The Crypt - 12th June 1968 (豆瓣)

表演者: AMM
流派: 爵士
专辑类型: Box Set
介质: Audio CD
发行时间: 1992
出版者: Matchless Recordings
唱片数: 2

豆瓣评分

8.8

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想听在听听过

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简介 · · · · · ·

　　Guitar, Electronics, Artwork – Keith Rowe
　　Liner Notes – Cornelius Cardew, Eddie Prévost
　　Percussion – Christopher Hobbs, Eddie Prévost
　　Piano, Cello – Cornelius Cardew
　　Recorded By – Bob Woolford
　　Saxophone, Violin – Lou Gare
　　Released in "fat" double jewel case with 16-page booklet including notes & credits.
　　Recorded at the Crypt, Lancast... (展开全部) 　　Guitar, Electronics, Artwork – Keith Rowe
　　Liner Notes – Cornelius Cardew, Eddie Prévost
　　Percussion – Christopher Hobbs, Eddie Prévost
　　Piano, Cello – Cornelius Cardew
　　Recorded By – Bob Woolford
　　Saxophone, Violin – Lou Gare
　　Released in "fat" double jewel case with 16-page booklet including notes & credits.
　　Recorded at the Crypt, Lancaster Road, London W11, 12th June 1968.
　　Previously released (two editions) as a two-album box set with music duration of just over 78 minutes. This is the first release of the complete session.
　　Total playing time (two discs): 109'14"
　　Music copyright of Cornelius Cardew, Lou Gare, Christopher Hobbs, Eddie Prévost, Keith Rowe. © 1991.
　　Front cover art work from poster made by Keith Rowe during the 1960s.
　　MRCD05 published 1992 ℗
　　Manufactured in the United Kingdom
　　The Crypt was the second release by this British free improvisation unit and is representative of their groundbreaking early work. The two 45-minute pieces that made up the original album (a third is added in the CD release) are fine examples of the sonic extremes achieved by AMM. The first, "Like a Cloud Hanging in the Sky?," is mostly harsh scraping, harrowing feedback, and is generally assaultive in nature. One feels cornered in some infernal factory where heavy sheets of metal are being sheared and dropped. Of work in other genres being performed at the same time, it perhaps comes closest to Stockhausen's "Microphonie," though here the improv aesthetic always provides breathing room. "Coffin Nor Shelf," the second piece, takes things to the other end of the scale. Hushed and eerily intense, Lou Gare's tenor saxophone work emerges more clearly than before, lending the proceedings a slight jazz-tinged aura. If reminiscent of anything of that time, one can hear traces of SunRa's freer bands of the early '60s. Both works established AMM's realization of a palpable, organic sonic space, largely independent of pre-existing idioms. Oddly, the one piece not originally issued, "Neither Bill Nor Axe Would Shorten Its Existence," comes closer to the direction AMM would take in subsequent years. It has a somewhat more meditative character, flowing between electronic rumblings and ethereal whistlings. All in all, this two-CD set is an invaluable document of the nascent years of one of the most creative and seminal improvisatory groups of the late 20th century.