Part of the Henry Cow boxset, now available for individual purchase, compiled from live recordings, radio transcription, or early recordings, remastered and presented to give a complete look at the history of Henry Cow.
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Label: Recommended Records
Catalog ID: RERHC14
Squidco Product Code: 23557
Packaging: Jewel Case
Recorded at Radio Bremen, Bremen, Germany on Marc 22nd, 1978, by Dietram Koster.
Tim Hodgkinson-organ, alto saxophone, clarinet, mbira, voice
Fred Frith-guitar, tubular bells, marimba, xylophone, violin, piano
Lindsay Cooper-bassoon, oboe, sopranino saxophone, recorder, piano, accordion, egg slicer
Georgie Born-bass, cello
Chris cutler-drums, marimba, piano
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1. Armed Maniac / Things We Forgot 11:55
2. Van Fleet 1:49
3. Viva Pa Ubu Instrumental Extract 4:35
4. The Big Tune Begins 0:45
5. The Big Tune Continues 2:11
6. The Big Tune Ends 1:30
7. March 3:46
8. Bremen 8-11 34:25
9. Erk Gah Instrumental Extract 12-14 13:04
Related Categories of Interest:
Rock and Related
RIO (Rock in Opposition)
New in Rock Forms
Recent Releases and Best Sellers
sample the album:
"Extracts from a live radio broadcast on Radio Bremen for New Jazz Live on 22 March 1978.
Henry Cow perform here as a quintet of Hodgkinson/Frith/Cooper/Born/Cutler; Dagmar Krause had left the band the previous November due to ill health. "Armed Maniac/Things We Forgot" is a titled improvisation with references "in ambience" to contemporary classical composers Krzysztof Penderecki and Gyšrgy Ligeti.[nb 4] New Suite is a Fred Frith composition with an instrumental version of Tim Hodgkinson's "Viva Pa Ubu" added. "Viva Pa Ubu" is a song that had been recorded, with the whole group singing, during (what became) the Hopes and Fears recording sessions in January 1978, and was the start of a musical production by Hodgkinson of Alfred Jarry's play Ubu Roi (Pa Ubu being a character in the play). It was later released on the Recommended Records Sampler and re-released as a bonus track on the CD reissue of Western Culture. Die Kunst Der Orgel is a 34-minute improvisation that ends with an instrumental version of Tim Hodgkinson's "Erk Gah"."-Wikipedia
"Assembled over 15 years, this collection gives for the first time some idea of the breadth and depth of Henry Cow's work. Always very much a live band, performance was their metier, and a concert might range far - always driven by an intense dialogue between tightly knit compositions and radically open improvisation. The officially released LPs tell at best only half this story, and one purpose of this definitive collection is to set the work back into its broader context.
These are all previously unreleased recordings, that include many compositions and improvisations new to anyone who only knows the official releases, documentation of a number of one-off projects and events and - where different or remarkable enough to justify inclusion - live versions of parts of the LP repertoire. Many of these recordings are high quality radio transcriptions taken directly from the original masters, others are less hi-fi, but justified we think by their historic and musical quality. And everything has been carefully transferred and re-mastered by Bob Drake to the best audio quality that current technology allows without interference or tampering. It's all a million times better than the terrible bootlegs that are swimming around.
Altogether, the 9 CDs embody some extraordinary, and occasionally prescient music. Taking this box together with the officially released albums, it is possible at last to get some impression of the extensive ground Henry Cow covered in it's 10 short years. Finally, there is the DVD: 80 minutes of the 1976 Cow (with Georgina Born and Dagmar Krause) performing many unreleased pieces as well as Living in the Heart of The Beast, Beautiful as the Moon &c. This is the only known video recording in existence - professionally made, multi camera - and has not been recovered since its original broadcast (just scour U-Tube, HC is conspicuous by its total absence). And last but not least, there is a great deal of written, photographic and textual documentation."-ReR Megacorp
• Show Bio for Tim Hodgkinson
"Tim Hodgkinson (b. 1949) studied social anthropology at Cambridge, and co-founded the politically and musically radical group HENRY COW with Fred Frith in 1968. In addition to composing, he has a long involvement in improvisation, and came back to anthropology in the 1990's with research into music and shamanism in Siberia.
He has participated in many concerts with Iancu Dumitrescu's Hyperion Ensemble both as bass clarinetist and composer and conductor. His compositions have been interpreted in such international festivals as: Spectrum XXI (Brussels, Paris, Geneva, , Berlin, London), Huddersfield Contemporary Music Festival (U.K.) where he was a featured composer in 2007, Craiova and Ploiesti Festivals (Romania), Guarda Festival (Portugal), Cantiere Internazionale d'Arte di Montepulciano (Italy), Konfrontationen Festival (Austria), Nordlyd Festival (Norway), Musique Action (France) and the European Symposium of Experimental Music at Barcelona.
