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viewing 1 To 13 of 13 items
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2CD
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BASTA 9304
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"This double CD, Anthology of Dutch Electronic Music 1999-2010, displays the diversity of the more recent Dutch electronic music: sharpening, statics, dramatic, loud, subtle, detailed.... 26 tracks represent different to approach tape music, concert music for accoustical instruments and electronics, live-electronics, sound installations and environmentals, electronic music theatre, composition and improvisation. The CD features recordings by Thomas Ankersmit, Justin Bennett, Jan-Bas Bollen, Bosch & Simons, Marko Ciciliani, Cathy van Eck, Huib Emmer, Huba de Graaff, Edwin van der Heide, Robert van Heumen, Rozalie Hirs, Luc Houtkamp, Alison Isadora, Bas Kalle, Yannis Kyriakides, Anne La Berge, Roderik de Man, Juan Parra Cancino, Gert-Jan Prins, Joel Ryan, Wouter Snoei, Kees Tazelaar, Hans Timmermans, René Uijlenhoet, Henry Vega and Michel Waisvisz. An essay and annotations by Jacqueline Oskamp compliment the music for this release."
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CD
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BASTA 9189
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"Dave Harris played tenor sax in Raymond Scott's legendary late 1930s six-man 'Quintette.' Over a long career as a sought-after session musician in New York and L.A., Harris (1913-2002) released only one record as a bandleader. That was Dinner Music For A Pack Of Hungry Cannibals in 1958, and it was a tribute to his old boss, for whom he held deep respect. Harris and the Powerhouse Five recaptured the manic elegance and rhythmic wit of twelve classic Scott tunes. Nostalgia was the inspiration, but sharp musicianship and a celebratory gusto mark this album as a missing link in the Scott legacy. Basta presents the first CD reissue of this long out of print album. When Raymond Scott organized his Quintette, he recruited CBS Radio Orchestra compatriot Harris. The group was short-lived -- in 1939, Scott expanded the group into a swing orchestra. However, the original RSQ created a sensation during its brief existence, and left a lasting impact on music history. Scott composed 'portraits in music,' programmatic novelties with eccentric titles like 'War Dance for Wooden Indians,' 'Reckless Night on Board an Ocean Liner,' and 'In An 18th Century Drawing Room.' A dozen tunes from this group's repertoire were later adapted by Warner Bros. music director Carl Stalling in hundreds of classic Looney Tunes and Merrie Melodies cartoons. Thus was the RSQ's legacy -- quite apart from the bandleader's own efforts -- preserved for future generations. One title, 'Powerhouse,' has become a staple of cartoon fare, having been used in The Simpsons, Ren & Stimpy, and Animaniacs, as well as in forty anarchic WB shorts and several major motion pictures. In addition to leading a succession of orchestras, Scott composed a Broadway musical in 1946, conducted orchestra on TV's Your Hit Parade in the 1950s, and was a pioneer in electronic music development. But in late-life interviews, he professed that his 1937-1939 Quintette was his favorite band. That opinion was doubtless shared by Harris, who always spoke fondly of working under Scott. Such was Harris' affection for this band that in 1958 he organized a sextet, called his sidemen the Powerhouse Five, and recorded an album of RSQ favorites in modern high fidelity. After the RSQ, Harris remained with Scott's first swing band, then compiled an impressive résumé as a session player on radio and TV, and in the recording studio. In a career that extended into the 1970s, he worked with Billie Holiday, Gene Krupa, Eddie Cantor, Mickey Katz, Stan Webb, Russ Case, Bob Haggart and countless others. As a director with a musical pedigree, Harris, on Dinner Music For A Pack Of Hungry Cannibals, maintains the high standards set by his old boss, recapturing the spunk, energy, and humor of the original RSQ. While there's an obvious element of nostalgia at play, don't underestimate the joyfulness and craftsmanship of these performances."
