News & Updates — noise

Here's a birthday nod to the late Tom Cora, improvising cellist of out-rock, free-jazz, underground experimental and avant-garde styles. He modified and prepared his cello, often playing it violently like a guitar and through loud amplification. From Richmond, Virginia, he was originally a drummer before moving to jazz guitar in the DC area. Picking up the cello in college, he studied with Karl Berger and moved to NYC in '79. He quickly joined the rising Downtown avant-garde/improv scene, touring with Eugene Chadbourne and forming Curlew with George Cartwright & Bill Laswell and others. In '82 he formed the improvising duo...

John Cage was one of the first early experimentalists I discovered. As a teenager I had already made my way through punk & industrial and had discovered Japanese noise and 60's black free-jazz. Coming across folks like Cage, Xenakis, Stockhausen and Harry Partch pushed me into brand new ways of appreciating music and sound. Cage's chance operations strategy appealed to my improv side, accompanying my "zen side". His prepared piano stuff appealed to the noise freak in me and his overall unique way of approaching the world was inspirational to me and my friends. The icing on the cake came...

The original Flying Luttenbacher, Hal Russell was a Chicago icon. A multi-instrumentalist, he played tenor sax, c-melody, soprano, drums, trumpet, vibes, marimba, musette, congas and keyboards. One of the most surreal jazz characters of the second half of the twentieth-century jazz scene, this guy brought humor, theater and playfulness into his artform. Harold Luttenbacher was born in Detroit, played drums in Dixieland and swing bands (Woody Herman, etc) before discovering bebop. Moving with his family to Chi-town as a teenager, he started playing trumpet as a second instrument in college. In 1950 he played drums with Miles Davis and did...

Karlheinz Stockhausen, a leading figure in avant-garde "contemporary" European music, made several records that could be enjoyed by rock & free jazz & noise fans, as well as those into experiments in orchestral music, serialism and nutty orchestral ideas. While the brainiac set will go off about his theories and how they apply to academic sound art, acoustics and music, the fact is that some of his music is also appealing to street jerks like me. Whether percussion pieces, chamber works, pieces for voices, pieces for piano, musique concréte, operas or single instrument concepts, his ideas fleshed out pretty well...

A true innovator, Pierre Schaeffer was the father of musique-concrete. Not a trained musician but an admirer of Luigi Russolo, Schaeffer sought to dispense with music theory early on and create a new experimental music that utilized found sounds, pitched turntables, manipulated & spliced magnetic tape, looping & sampling, noise & distortion and other revolutionary techniques that have been endlessly used by artists since. He was Lee "Scratch" Perry, Christian Marclay, the Bomb Squad, Edgar Varese, Stockhausen and Pole before most of them were even born. You could also say that without Schaeffer's imagination the genres of electro-acoustic music, hiphop,...