His Piece for Harp and Cello was selected for the SPNM shortlist in 2005. His composition SHHH was accepted for the IMEB electroacoustic music archive at Bourges in 2006. His piece Fragor appeared in the Martin Scorsese film Shutter Island in 2010. He has worked with Hyperion Ensemble, Talea Ensemble, Ne(X)tworks, the Bergersen String Quartet, London Sinfonietta, Insomnio Ensemble, Phoenix Ensemble, Basler Schlagzeug Trio, Nidaros Slagverkensemble, Bindou Ensemble.
As an improvising musician on reeds and lap steel guitar Tim Hodgkinson has performed all over the world with many of the most acclaimed artists in the field, and continues to be fully engaged in the celebrated Konk Pack trio with Roger Turner and Thomas Lehn. In 2009 he released KLARNT - a CD of solo clarinet improvisations.
With Ken Hyder, and Gendos Chamzyryn from Tuva, he works in the K-Space project: numerous tours of Europe and Siberia and CD releases - including INFINITY, a set of recordings that uses customised software to re-compose the music with each listening. In 2009, K-Space developed a sound-installation for the exhibition Shamans of Siberia at the Museum of Ethnology in Stuttgart.
As a writer, he has published articles and reviews on improvised music, musique concrète, spectralism, the ethnomusicology of shamanism, and the aesthetic problems of the impact of new technology on contemporary music - in, amongst others, Perspectives of New Music, Arcana, Contemporary Music Review, Musicworks, The Wire, Cambridge Anthropology, Variant, Rer Quarterly, and Resonance Magazine. His book, MUSIC AND THE MYTH OF WHOLENESS will be published by MIT in January 2016.
He has given lectures, workshops and seminars at Cagliari and Lyon Conservatoires, at the Institute of Contemporary Art, at Goldsmiths College and the School of Oriental and African Studies in London, at Istanbul, Edinburgh and Cornell Universities, and art schools in several European countries, at COMA summer school, and at the Verband für Aktuelle Musik in Hamburg where he was artist in residence in 2010."-Tim Hodgkinson Website (http://www.timhodgkinson.co.uk/information.html)
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• Show Bio for Fred Frith
"Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.
In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.
The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.
He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.
His film soundtracks (for award-winning films like Thomas Riedelsheimer's Rivers and Tides and Touch the Sound, Peter Mettler's Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow's Thirst, to name a few) won him a lifetime achievement award from Prague's "Music on Film, Film on Music" Festival (MOFFOM) in 2007. The following year he received Italy's Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life's work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.
Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland."-Fred Frith Website (http://www.fredfrith.com/biography.html)
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• Show Bio for Lindsay Cooper
"Lindsay Cooper (3 March 1951 Ð 18 September 2013) was an English bassoon and oboe player, composer and political activist. Best known for her work with the band Henry Cow, she was also a member of Comus, National Health, News from Babel and David Thomas and the Pedestrians. She collaborated with a number of musicians, including Chris Cutler and Sally Potter, and co-founded the Feminist Improvising Group. She wrote scores for film and TV and a song cycle Oh Moscow which was performed live around the world in 1987. She also recorded a number of solo albums, including Rags (1980), The Gold Diggers (1983) and Music For Other Occasions (1986).
Cooper was diagnosed with multiple sclerosis in the late 1970s, but did not disclose it to the musical community until the late 1990s when her illness prevented her from performing live. In September 2013, Cooper died from the illness at the age of 62, 15 years after her retirement."-Wikipedia (https://en.wikipedia.org/wiki/Lindsay_Cooper)
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• Show Bio for Georgie Born
"Georgina Emma Mary Born, OBE, FBA (born 15 November 1955) is a British academic, anthropologist and musician. As a musician she is known as Georgie Born and is known for her work in Henry Cow and with Lindsay Cooper.
Born was born on 15 November 1955 in Wheatley, Oxfordshire, England. She is the granddaughter of the physicist and Nobel laureate Max Born, daughter of the pharmacologist Gustav Born and Ann Plowden-Wardlaw, stepdaughter of the American theatre director and writer George Mully, and cousin of the pop singer Olivia Newton-John. She is the partner of social theorist and political geographer Andrew Barry.
Born studied the cello and piano at the Royal College of Music in London, and performed classical and modern music including stints with the Michael Nyman Band, the Penguin Cafe Orchestra and the Flying Lizards. She also studied for a year at the Chelsea School of Art.
In June 1976, she joined the English avant-rock group Henry Cow as bass guitarist and cellist, following the departure of John Greaves. Henry Cow was in a period of intensive touring and Born toured Europe with the group for two years.
After Henry Cow, Born performed and recorded with a number of groups and musicians, including fellow Henry Cow member Lindsay Cooper, National Health, Bruford, and Mike Westbrook, particularly as a cellist in the Westbrook Orchestra. Her playing is prominent on Westbrook's album, The Cortege. Late in 1977, Born, Cooper, Sally Potter and Maggie Nichols founded the Feminist Improvising Group. She also recorded with The Raincoats, and played improvised music with Lol Coxhill, Steve Beresford, David Toop and others as a member of the London Musicians' Collective.