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CD
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BASTA 9187
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"Raymond Scott's reputation as a 20th century musical maverick has grown in the 21st century. Sometimes considered the 'Man Who Made Cartoons Swing' because dozens of his melodies were enshrined in classic Warner Bros. animation of the 1940s and '50s, Raymond Scott was a man of numerous accomplishments: chamber-jazz composer, big band leader, electronica pioneer, intrepid audio engineer, music visionary. Scott's 100th birthday is celebrated in 2008, and Basta is planning a series of compilations of unreleased archival recordings, reissues, and remix projects. Scott (1908-1994), who was both musician and inventor, musically re-invented eleven of his compositions for full orchestra and strings on the 1957 album This Time With Strings. It is now being released as part of Basta's Essential Reissue Series -- the first time the album has appeared on CD. Many of these tunes were originally recorded by Scott's novelty jazz six-man Quintette in the late 1930s; others date from the 1940s and '50s. All get a spectacular makeover under the baton of the legendary maestro. This Time With Stringscontains some of Scott's most famous works, including Quintette favorites 'Powerhouse,' 'The Toy Trumpet,' and 'Twilight in Turkey,' retooled for an expanded setting. 'There are many of the old Quintette things in this LP,' said the composer in the original liner notes. 'Also some older things for dance band, material written for Broadway and the screen, and some of my more recent writing. Indeed, a potpourri given hi-fidelity dressing, and a certain vividness in string treatment.' The CD booklet includes the complete original liner notes by jazz historian Burt Korall. The album was recorded in glorious monophonic sound, which is retained on CD. No artificial processing. Crank up the hi-fi!"
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4x7" BOX
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BASTA 9055
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Limited, numbered edition of 1000 copies, housed in an embossed red velvet box. This boxset reissues 4 original 7"s as first issued by Philips in the late '50s/early '60s, with exact repros of the original picture sleeves, liner notes and labels. This music was previously compiled on the 4CD compilation box set Popular Electronics: Early Dutch Electronic Music From Philips Research Laboratories (1956-1963), as released on Basta in 2004. Historical, long desired early electronic music from legendary Dutch composers. Included here are: H. Badings, Electronic Ballet Music: Cain and Abel (1956); Kid Baltan, Electronic Popular Music (1957); Tom Dissevelt, Electronic Movements (1958); Tom Dissevelt/Kid Baltan, Electronic Music (1961). Expensive, but excessively deluxe and very costly to manufacture; a one-of-a-kind artifact that you will have a hard time believing really exists!
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CD
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BASTA 9166
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"STRP is based in the technological area of Eindhoven. Strijp-S, the characteristic industrial inheritance from Philips, forms the cradle of this region. On this spot, revolutionary inventions which have had an enormous impact on several art forms, were realized. Electronic music composer Dick Raaijmakers completed the first electronic music album almost 50 years ago at Strijp-S. His work has been remixed or reinterpreted by renowned contemporary musicians from different scenes. The result of it has brought out on this CD." Artists include: Keith Fullerton Whitman, Mouse on Mars, Jason Forrest, Phantom Orchid (Zeena Parkins and Ikue Mori), David Grubbs, Yutaka Makino, Thurston Moore, Atom TM, Isolée, Beautyon, Kettel and Secede, Edwin van der Heide, Taeji Sawai and Vert.
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4CD/BOOK
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BASTA 9165
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We're always running out of words to complement Basta's packaging, but this is really something: beautifully printed 255-page hardcover book, with 4 CDs in a supplementary folder. The music here was recorded in 2001 by the Metropole Orchestra, conducted by Jan Stulen. "Between 13 and 25 December 1923 the Gurdjieff Institute gave a series of eight public demonstrations of the Sacred Gymnastics and Movements at the Théâtre des Champs Elysées in Paris. The music, composed by Gurdjieff to accompany these dances, was orchestrated by Thomas de Hartmann and performed by an orchestra of thirty-five musicians. In January 1924, Gurdjieff and his pupils sailed to America for a series of public demonstrations in New York, Boston and Chicago. At Gurdjieff's request, de Hartmann adapted the full orchestral scores for a smaller ensemble that would accompany the demonstrations there. The four CDs enclosed with this book contain both the Paris orchestrations and the American versions, all recorded for the first time by the Metropole Orchestra and the Little Orchestra. An addenda section features music that was intended for Gurdjieff's unfinished ballet 'The Struggle of the Magicians.' In order to complete the reconstruction of the orchestral Gurdjieff/de Hartmann music, the Oriental Suite, compiled by de Hartmann in 1956, is included as well. The 255-page book is profusely illustrated with many new photos and unique historical documents. It further contains recollections of people who were present when these demonstrations were given, as well as a sampling of the extensive press coverage that the Gurdjieff Institute generated during its first (and final) public appearance."
