It irritated me when Jack White made this video to brag about how innovative he was being with record pressing, when things like odd-sized records, multicolored vinyl and unusual speeds have been around for decades.
I found this ad from Billboard magazine. The year is 1960, but the vinyl oddities it describes might as well be from 1995, or 2002, or 2011. I was really perplexed when I got to the bottom and saw that it wasn’t for Rainbo Records or Erika Records, either.
This week’s Bohemian column is on Conlon Nancarrow, the communist expatriate composer who manipulated piano rolls to create ridiculously impossible-to-play sonatas. In poking around to find further information about his life, I found this lovely 1987 interview with Nancarrow by Bruce Duffie. I say “lovely” only because of personal reasons; by most measurements it’s a disappointing interview, because while Duffie probes Nancarrow on any deeper meaning about his music, he keeps deflecting his inquiries.
BD: So where is music going today?
CN: I have no idea. I don’t think anyone else does.
BD: Well, what direction is it heading?
CN: I don’t know.
I should, as someone who interviews people for a living, feel uncomfortable reading this interview. But on the contrary, I applaud Nancarrow’s reluctance to join in the game and settle for giving pap, bullshit answers. Another gem is the mention of the Columbia Records release Studies for Player Piano, which is the subject of my column. In Nancarrow’s own words on the album that introduced him to the public at large: “Incidentally, it’s a very bad recording.”
Here’s a good example of Nancarrow’s music—the Study No. 5: