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viewing 1 To 25 of 103 items
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JBH 104LP
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Limited black vinyl. Full color sleeve with unseen pics of Ron Geesin in his studio doing math stuff on the back. Ron Geesin made this kooky electro groovy score to a really progressive math educational program on Central TV in 1980, and it's musically anarchic and amazing, and it's never been issued before. Until now.
"Basic Maths was the second educational TV Series for the Midlands-based ITV station for which I composed, played and recorded all music and noises. The first series, also for budding mathematicians in the 7-10 age group, was Leapfrog in 1978 produced by ATV (Associated Television): Basic Maths was for the newly-formed Central Television, the work spanning 1980-1981; both series were of twenty-eight parts. The most-worthy idea for both of these series was to project mathematics into life by means mainly of non-verbal sound and vision, with both animated and live action films, linked by two presenters, Fred Harris and Mary Waterhouse. In my role as media composer, I had had quite enough of voice overs, therefore music well under, so this fairly radical educational approach at the time encouraged my creative juices to run unhindered. Of course, the sound had to do something with the picture and not just use it as a carrier for peacock display. It had to duet, play with and explain the visual content using novel and engaging techniques, so this involved the usual and sometimes intricate mathematical calculations which constantly exercised my already reasonable school maths." --Ron Geesin
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JBH 105LP
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Two sublime unreleased scores from Basil Kirchin. The next Trunk/Kirchin assignment. Basically some more unreleased music from the unpredictable and slightly chaotic Kirchin Tape Archive. These tapes were labelled up as follows: Assignment K (with lots of pencil scribbles everywhere); The Strange Affair (with lots of pen scribbles everywhere). As usual with Basil tapes/things there is little else to go on, no tracklist, no list of musicians, no singer names, no dates or anything. Assignment K dates from 1968, and was a film about a toy maker who has a double life as an international spy. It was directed by Val Guest, who'd just finished trying to rescue the cinematic hotchpotch that was Casino Royale -- he had been brought in by the Bond producers after Peter Sellers had walked off the movie. As for the Kirchin score here, there is very little information, apart from the fact that the bass player was Ron Prentice (an ex blacksmith turned musician and craftsman) who worked on several Bond scores. The Strange Affair is also from 1968, and was not only controversial but also a reasonably unsuccessful movie. Directed by David Greene who also directed, amongst other films, I Start Counting and the brilliant Sebastian. In this rather grubby flick a policeman called Peter Strange (played by Michael York) falls for an underage girl (played by Susan George), finds himself compromised by a pair of pornographers and gets lured into an errand for a smack gang. This music has all the classic Kirchin mid-period sonic hallmarks that have always set him apart.
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JBH 098LP
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Incredible jazz/prog/folk score to groundbreaking film Tattoo by maverick filmmaker John Samson, unreleased until now. John Samson (1946 - 2004) was a documentary filmmaker. He was educated first at Glasgow School Of Art (circa 1963) and in the art of film making at The National Film And Television School in Beaconsfield. It was at the NFTS that Samson met Mike Wallington, who was to become his right-hand man and eventual producer; together they made a handful of inspiring, entertaining and hugely prescient films about important, overlooked, unseen and marginal fringes in society. Tattoo (1975) explored the rather clandestine world of tattooing in the UK. Samson managed to navigate his way with compassion, interest and subtlety, immersing himself in the chosen scene and producing moving, fascinating and sometimes darkly amusing situations. His documentaries did not rely on traditional voiceovers, with stories, facts and narrative threads being dictated by the subjects. This score was written by Steve Jolliffe, who met Samson at the NFTS. Joliffe was the resident composer and had a room at the college complex where he could work on scores for the fledgling film makers. Jolliffe was and still is a multi-instrumentalist and prolific composer who had met Edgar Froese at the Berlin Konservatorium in the late 1960s and played in an early incarnation of Tangerine Dream. He toured with blues rock outfit Steamhammer, before hanging out at the NFTS, making this recording (and many others) and eventually rejoining Tangerine Dream in the late 1970s. Musically, this score is charming, slightly folky, and a touch baroque, with a whiff of prog. The images for this vinyl release were all found in Mike Wallington's Tattoo documentary research folder from 1974, and were photos sent in to Mike and John by people who wanted to feature in the film.