During the 1980s, Born was an occasional member of Derek Bailey's Company, and played cello and bass guitar on numerous soundtracks for television and film for composers Lindsay Cooper and Mike Westbrook, as well as the soundtrack for the Stephen Poliakoff play Caught on a Train (1980). She had a walk-on part in Sally Potter's film The Gold Diggers (1983).
Born studied anthropology at University College London, gaining her BSc in 1982 and her PhD (supervised by Michael Gilsenan and Michael Rowlands) in 1989. Her first academic job (1986-89) was in the Department of Human Sciences at Brunel University, where she assisted Roger Silverstone in setting up the degree in Communication and Information Studies. Born moved to a lectureship in the Department of Media and Communications at Goldsmiths' College, London (1989-97), where she worked alongside Dick Hebdige.
In 1997 Born began work for an Assistant Lectureship in the Faculty of Social and Political Sciences at the University of Cambridge. In 2000 she was appointed to a Lectureship, in 2003 to Reader in Sociology, Anthropology and Music, and in 2006 to Professor of Sociology, Anthropology and Music at Cambridge, a title that recognises her interdisciplinary contributions.
At Cambridge, Born teaches the sociology and anthropology of culture, media, music, and ethnographic method in the Department of Sociology. She is responsible for the only dedicated lecture course on contemporary media in the social sciences.
Born is a member of Cambridge's Screen Media Group, which in 2006 launched Cambridge's first cross-Schools master's degree, Screen Media and Cultures. Born founded and directs the Cambridge Media Research Group which runs a seminar series and related events. In 2005 she organised a conference at Cambridge on the legacy of Laura Mulvey's essay, "Visual Pleasure and Narrative Cinema".
Between 1996 and 1998, Born was a visiting professor in the Institute of Musicology at the University of Aarhus, and from 1997 to 1998 Senior Research Fellow at King's College, Cambridge. From 1998 to 2006 she was Fellow and Director of Studies in Social and Political Sciences at Emmanuel College, Cambridge. Born is Honorary Professor of Anthropology at University College London and a Fellow of the Center for Cultural Sociology at Yale University. She is also a Fellow of the Australian Cultural Sociology Association and of the Australian Centre for Independent Journalism.
n 2010 Born was awarded an Advanced Grant by the European Research Council for a major programme of research on the transformation of music by digital media. Subsequently, she moved to become Professor of Music and Anthropology at the University of Oxford. Since 2012, she has also been a Fellow of Mansfield College, Oxford. In 2014 she was elected a Fellow of the British Academy."-Wikipedia (https://en.wikipedia.org/wiki/Georgina_Born)
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• Show Bio for Chris Cutler
"Chris Cutler started messing about with banjo, guitar and trumpet at school, settling for drums and playing shadows and other instrumental covers in his first band in 1963. Subsequently he played in R'n'B and Soul Bands, winding up in 1967 playing in London's psychedelic clubs. At the start of the seventies, with Dave Stewart, he co-founded The Ottawa Music Co, a 22 piece Rock composer's orchestra, eventually joining British experimental group Henry Cow with whom he toured, recorded and worked in dance and theatre projects until it's demise in 1978. In 1977 Henry Cow, The Mike Westbrook Orchestra and Frankie Armstrong formed a big-band and toured around Europe. After Henry Cow, Cutler went on to co-found a series of mixed national groups Art Bears, News from Babel, Cassiber, The (ec) Nudes, P53 and The Science Group. He was a permanent member of American bands Pere Ubu, Hail and The Wooden Birds and now works sporadically with John Rose, Fred Frith, Zeena Parkins, Iancu Dumitrescu, Peter Blegvad and Stevan Tickmayer.
Other lasting collaborations have included Aqsak Maboul (Belgium), Lussier/Derome and Les Quatre Guitaristes (Canada), The Kalahari Surfers (Africa), Perfect Trouble (Germany), Between (Sweden), N.O.R.M.A., (Italy), Telectu (Portugal), Mieku Shimuzu (Japan),The Hyperion Ensemble (Romania), The Film Music Orchestra, 'Oh Moscow', Gong, The Work and Towering Inferno (UK), The Residents (USA), and stateless Tense Serenity and Mirror Man. There have also been countless improvisational groupings and solo performances. Recent projects include Radio pieces with Lutz Glandien and Shelly Hirsch, Live Soundtrack for Carl Dreher's Vampyr (with Italians Musci and Venosta), his Timescales project and work with David Thomas and Linda Thompson.
He also founded and runs the independent label and distribution service ReR/Recommended and, until 1991, the East European specialist label Points East. He is editor of the New Music magazine Unfiled and author of the theoretical book File Under Popular as well as of numerous articles and papers published in 14 languages. He lectures intermittently on theoretical and music related topics. He has appeared on more than 100 recordings."-Chris Cutler Website (http://www.ccutler.com/)
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