world of soundtracks.   The Morricone tribute album opened the door, and "Naked City" nailed me down for life. 

The Zorn compositions on the album are soundtracked based, but with distinct experimental or free jazz traces, but still held consistently by the insanely tight playing by the band.  So here you have music of great beauty, punk rock, experimental, and free-form jazz, with a touch of noise, courtesy of Eye the vocalist.   A great album with fantastic graphics (normal with Zorn's recordings) and for me, a wonderful introduction to not only to Zorn's compositions and playing but to the deep-end world of soundtrack music.