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JBH 099LP
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2024 limited restock. Released in 1969, this is probably the best modern British jazz LP of all time. A beguiling mix of East meets West rhythms, ideas and joy, repressed with an authentic flip back sleeve. A sax player hailing from the Jamaican Alpha School. A sublime guitarist from Mumbai. A tight quintet with special guests that include Norma Winstone on improvised wordless vocals. One session, 1969, at the very peak of British jazz invention and sound. This album is brilliant and addictive in so many ways. It really does not get batter. Miss this at your peril.
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JBH 100LP
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First ever release of the scariest, most inappropriate and possibly most influential kids TV music of all time. When Children of the Stones (AKA COTS) was first shown on kids TV back in 1977, just about anyone who watched was scared shitless. The seven-part drama centered around disturbing happenings in a strange pagan village of very weird and unusually happy people, all set in the midst of the stone circle at Avebury -- known as Milbury for the show. The series shown across British TV (and USA TV in 1980) would scar, disturb, and influence an entire generation. Without COTS it's unlikely there would be hauntology, a relentless interest spooky folk stuff, stone circle clubs, weird walks, and a hunger for such pagan oddities everywhere. And COTS really is the key TV series in many of these modern movements, way before The Wicker Man. Even though The Wicker Man was released in 1973, it was an adult film only released to a few cinemas. Very few people saw it and its influence really started in the late 1990s with the first release of the music. Whereas COTS, on the other hand, was show at 5PM, on schooldays, to a whole nation of impressionable kids, who had never seen or heard anything quite like it. The power of COTS runs deep. So much so Stewart Lee made a whole documentary about it. The release of this long-awaited album will be a "Happy Day" for many. According to rumor, the director of the show was listening to Penderecki as he first approached Avebury to scope out locations. Sidney Sager and The Ambrosian Singers produced and avant-garde and often quite oddly terrifying sequence of vocal drones and dramatic peaks based on ancient Icelandic singular word "Hadave". And yes, it's still scary. There is only 17 minutes of music throughout the series, so Trunk have fitted it all onto a one-sided LP. Artwork is by Julian House, legendary hauntologist (Belbury Poly, etc.) and the man behind some of the greatest spooky band artwork of all time: Stereolab, Broadcast, Primal Scream, etc. Sleeve notes by Stewart Lee and inner sleeve notes by Alan Gubby of Buried Treasure Records. 17 cues in all, plus the bonus HTV West jingle by Radiophonic Workshop GOD John Baker. One-sided black vinyl.
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JBH 097LP
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Sublime unreleased soundtrack by Ron Geesin for one of the most important and controversial films in British cinema history. Side one is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson, and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well-adjusted and at peace with his sexuality. Features Bridget St. John on two tracks. The music on side two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called Viv it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards's rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was -- and wearing his Rasta sweatbands of gold, green and, red, was inspirational. The documentary was later re-titled Viv Richards - King Of Cricket for the video market. The last six cues of side two are from a 1970 BBC Omnibus film Shapes In A Wilderness. Directed by Tristram Powell, this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron's finely tuned accompaniment. The music confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians). Sleeve art taken from the 1971 film poster.
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JBH 094LP
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Reissue, originally released in 1977. Mythically rare British album from the late 1970s, only a handful of original copies have ever been found. This is because a 1977 British jazz album that looked like a 1970 prog album that was issued on a brand-new label that didn't know what it was really doing, so it was never going to sell. And it didn't. But this is a unique jazz/fusion album from the period, sounding like an incredibly hip 1973 library LP, all super funky, occasionally dark, atmospheric, and very hip indeed. Performed by a killer line-up of top musicians, including the legendary Barbara Thompson. Reproduction of classic and super rare UK only original with new and very informative sleeve notes.