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3CD
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BASTA 9115
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Subtitled: The Complete Harmonium Recordings 1948-1949. 2 regular CDs, an MP3-disc (with 19 hours of music & visuals), plus a 144 page illustrated paperback book on Gurdjieff and his harmonium recordings. This is the first release of this music (there have been numerous releases of Gurdjieff's earlier piano music from the 1920s, usually performed by Thomas de Hartmann), documented to the usual high Basta standards. "Basta Audio Visuals is proud to announce the release of George Gurdjieff's complete harmonium recordings. In September 2000, at the instigation of producer Gert-Jan Blom, Basta Music obtained the license of the 44 master-tapes containing Gurdjieff's complete recorded output from Mme. Sylvie Anastasieff, widow of Valentin Anastasieff, Gurdjieff's nephew. The 113 recordings on these tapes are sequenced in four series: I: First Series - recorded between 1 April and 21 July 1949; II: Mesoteric Series - recorded between 22 July and 18 August 1949; III: American Series - recorded between 25 August and 27 September 1949; IV: Second Series - recorded between 27 September and 16 October 1949. These were recorded at Gurdjieff's apartment in Paris. Additionally, the very first recordings of Gurdjieff's harmonium music -- made at the Wellington Hotel, New York, between 25 December 1948 and early February 1949 -- have been added to this collection with the consent of the Gurdjieff Foundation of New York. These New York recordings also include several talks and stories as told by Gurdjieff to his pupils.
An addenda section containing several interesting, albeit unlabeled pieces from the original wire recordings brings the grand total to 136 recordings, over 19 hours of music, all brought together in chronological sequence on a single disc in 'MP3' format. As a special bonus, a short 9-minute film made by Evelyn Sutta on several automobile trips with Gurdjieff during the summer of 1949 has been added. This disc will play on any computer with MP3 software installed and on most recent DVD players. An extra 2 CD set in standard audio format contains a representative compilation of the recordings; these discs will play on any CD player. This unique collection comes with an attractive and profusely illustrated 144-page book with many previously unpublished photographs of Gurdjieff and recollections of people who were present when these recordings were made. It further contains several chapters by Gert-Jan Blom about the process of selecting and sequencing the tracks, audio restoration of the recordings, the history of Gurdjieff's harmonium music, transcriptions of Gurdjieff's stories and an extensive track notes-section. The book has a preface by King Crimson guitarist, Guitar Craft instructor and Soundscaper Robert Fripp."
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CD
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BASTA 9145
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"In 1979, Blonk first heard the ursonate as read by Dutch actor Hans Hausdorfer. Over the following years he took to learning the piece by heart, bit by bit, in such a way that each segment acquired an individual meaning for him. For a long time, the Schwitters estate did not give permission to issue recordings of his works. Only in 2002 the ban was lifted and the performing and publishing rights were turned over to a foundation based in the Sprengel Museum in Hannover, the Kurt und Ernst Schwitters Stiftung. This meant that, finally, Blonk's 1986 studio recording could be made available to the public. On the present CD, Blonk decided to add a recent recording of the sonata. For reasons of contrast he chose a live recording from 2003, made in a richly reverberant space. It is complete and unedited, spiced with the inevitable odd slip of the tongue that helps keeping a live performance alive." Published with 36 page booklet, including complete libretto.
