Monday, February 29, 2016

The London Studio Group - 1966 - Abstractions of the Industrial North

The London Studio Group
1966 
Abstractions of the Industrial North




01. Prelude And Dawn
02. Heart Of The North
03. The Observer
04. Conclusion
05. Neutral Background
06. Reflection
07. Packing, Printing And Light Assembly
08. Research Laboratory
09. Communication
10. Lunch Hour Pops
11. Heavy Machinery

Bonus tracks on the 2005 reissue as:
Basil Kirchin - 1966 - Abstractions Of The Industrial North



12. Mind On The Run
13. Where To Go
14. Paranoia
15. Two And Two Are One (Part 1)
16. Viva Tamla Motown
17. The Lonely Ones
18. Pageing Sullivan
19. Interaction
20. Four Against Seven

Credits
Bass - Peter McGurk
Drums - Chris Karan
Flute - Duncan Lamont
Flute, Saxophone, Whistle [Penny] - Peter Hughes
Guitar - Cedric West
Piano, Organ - Harry Stoneham
Saxophone, Flute - Tubby Hayes
Trumpet - Kenny Wheeler
Vibraphone, Saxophone [Alto] - Alan Branscombe

Jimmy Page - Guitar on 18
Big Jim Sullivan - Guitar on 18

Originally recorded circa 1966. Track 1 to 11 is the complete original "Abstractions Of The Industrial North" recording. Track 12 to 20 are selected cues from Kirchin's De Wolfe library recordings of the same period.


Experimental composer Basil Kirchin was born in Great Britain in 1927. He made his professional debut in December 1941 at London's Paramount, playing drums in his father Ivor's jazz band, and remained a fixture of the group throughout the remainder of World War II, playing 14 shows per week. After the war ended, Kirchin joined Harry Roy's newly-formed New 1946 Orchestra (one of the first true British big bands) as a featured soloist, gaining national exposure via the band's regular appearances on BBC radio. As the decade drew to a close, Kirchin signed on with the Ted Heath Big Band, at the time arguably the most popular big band in all of Europe -- in 1952 he returned to London to form his own group, installing his father as co-leader and recruiting trumpeters Tony Grant, Stan Palmer, Bobby Orr, and Norman Baron; saxophonists Ronnie Baker, Duncan Lamont, Pete Warner, John Xerri and Alex Leslie, pianist Harry South, bassist Ronnie Seabrook, vocalist Johnny Grant, and arranger John Clarke. The Kirchin band made its debut on September 8 with a year-long residency at the Edinburgh Fountainbridge Palais, followed in November 1953 by an engagement at the Belfast Plaza Ballroom that extended into the spring of 1954. At the same time, the group also backed singer Ruby Murray during a 13-week series for Radio Luxembourg.

In mid-1954 Ivor Kirchin was critically injured in an auto accident, and Basil attempted to lead the band on his own -- without a head for business, however, he struggled to keep the operation afloat before ultimately dissolving the lineup. Once Ivor recovered he returned to work, and with the formation of the New Kirchin Band -- a unit featuring four trumpeters, four saxophonists and three percussionists -- their sound veered away from traditional big band jazz to a more rhythmic, brassy approach that proved extremely popular with listeners, and after just ten months in existence, they placed fourth in a Melody Maker reader poll of Britain's most popular groups. After recording four singles and an EP for Decca, the Kirchin Band signed to Parlophone, where they collaborated with future Beatles' producer George Martin -- moreover, they were the first band to travel with their own P.A. system, and Basil obsessively recorded each live performance and rehearsal session, including now-legendary dates backing Billy Eckstine and Sarah Vaughan. However, he felt increasingly confined by the limitations of the big band model, and at the peak of the Kirchin Band's fame, announced its dissolution in 1957, spending the next few years traveling the globe, including extended stays in India and the U.S.