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JBH 090LP
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2022 restock. "Before I go on about this, musically it is outstanding. Amazing. Groovy. Weird, Pastoral. Jazz. Funky. Modal. And all at the same time. So, some history and context for you. Bartleby or rather Bartleby The Scrivener: A Story Of Wall Street started life as a short anonymous work written for publication in 1853. Its first appearance was over two installments that year, in the November and December issues of Putnam's Monthly Magazine. The Bartleby story is simple -- a Wall Street firm hires a scrivener by the name of Bartleby, who, after joining, refuses to do any work at all, using 'I'd prefer not to' as his ongoing and effective excuse (a bit like my kids all the time in fact). This infuriates all the other staff and the situation spirals into madness. Bartleby appeared three years later as a short story in The Piazza Tales, revealing the writer to be Herman Melville. Since then, it has risen in stature, and has been firmly placed as a short form classic. It offers readers a subtle journey into mental illness and explores isolation in the work place and in society in general. It's not a particularly cheerful read, but Melville's subject matter and observations are more relevant now than ever. Over the years the story has been adapted for radio, stage and screen. In 1970 a filmed version was made in the UK, transporting Bartleby from New York to London, and from the 19th Century to the late 1960s. Starring Paul Scofield (as the accountant) and John McEnery (as Bartleby) it offered a stark, depressing and darkly comic view of office life, ending in a hunger strike and ultimately death. So not a swinging London movie by any stretch of the imagination. The film was shot around London Wall and was produced via Twickenham Studios (for interiors shots), which was a commercial set up co-owned by Kenneth Shipman. One of his fledgling composers at the time was pianist Roger Webb (1934-2002), who put together a most extraordinary and effective soundtrack. To my ears it's a mixture of jazz and British pastoral sadness. A perfect blend of late 1960s jazz underground and brooding depression. This is the first time this Bartleby score has ever been issued. It sounds incredible. In 35 years of collecting and listening to film music and library music, I have never come across anything quite like it before. If you have, can you let me know what it is. Unless of course, you prefer not to. Thanks for listening." --Jonny Trunk, 2021
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JBH 088LP
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2021 repress on orange vinyl forthcoming... Rare musical magic from the Bruton library catalog -- ambient, spacey, pastoral, and electronic. Music by John Cameron, Alan Hawkshaw, Francis Monkman, Brian Bennett, and more -- all total masters of the scene. Over the last three decades Jonny Trunk has collected and written about library music. But he's never had a great deal of luck with the Bruton catalog. By this he means that he's never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their "TV Training Department" near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn't want the records, so Jonny got a call. There are lots of Bruton albums in existence -- over 330 LPs in the vinyl catalog, issued between 1978 and 1985. That's a lot of music to wade through if you are looking for sublime modern-day sounds. For many years now the "trophies" from the Bruton catalog have been the beat or action driven LPs -- the two Drama Montage (BRJ2 and BRJ8) albums have always been the big hitters, and others such as High Adventure (BRK2) too. But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was painting a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of experimental futuristic electronics and would remind him of 1980s TV backgrounds. This LP series includes Brian Bennett's cosmic classic Fantasia (BRI 10). Jonny has been known to refer to this style of library music as "Krypton Factor library", because it's exactly what that strange but successful 1980s TV quiz show sounded like. Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month's wages, but it also chops out the need to listen to other tracks on library albums that are nowhere near as good. The cues here all date from between 1978 and 1984. Clear vinyl; edition of 500. Also features Frank Ricotti, Johnny Scott, Frank Reidy / Eric Allen, Les Hurdle / Frank Ricotti, Orlando Kimber / John Keliehor, and Steve Gray.
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JBH 083LP
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Incredible follow-up to the sold-out Tapes 1 (JBH 065LP, 2017), this vinyl continuation takes you deeper into the sublime world of the cult Dutch director Frans Zwartjes' soundtrack tape archive; dream-like, disjointed, disturbing, peculiar, sexy, unexpected, and totally unique. Frans Zwartjes is famous for his art-house films. A Dutch underground auteur, his prolific output dates from 1968. A unique talent, Zwartjes produced, directed, and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes and his large body of work is only now being recognized by a wider, more international crowd with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 2 were mixed directly from the Zwartjes soundtrack tape archive. They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and have never been issued before. The music and sound have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient, and unlike any other soundtrack you have heard. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Includes download.