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CD
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BASTA 9106
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"In 1959, Raymond Scott assembled an anonymous all-star band and dubbed them The Secret Seven. With this group of top jazz players, he recorded the album The Unexpected. For nearly 45 years the identity of the Secret Seven line-up has remained a mystery, but as Nat Henthoff wrote in the liner notes, 'Jazz listeners should recognize the identity of the performers.' This is another CD in Basta's Essential Reissue series, complete with the original liner notes & original cover artwork."
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CD
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BASTA 9113
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"The name Jean Jacques Perrey should be immediately familiar to electronic music fans, particularly those who are aware of the Moog synthesizer's golden age of the '60s and '70s, when Moog synthesizer records were plentiful in record stores. But unlike most of those LPs -- which usually covered other artists' tunes from the Beatles to Bacharach to Bach and beyond -- Perrey's albums were mostly filled with catchy, incredibly happy original tunes showcasing Perrey's wacky musical sense of humor. From 1966 to 1970, Perrey released four LPs for Vanguard -- two with arranger Kingsley, and two by himself as a solo artist. In addition to their records for Vanguard, during the early '60s, Perrey and Gershon Kingsley also created many commercials for radio and television. Around 1970, Perrey's contract with Vanguard ended, and he returned home to France. When Chazam became fascinated with Perrey's music, he sent a cassette of some of his own electronic music to Perrey, and proposed that they collaborate on an album. Perrey's reply was positive and said simply 'When, where and how?' Perrey joined Chazam in the studio, bringing his prepared tape loops (digitally loaded into his Kurzweil synthesizer/sampler), but bringing no actual tunes to record. Instead, he arrived with what he calls 'several cine-reels in my head.' These 'cine-reels,' as Perrey calls them, were little movies -- imaginary pictures and conceptual ideas that Perrey wanted to orchestrate with music. He would describe the feel of the music needed, and Chazam would come up with an appropriate rhythm track. David Chazam: 'This album was produced by a person who loves Jean Jacques' music -- me! I wanted to present his music with some nice modern technical tricks, but I also tried to recreate the classic analog sound of his Vanguard recordings. I wanted to help him create an album that I hoped would be timeless, and wouldn't sound dated many years from now.' Jean Jacques Perrey's music for Eclektronics is a perfect blend of the style of his classic '60s melodies blended with more modern, groove-oriented samples and production techniques."
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CD
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BASTA 9097
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"Collection of originally unrecorded orchestral arrangements of classic Raymond Scott charts (newly recorded here by the 60-piece Metropole Orchestra featuring the Beau Hunks Saxtette) commissioned by Paul Whiteman from his orchestrating staff between 1937 & 1938. Scott-quintet Chestnuts such as 'Powerhouse' (two separate versions), 'Dinner Music for a Pack of Hungry Cannibals', 'The Toy Trumpet', 'Twilight in Turkey', and 'Reckless Night on Board an Ocean Liner' here get recontextualized into denser, sophisticated takes on the now-familiar themes & variations. Things get pretty 'lush' after a few tracks, but if you've waded in this deep into the Raymond Scott (kiddie) pool, you might as well touch the other end." -- Hrvatski.
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CD
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BASTA 9031
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"CD reissue of the legendary vinyl album with which French composer/arranger André Popp explored the boundaries of audio technology back in 1957. Old tunes like 'La Paloma' and Beer Barrel Polka' were reinvented by way of weird orchestrations and sound effects. The result: a milestone of musical creativity." Utilizing half-speed, double speed and backwards recording techniques, for trombones, vocals, vibraphones, flutes, saxes, trumpets, tape delay, accordion, etc. Following swiped from the pen of Johan Kugelberg!: "This record is the créme de la créme of fucked up musique concrete/easy listening records. Any avant garde tape manipulation technique to known to man in the late 50s is utilized to the fullest extent of the law of ridiculousness."
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CD
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BASTA 9057
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"New recordings by the Dutch Metropole Orchestra of original works by French composer/arranger André Popp from the fifties and early sixties. Most of these funny and cleverly arranged compositions were originally written for Popp's own radio orchestra." Produced by Gert-Jan Blom and released in 1996, covering various Popp works from 1952-62.
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