Woebot
Well-known member
It occurred to me the other night that the Library records i've been interested in largely are not ones made by complete unknowns but ones made by known musicians.
So for example:
• Guy Warren on KPM (the drummer from Ghana)
• Rogerio Duprat on KPM (the brazilian tropicalia producer)
• Basil Kirchin
• Anne Dudley
• Delia Derbyshire and John Baker together under a pseudonym (anyone?) on KPM
• Bernard Parmegiani
• Armando Sciascia
etc?
Theres an implicit tension between fame and anonymity, "art" and "service" which gives the records a bit of juj. I suppose there is a (maybe cheap) guarantee of "quality" as well. The record is something made by someone with a creative rep, someone whos managed successfully to pimp their vision to a broader public without immediately resorting to the patronage of a company like Chappell etc. Theres an added fascination at hearing what these people do when freed from some commercial constraints, and how they respond to other creative dictats. Fun to to imagine that as the owner of such a record that their work is at your disposal, copyright free!!!
Been quite taken with the unstoppable fascination with library, feel kind of like Canute with regards to it. I shouldnt go into it too much here cos I've just written something for a jazz rag on the subject and i'll get my wrists smacked if i spill to many beans, but isn't the "mode" which digging into/sampling old library records interesting? Its almost as if the creative tactic of exploring the most dead kind of music possible, is a method of producing the most vivacious music.
So for example:
• Guy Warren on KPM (the drummer from Ghana)
• Rogerio Duprat on KPM (the brazilian tropicalia producer)
• Basil Kirchin
• Anne Dudley
• Delia Derbyshire and John Baker together under a pseudonym (anyone?) on KPM
• Bernard Parmegiani
• Armando Sciascia
etc?
Theres an implicit tension between fame and anonymity, "art" and "service" which gives the records a bit of juj. I suppose there is a (maybe cheap) guarantee of "quality" as well. The record is something made by someone with a creative rep, someone whos managed successfully to pimp their vision to a broader public without immediately resorting to the patronage of a company like Chappell etc. Theres an added fascination at hearing what these people do when freed from some commercial constraints, and how they respond to other creative dictats. Fun to to imagine that as the owner of such a record that their work is at your disposal, copyright free!!!
Been quite taken with the unstoppable fascination with library, feel kind of like Canute with regards to it. I shouldnt go into it too much here cos I've just written something for a jazz rag on the subject and i'll get my wrists smacked if i spill to many beans, but isn't the "mode" which digging into/sampling old library records interesting? Its almost as if the creative tactic of exploring the most dead kind of music possible, is a method of producing the most vivacious music.