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7"
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TTT 015EP
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Originally written and released by Woody Guthrie in 1947, this cover version of "Pastures Of Plenty" by Pete Tevis -- a Californian folk singer living in Rome in 1962 -- was arranged by Ennio Morricone. A few years later, Sergio Leone wanted Morricone to score his up and coming western called A Fistful Of Dollars (1964). Legend has it, Morricone wrote some music, Leone hated it. Morricone then played him this old single. Leone wanted this music but with a new melody over the top. The rest is film music history. This is the first ever repress of this hugely important single since 1962. Original copies are mythical to say the least. First pressing since 1962.
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JBH 055LP
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2021 repress, with new remastered sound. First issued by Trunk Records in 2014, Tam... Tam... Tam...! is an incredibly rare Brazilian LP by José Prates and Miecio Askanasy. Issued only once in 1958 as a souvenir from Meicio Askansay's Braziliana, this remarkable exotic and insanely rare LP is the blueprint of the Brazilian sound that was to come over the next decade. Here you will hear the origins of "Mas-Que-Nada" along with chords, rhythms and sounds that with be strangely familiar to you. But nothing sounds quite like Tam... Tam... Tam...! Tam... Tam... Tam...! is a landmark in the development of the Brazilian sound that would explode around the world in the decade to follow. It's stunning both as a historical touchstone and as a standalone musical triumph. The infectious rhythms, melodies, and exotic sounds that fill this album are deep, raw, and totally engaging. This new master was taken from the "Egon" original, this is Egon from Now-Again, who has a rare original in near perfect condition. This is a cleaner fresher sound than the first issue.
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JBH 087LP
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2021 restock. Sublime, unique, sexy, and peculiar unreleased scores by electronic and jazz pioneer Ron Geesin, made for the films by maverick director Stephen Dwoskin. Geesin made great music and worked with Pink Floyd. Dwoskin made odd films, most of them are in the BFI permanent collection. These superb unreleased soundtracks come from a fascinating, progressive, and important period in British film history. They represent an intriguing collaboration between the lively Ron Geesin from Scotland and the American Stephen Dwoskin, who both met in London. Musically they are minimal, charismatic, and quite groundbreaking. Ron's soundtracks for Dwoskin' films, recorded in the Geesins's flat, encompassed Ron's very eclectic range of styles -- madcap piano and fretted banjo as well as tape manipulation. Aside from Ron's soundtracks, some of which belong to films that no longer exist (including Pot-Boiler). There was no London equivalent to the underground film scene that Dwoskin had known in New York, and his films remained unseen until such a scene began to come into being, in the autumn of 1966. Some of them made their debut at the Mercury Theatre, near Notting Hill Gate, that September. Dwoskin wrote Alone, starring Zelda Nelson (from Ron Rice's Chumlum), and Chinese Checkers, with Beverly Grant and Dwoskin's friend Joan Adler. Soon both Dwoskin and Geesin became involved in the nascent London Film-Makers' Co-op, which put on screenings in Better Books on Charing Cross Road. In the same autumn, Dwoskin moved into a flat almost opposite the Geesins on Elgin Crescent. More collaborations followed, including Naissant, on which Gavin Bryars, whom Geesin had met during a stint on the northern club circuit with novelty act Dr Crock and His Crackpots, played double bass. Around the end of 1967, Geesin released his first solo LP, A Raise of Eyebrows, and Dwoskin won recognition at the Fourth Experimental Film Competition, aka EXPRMNTL 4, an occasional film festival staged at Knokke-le-Zoute in Belgium. By now the films had optical soundtracks. For Moment, a single-shot film, Geesin provided his most experimental score yet. At the time of its debut in 1970, Dwoskin and the Geesins were sharing a house in Ladbroke Grove. By then, Ron was working with Pink Floyd, and soon afterwards he and Frankie moved out to the country, to be replaced by Bryars both in the house and as Dwoskin's principal collaborator. Until now these scores have remained part of the Geesin Archive and have never been issued. Sleeve notes by Ron Geesin.
