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Computer Music Journal 25.2 (2001) 75-76



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Review

Tape Play


Kenneth Gaburo: Tape Play. Compact disc Pogus P21020-2, 2000; available from Pogus Productions, 50 Ayr Road, Chester, New York 10918-2409, USA; fax (509) 357-4319; electronic mail pogal@pogus.com; World Wide Web www.pogus.com

IMAGE LINK= Tape Play is a welcome addition to the limited number of recordings of works by this important American composer. Kenneth Gaburo (1926-1993) was also a teacher, conductor, writer, and publisher, working at the University of Illinois in the mid-1960s, at the University of California at San Diego during the 1970s, and finally at the University of Iowa, where he directed the Electronic Studios in the 1980s and early 1990s. This release has compositions produced at all three universities as well as at his own studio.

Fat Millie's Lament (1965), Mr. Gaburo's answer to ill-mannered music criticism, is done with tongue-in-cheek sarcasm. It shows him at his best in combining simple but effective studio techniques. The piece is a collage including tape loops, speed changes, and quotations from a big-band piece by his friend Morgan Powell. The Wasting of Lucrecetzia (1964), also a collage, again expresses a sarcastic tone, but at a higher level. The piece consists of bits of sped-up screams, percussion loops, and altered saxophone sounds. Apparently nonsensical, The Wasting of Lucrecetzia is another example of the composer sticking out his tongue at the establishment. [End Page 75]

For Harry (1966) is a meditation on and for Harry Partch, whose music Mr. Gaburo had conducted and recorded. It is more pitch-oriented than the earlier pieces, and makes use of electronic sounds mixed with sounds from a monochord the composer built. It is a beautiful piece, engaging and inspiring with its clear and precise manipulation of pitch patterns. Lemon Drops (1965) is more improvisational, even reminiscent of jazz played on an electric piano. It was actually produced by skillful splicing intended to sound fluid and spontaneous, using sounds produced by a harmonic tone-generator developed by James Beauchamp. Melody, performance gestures, and attacks all sound natural and "in performance."

Dante's Joynte (1966) is a perfect musical expression of the composer's interest in and dedication to the Italian poet. The "joint" is, of course, Dante's Inferno, but references to Dante are mixed with those hinting at the Illinois jazz club "Dante" and its infernal music. The production is impeccable, containing looped percussion and quotes from popular music as well as traditional African tribal music. Some sounds move very slowly, gliding through short intervals only to be displaced by hectic textures with strong rhythmic lines.

Re-run (1983) was created after some experimentation with a Buchla synthesizer and tape recorders. Mr. Gaburo did four improvisational recordings, not listening to the previous ones while recording. The result is a very vocal and enchanting all-electronic piece. The freedom of its lines indicates an "electronic counterpoint" with just a trace of vocalization. Mouthpiece II (1992) is a vocal piece inspired by the shock of seeing a dysfunctional family having supper. The monologue tells the story.

Hiss (1992) exploits the noise-producing capabilities of an old mixer found in the University of Iowa Studios. Instead of trashing it, Mr. Gaburo turned it into an "instrument:" its amplified noise was frequency-shifted with an analog Bode unit. This is a beautiful piece, rich in subtle textural changes, its breathing rhythmical, at times bordering on industrial noise.

Few (1985) is a happy and inspired improvisation between Mr. Gaburo playing a Moog synthesizer and the throaty voice of concretist poet Henri Chopin. This is an intriguing duet recorded monophonically--the vocal processing and synthesizer sounds are blended together in the middle of the sound field. It also documents Mr. Chopin's visit to the University of Iowa during 1985.

The last track, Kyrie, ORBIS FACT/OR; a very odd do (1974) was completely created in the composer's own studio. In this work Mr. Gaburo produced a satirical adieu to academia. Stereo separation is total: his voice sings a plainchant Kyrie, with...

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