After arriving in Sydney for what would amount to a two-year stay in Australia, Kirchin left his luggage -- including nine hand-compiled 7" tapes containing only the absolute highlights of the Kirchin Band's five-year run -- aboard his ship. Days later he received an apologetic phone call from the docks: In the process of removing the cargo from the ship, his luggage fell into the sea, and everything was destroyed -- in effect, his life's work was lost, with only their studio sessions to document the group's music. Although Kirchin finally returned to Britain in the spring of 1961, he abandoned traditional jazz forever, instead working with engineer Keith Herd on a series of electronic compositions written for imaginary films -- from there, he was commissioned to score a number of actual films, television programs, documentaries, and theatrical productions. In 1964, Kirchin began pursuing an approach he dubbed World Within Worlds -- essentially, he began combining traditional instruments with wildlife sounds and the amplified noise of insects, painstakingly editing and manipulating the results to create beautiful yet utterly alien soundscapes that clearly anticipated the subsequent ambient experiments of Brian Eno, as well as a generation of electronic artists like Aphex Twin. Not until the Swiss tape recording manufacturing firm Nagra issued their next-generation tape machines and microphones in 1967 was Kirchin able to acquire the technology necessary to fully realize his vision -- his source material grew more and more obscure, and his tape manipulations grew more and more extreme with each new project, discovering new "inner sounds" virtually inaudible at standard playback speeds.

Quantum While earning an income from soundtrack projects including 1967's The Shuttered Room, 1968's The Strange Affair, and 1971's The Abominable Dr. Phibes, Kirchin continued honing the World Within Worlds' aesthetic, finally releasing an LP under that name in 1971 -- a sequel followed two years later, this time featuring liner notes written by the aforementioned Eno. However, record company meddling and politics victimized both records, and a disillusioned Kirchin accepted more film and TV work in order to continue funding the equipment needed to further his more personal projects. Sadly, no new material was forthcoming for decades, and only in 2003 was Quantum -- a work fusing live performances from Evan Parker, Darryl Runswick, Kenny Wheeler, and Graham Lyons with ambient field recordings and the voices of autistic children -- finally issued on the Trunk label. The two-fer Charcoal Sketches/States of Mind -- the latter composed in 1968 for a psychiatric conference -- soon followed.


For the third release in Truck Records' archival series unearthing the unjustly obscure work of British jazz bandleader and experimental composer Basil Kirchin, label head Jonny Trunk went back to the company's roots. Trunk Records was founded in the mid-'90s to reissue music from the then little-known subgenre known as library music. Library music consists of instrumental cues and moods written and produced by staff composer/arrangers as works for hire that could then be used in television and movie soundtracks without having to pay separate royalties to the composer. In between his days as one of the most sought-after big-band players in British jazz and his later career as an avant-garde composer, Basil Kirchin spent some time working for the De Wolfe Music library, then the largest in England, and 1966's Abstractions of the Industrial North is one of his finest efforts for the company. Originally recorded in 1966, the 11 evocatively titled pieces on Abstractions of the Industrial North are mostly minor-key and melodic, with arrangements that favor flutes, vibes, and electric piano. Languid and jazzy, with an air of wistful melancholy, these pieces would have been ideal for a black-and-white kitchen-sink drama of the period starring Terence Stamp and/or Julie Christie. The Trunk reissue -- which as always with this label features absolutely gorgeous graphic design and interesting liner notes -- fills out the brief running time of the original LP with eight previously uncollected music cues by Kirchin from the De Wolfe Music library, the most interesting of which are "Viva Tamla Motown" (exactly the sort of not-quite-right imitation of real rock music that many music libraries specialized in), and a fun curiosity dubbed "Pageing Sullivan," which features an electric guitar battle between Jimmy Page and Big Jim Sullivan, at that time two of the highest profile session musicians in London. The earliest material covered in Trunk's extensive Basil Kirchin reissue campaign, Abstractions of the Industrial North is the most conventional easy listening release of the lot, but it's an excellent example of the library music genre.

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  1. http://www.filefactory.com/file/6oms9kn9h049/3210.rar

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