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JBH 085LP
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Three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation, and much more from the master of such things. The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now. "Pat's Pigs" actually sounds like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat's pigs. This whole tape recording may have been an early experiment towards what was to become Kirchin's Worlds Within Worlds Parts I and II (JBH 080LP). A lot of Basil's work was headed in that direction. "Electronic" is not that electronic. There are elements of the classic Basil Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the WWW concept. "The Suspended Fourth" comes across like a soundtrack. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It's very well produced, possibly built up and improvised over a few days. The tape itself states that this is The Suspended Forth with a subtitle: "The Musical Study Of A Mind, Part 1 Schizophrenia". It therefore could be something to do with a soundtrack he was asked to make for a mental health conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, -- the British jazz musical line seems like it could well be the very same). The original title for this album and the artwork come from an empty tape box from the archive, which sums up all sorts of things about Basil, his music, and the tape archive all at the same time. More reel discoveries will follow. Full color sleeve with sleevenotes.
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JBH 086LP
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What the fuck is going on here? Sounds totally insane. Like it was made by a cage of techno chimps or minions or something. Not sure it should even be allowed. It absolutely cannot be compared to anything. Malcolm Goldie makes all sorts of things, including music. He makes lots of music in fact, for stuff like those Adidas trainers you are wearing, or those Nike Football boots worn by International soccer superstars. When these companies need something totally off the fucking wall for their kooky advertising films, Malcolm normally gets the call. He is a master of the cut and sonic stick, the accurate and intensely random, he makes the bizarre effortlessly more so. Jonny Trunk has known Malcolm a long time, so he thought it would be a groovy idea to ask Malcolm to make his debut LP for Trunk Records. And this totally unusual set of cues proves that this was not just a good idea, but it proves that Malcolm does actually have a DeLorean and has traveled to the future, made an LP, brought it back and given it to the world now. This is the future. Right now. A new sonic language even.
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JBH 079LP
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2021 restock. Unreleased masterpiece by Roy Budd, the master of British 1970s scores. Composed and recorded in 1974, The Internecine Project is a truly classic Roy Budd score, released here and now on vinyl (and on any format) for the very first time. And it's worth buying just for the totally sublime track called "Mr Easy". Coming from the peak Roy Budd period -- post Get Carter (1971) and pre Diamonds (1976) -- this score neatly bridges the two with Carter-style hypnotic, jazz-driven cues and superb Diamonds-style drama. The film itself was a slick British thriller directed by Ken Hughes, set in a gray, gloomy London and based around espionage and murder. The plot is simple; former spy Robert Elliot (the ice cool James Coburn -- with interesting facial hair and equally as interesting wardrobe) is given a big government job. In order to cut all questionable ties and clean up his rather grubby past he devises a plan in which all of his dodgy associates unwittingly kill each other on the same night -- and in alphabetical order. The film's unusual and often misspelt name comes from the word internecine -- the definition of which is conflict within a group. Full color sleeve; includes sleeve notes.
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JBH 084LP
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Mechanical Keyboard Sounds: Recordings of Bespoke and Customized Mechanical Keyboards is made and recorded by the master of this modern art, Nathan from Taeha Types. Yes, this is actual typing sounds on amazing future/retro/cutting edge keyboards, every track and keyboard different. Listen and weep, or sleep, or something to this incredible and unique listening experience -- the first mechanical keyboard album ever. For the last few years a small scene has been growing: the mechanical keyboard scene. It makes total sense as most people use keyboards every day, so why not have an amazing keyboard to use instead of total crap? Just look down: it's shit, isn't it? Some people worked out that things could be improved -- a lot. They started to make incredible, kinky keyboards, using both old and new tech: the possibilities and options in construction are endless. There are key cap options, spring options, and even backplate options (steel, aluminum, copper), and of course, case options too. All these options make a big or little difference. Once made these keyboards are carefully lubricated spring by spring to give them that little extra smoothness and "ping". The results are beautiful, fetishistic, and futuristic in an odd retro style, and they sound amazing when they are typed on. This is classic ASMR/whisper porn; the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of the neck rise. Either that or wooed into a peaceful, sublime state. This is a classic and groundbreaking new Trunk album for modern stressful times, from a selection of (enhanced) keyboards from the '80s, '90s, and now. They were recorded by the master maker of the modern mechanical keyboard, Nathan from Taeha Types. He has a large following on Instagram, YouTube (videos of his hands typing on his keyboards hit 10K in just a couple of days after upload), and he now has over half a million views on his Twitch channel where he constructs keyboards live. Notes by Jonny Trunk and Stu London (AKA Futurecrime) from the London mechanical keyboard scene. He knows what the fuck he is talking about. One might not understand it, but one can catch up really quickly. Mastered by Jon Brooks. Presented in full-color sleeve, with special foil pantone.
