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previous artist: rinji fukuoka		there are 3 titles featuring james fulkerson in stock. they are listed below.		next artist: ellen fullman

$16.37

back in stock as of
april 4th, 2008

first in stock on
january 1st, 2003

threads:
modern-composition
live-electronic

file under:
minimal-drones
free-improv

etcetera (usa) #ktc 1175 cd

james fulkerson “force fields and spaces” compact disc

part i: trombone and tape delay system
part ii: trombone and pre-recorded trombone
part iii: trombone and tape delay system
part iv: tape collage

fantastic recording of some very repetitive and zonked trombone-fueled electronics from this phill niblock affiliate. straddling the devide betwixt stuart dempster's cavernous echo patterns and terry riley's horn-tape meditations. you can hear echoes of the same approach i used on ‘playthroughs’ very clearly on 'part iii'. which is pretty amazing as ive only just discovered this now. another piece of the electronics vs. human breath puzzle...

etcetera press release...

recorded jan/feb 1981 at darlington college of the arts, totnes, devon, uk

$14.62

back in stock as of
march 22nd, 2011

first in stock on
december 21st, 2010

threads:
modern-composition

new world (usa) #nw 80687 cd

james mulcro drew “animating degree zero” compact disc

animating degree zero (11:49)
bonaroo breaks (8:43)
12 centers breathing (12:13)
the lute in the attic (7:28)
solemn acts in rain (8:45)
in memoriam j.c. higginbottom (14:17)

february 2009 release ; fascinating overview of “outsider” composer james mulcro drew’s work ...

new world press release...

composer(s): james mulcro drew
album title: animating degree zero
cat. no.: 80687
genre: classical / contemporary
release date: 02/2009
the barton workshop
charles van tassel, baritone
eleonore pameijer, flute/alto flute
john anderson, clarinet/bass clarinet
marieke keser, violin
manuel visser, viola
nina hitz, cello
anne magda de geus, cello
jos tieman, contrabass
frank denyer, piano, celesta
james fulkerson, hilary jeffery, trombones
enric monfort barbera, glockenspiel, vibraphone, chimes, gongs, tam-tam
tobias liebezeit, gongs, drums
jos zwaanenburg, flute, conductor

i aspire to incorporate spiritual immensities in my music through masses of sound which intensifies by the process of refraction or blurring, while allowing submerged melodic lines to appear and disappear. it's like painting with a very large brush. like those old fresco guys-or like asian calligraphy on a massive scale-even with one tone. you know, like a big swipe with a very loaded brush.

- james drew

nicolas slonimsky has described james mulcro drew (b. 1929) as an "authentic member of the american experimental tradition." thinking about what slonimsky might have meant by his statement, one thinks of another member of that tradition-harry partch. drew, like partch, has always been a loner-not a member of any school or movement, he has remained largely outside the us university patronage system and has remained "on the move" rather than settling in one environment. like partch, james drew has made his own brand of theater as well as being a composer, and he has no hesitation to run against the fashion or canon of our time. he is a composer who is fascinated by all kinds of music, and as a result his own musical surfaces may be more highly varied-for instance, bonaroo breaks vs. 12 centers breathing vs. the lute in the attic-than those of other composers.

this composer portrait, spanning the length of his career, is the first recording devoted entirely to drew's music and is an excellent introduction to his idiosyncratic sound world. it features several of his important chamber pieces, ranging from a key early work, the lute in the attic (included in the score anthology notations assembled by john cage in the mid-1960s, a collection that illustrated the breadth of notational approaches being employed by composers at that point in musical history) to a recent large-ensemble work, animating degree zero. these are all world-premiere recordings.

$29.23

back in stock as of
december 22nd, 2010

first in stock on
march 16th, 2007

threads:
modern-composition
fluxus

new world (usa) #nw 80659 cd

philip corner “extreme positions” double compact disc set

two discs of early and recent fluxus-lineage compositions !!

disc 1: trombones

for 2 trombones no. 2 (1960)
calling! om (“from the ’70s”)
attempting whitenesses (1964)
round sound (1963)
one note more than once (2005) (two performances)
an earth breath trilogy (2005)
big trombone (1963)

disc 2: ensemble

zen om (“from the ’70s”)
just another 12-tone piece (1995)
sang-teh, movement iii (1960–61)
passionate expanse of the law (1959)
lovely music (1961–62)
when they pull the plug (2002)
chopin prelude i: the v9 chord which begins the chopin d major prelude . . . as a revelation (1969)

new world press release...

philip corner: extreme positions

composer(s): philip corner
album title: philip corner: extreme positions
cat. no.: 80659 (2 cds)
genre: classical / chamber
release date: 03/2007

description:
the barton workshop:
jos zwaanenburg, flute
john anderson, clarinets
james fulkerson, hilary jeffery, trombones
nina hitz, cello
boris m. visser, violin
manuel visser, viola
rozemarie heggen, contrabass
krijn van arnhem, bassoon/contrabassoon
dante oei, piano (chopin prelude…)
tobias liebezeit, percussion
taylan susam, conductor (passionate expanse of the law)

philip corner (b 1933) studied composition with henry cowell and otto luening and musical analysis with oliver messiaen. during the 1960s and 70s he was an active member of fluxus, a founder (along with james tenney and malcolm goldstein) of the tone roads chamber ensemble, the resident musician and composer for the judson dance theatre, and co-founder of gamelan son of lion (with barbara benary and daniel goode).

the musical opportunities that these ensembles and their performances offered corner insured that he was both prolific and had or developed a deep understanding of the important artistic influences of that time. corner uses a variety of scoring methods—some scores are conventionally written out, some are graphic scores with added commentary and some are, indeed, only text or commentary by which corner creates an attitude to sound-making materials, the manner of eliciting sounds and the manner of responding to the activities of others.

he is truly the equal of john cage in forcing us to examine what we call music and how we understand music-making. he is a master of the art of presenting what amounts to a zen koan to the performer or performing ensembles. he sets interpretive challenges of the highest order while often creating music which can be realized by amateur or professional musician alike.

corner has commented that being drafted into the us army and sent to korea was in fact a “fortuitous” event in his life: “one of the things i learnt in korea was to go into the quality of sound … to enter into this thing that the orient had explored that the west hadn’t.” this set of recordings includes two of the seminal pieces from this period—sang-teh (situations) and lovely music—and proceeds to explore music from five decades of work under the direction of corner’s earlier collaborator, james fulkerson, and the composer himself.

this 2-cd set is the first comprehensive overview of his work, including many of his key compositions, and is an ideal introduction to an important but overlooked figure of the american avant-garde.

previous artist:
rinji fukuoka

...and that's everything in stock featuring james fulkerson.
(why not take a look at the previous and next artists?)

next artist:
ellen fullman