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JBH 082LP
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The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts, and a convicted murderer... Issued originally in 1959 it originates from Phoenix, Arizona. The concept behind the recording was unusual -- to bring together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg. Little can be found of A.I. Groeg, but before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album. Sublime vocalist Marni Nixon, the voice of Maria in West Side Story (1961), was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration. The original LP states that "Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream." Jonny Trunk on the reissue: 'I'd first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden's Island album (1960) and occupies a similar musical space. But this album has a little more death. Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take." Personnel: Buddy Collette - flute, clarinet; Gene Cipriano - oboe, English horn, bass clarinet; Gerald Wilson - trumpet; Justin Ditullio - cello; Al Viola - guitar, banjo; Red Callender - bass, tuba; Earl Palmer - drums; Ed Lustgarden - cello. New sleeve notes by Trunk.
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JBH 081LP
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Extraordinary unreleased homemade electronics from the late 1960s made by a pioneering ballet dancer and musician. There are very few Ernest Berk recordings. As a pioneering ballet dancer, instructor and electronic music artist he was surprisingly prolific. He made music for all sorts of uses -- he even made library music -- and of course this very album of his music for two of his ballets. Towards the end of his life Ernest Berk gifted his entire collection of works, tapes, documents, and all to the Historical Archive Of The City Of Cologne. Tragically, in 2009, a large part of the archive collapsed (due to the construction of an underground railway) destroying 90% of everything. Berk's tapes have tragically never been recovered. They are assumed lost forever. So these two recordings -- issued privately circa 1970 -- remain precious, to say the least. There were no masters, this new pressing was simply transferred from the original copy held by his family. Trunk have done their best to restore the sound. The original notes have also been reproduced, and from what Trunk can gather, this album may well have been pressed and given away as promotion for the Dance Theatre Commune. The original album came with a small piece of paper with a geometrical squiggle stuck on the front.
Ernest Berk was born in Cologne, Germany and came to England just before the war. He started a dance company in London and wanted a sound especially suited to his experimental dance style. This he found in electronic music. Berk felt that electronic music was able to express the feelings of contemporary society in a more potent and communicative way than conventional forms of music. This is not to say he disregarded traditional forms of music, rather, he blended the best elements of both, creating a new and exciting sound. Over the years he gained an international reputation as a composer of electronic music. His works have been heard in Berlin, Cologne, Florence, Edinburgh, United States, to name a few.
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JBH 078LP
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Trunk Records presents a reissue of Vernon Elliott's Clangers: The Original Television Soundtrack. Out of print since its original release on CD in 2001, a classic Trunk Records release gets a rare repress; this is naïve and pastoral space music at its very best. In 2001 Jonny Trunk started working with Oliver Postgate and his Smallfilms archive. The first music issued was the unreleased music from all 26 episodes of Clangers. To create the soundtrack, all music was originally "drawn" by Postgate -- sketched out in graphic form on the original scripts. This was then translated by his good friend and regular musical collaborator Elliott into the music we know and love. It was all recorded in a village hall in Kent in the late 1960s and released originally in 2001 by Jonny Trunk, garnering a mass of fine reviews including a full 5 stars from NME. Listening today, these recordings have lost none of their naivety and charm, and the Clangers soundtrack remains a seminal work of both TV and intergalactic musical history. Album produced by Jonny Trunk. Full color sleeve with notes included.
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JBH 077LP
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Out of print since 2001, a classic Trunk release gets a rare repress, the original soundtrack of Kes. This is pastoral British jazz film music at its very best. Includes sleeve notes by Jarvis Cocker. Kes by Ken Loach is one of the greatest British films of all time. It also has one of the finest soundtracks of the period. Put together by the incredibly talented John Cameron (the arranger for Donovan and great film score composer in his own right) this score sums up beautifully the freedom, innocence, and tragedy put across in the film. With a crack British jazz line-up, including flute legend Harold McNair, Ronnie Ross (bass clarinet), Tony Carr (drums), Danny Moss (clarinet), and David Snell (harp), this score not only appeals to the soundtrack collectors but also followers of the classic British jazz sound. Source material was the original John Cameron master, which had been slightly damaged at the front end, so there is a slight change in volume at the beginning of the LP. Nobody moaned back in 2001. Things might be different now. The score is only 19 minutes long and therefore fits perfectly onto a one-sided LP. Full color sleeve; Produced by Jonny Trunk.
"The sound of long-lost childhood... The smell of a damp school cloakroom, from an age when comics were still printed on newsprint... But this is more than just a product of the nostalgia industry -- put on this album and immediately you'll be soaring through the air, free of your earth shackles; for this is the sound of a human soul in flight. A beautiful daydream antidote to an all too real South Yorkshire nightmare. This is the real thing. This is beauty so fragile it hurts." --Jarvis Cocker
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JBH 080LP
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A few stray extra copies of this RSD 2019 release. Worlds Within Worlds: Part I And II is one of the most important experimental and improvised jazz-based recordings of all time. Released in 1971 it sold just a handful of copies, but has become a keystone in the development of ambient sounds; originals now fetch £1000+. This is the first time this exceptional, unique, and highly desirable record has been repressed. Originally conceived whilst walking round the docklands in Hull, Basil Kirchin felt that the futuristic music he had often imagined could actually be made. Only in 1969 and with the help of an arts grant could he afford the vital equipment he needed: a Nagra tape machine and Sennheiser directional microphone. Armed with these tools he set about recording landscapes, people, places, machines, animals, birds, bees, the zoo, and the autistic children from Schurmatt in Switzerland. He then took these recordings, edited them and then began the process of slowing them down to reveal the "little boulders of sound" hidden deep within the recordings. Kirchin built up layers of noise, symphonies of slowness, and then encouraged his jazz associates including Derek Bailey and Evan Parker to improvise along. The result was WWW, and nothing quite like it had been made or heard before. Today it offers listeners a mesmerizing sonic experience that remains years ahead of its time. This first ever repress features a new gatefold sleeve (Kirchin hated the original sleeve), with images of Kirchin, his original field recording tapes, and notes by WWW fan Thurston Moore (Sonic Youth). Edition of 1500 with 300 on gold vinyl; the LPs will be mixed randomly -- there will be no way of telling which color is which as all LPs will be sealed. Personnel: Basil Kirchin, Evan Parker, Derek Bailey, Claire Deniz, Graham Lyons, Daryl Runswick, Frank Ricotti. The perfect RSD release.
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JBH 075LP
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Alec Cheer's Night Kaleidescope is an incredible modern techno-based score to an underground psychedelic detective vampire indie drama. So there. There is little history here as this is a new release, but this is simply an amazing modern score to a 2017 film one may never have heard about (directed by Grant McPhee). What sets this score apart is its clinical post-modern feel, with influences including Mica, John Carpenter, Brian Eno, Goblin, Fabio Frizzi, even whispers of the 1980s, as well as a musical feel a little like the classic Drive (2011) soundtrack. Yet with all these influences, composer Cheer somehow manages to create a new work that sounds unlike any other. It's dark, bewitching, mesmerizing, ear-catching and even "banging" in parts. Look, it must be good, otherwise Jonny Trunk would not be pressing it. And with a spelling mistake too. Full color eye-catching minimal sleeve.
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JBH 076LP
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God's Chorus, by Crickets. Lots Of Crickets. And Jim Wilson is an extraordinary ambient/minimal masterpiece made just using the sounds of crickets. Sounds like heaven. Or beautiful death. Or angels singing. Or a choir in the world's most amazing cathedral. Jonny Trunk on the record: "A few years ago, I was alerted to a strange recording online. I think it was on Mixcloud, but it might have been Soundcloud. I can't remember exactly which cloud, but I do remember other more important things: the recording was called God's Chorus and millions of people had listened to it. And thousands of those millions of people had left comments. Some had praised the mesmerizing, angelic sounds, others more cynical thought it was a hoax. Some had theories about how it was made, educated ideas, but many didn't care as they loved it so very much. There was also a name associated to the creation of God's Chorus; Jim Wilson. I listened. I listened more. I found myself immediately intrigued. And within a couple of days had licensed the recording. I believed it would really suit being on vinyl and not just on a cloud waiting for more comments. The story behind the God's Chorus recording is short and simple. It begins with the aforementioned Wilson, a songwriter and enthusiast for Native American sound, nature, ambiance and the new age. Jim recorded the crickets; he then recorded more crickets. He took one of these cricket recordings, slowed it down (just like Basil Kirchin would) and then simply played the slowed down recording over the normal version. This is what you hear on this LP except for a faded break to give us Side One and Side Two. God's Chorus is unlike anything else. Leave it on and it becomes a bizarre hypnotic drone, somewhat like a modern minimal composition. The controversy surrounding this natural wonder lies with people who think this is just a cunningly engineered sound, a cheat, a fraud, a natural musical impossibility that has been manipulated by computer and includes human voices. But people have tried to recreate it with modern tech and choir sounds and have failed. I shall leave you to draw your own conclusions about God's Chorus. Real or fake? True or false? I care not, as it sure sounds like crickets to me, and it sure does sound amazing." Artwork by Bess Kirby (Aged 13), album produced by Jonny Trunk. Full-color eye-catching minimal sleeve.
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JBH 073LP
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2019 repress. Trunk presents a special, first-time, issue of David Shire's soundtrack for The Conversation (1974). This is the first time the complete score to The Conversation has been released on vinyl. The film itself was originally released in 1974 but until now nothing else has ever been pressed on vinyl. Jonny Trunk's obsession with this music began after he'd caught the film, late night, sometime in the mid-1990s. Musically it's an exceptional example of the "new minimalism" in film music of the period, marking a departure (for some) from big scores to smaller, more economic ensemble sounds. The film was written, produced and directed by Francis Ford Coppola and is a thrilling journey into sound, mind and murder. Heavily influenced by Antonioni's Blow-Up (1966) Coppola wanted to fuse the concept of Blow-Up with "the world of audio surveillance". The story centers around Harry Caul (Gene Hackman), a professional wire-tapper and clandestine bugger consumed by a conversation he's been paid to record. Caul is a loner, an obsessive-compulsive character with numerous neuroses that play out brilliantly throughout the film. And as he slowly pieces together the conversation fragments and forms his own story around it, his world falls apart. For the music, Coppola wisely chose a young David Shire, his brother-in-law. Shire's deceptively simple piano theme is one of tragic beauty, capturing Caul's loneliness, his disturbed nature and this trip into darkness. The melody has both sweet and sour tones, feeling a little like a slow ragtime, developing throughout the film; there are even trips into avant-garde territory with electro-acoustic flourishes and Concrète. The agitated figure of Caul, wearing his distinctive transparent mac, is made all the more raw and poignant by the score, its sparse and curiously emotional compositions unlike any others from the period. The soundtrack for The Conversation proved to be a major break for Shire, his career taking off from this point. His next score was to classic Taking Of Pelham 123, followed up ironically by All The Presidents Men - a thriller about the Watergate scandal. The Conversation won several awards and nominations, and has become a classic of the "New Hollywood" movement. Personnel: Jack Nimitz - baritone sax; Ray Brown - bass; Shelly Manne - drums; Walter Murch - sound montage; Norman Wachner - engineer; Pete Jolly - piano; David Shire - piano; Clark Spangler - ARP 2600; Don Menza - tenor sax; Conte Condoli - trumpet.
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