Mother Mallard's Portable Masterpiece Co.
01. Easter 19:30
02. Ceres Motion 14:42
03. Train 6:48
1999 CD Reissue:
01. Ceres Motion 14:45
02. Cloudscape For Peggy 12:35
03. Music 12:56
04. Train 6:50
05. Easter 19:23
Linda Fisher: Keyboards
Steve Drews: Keyboards
David Borden: Keyboards
Easter was recorded at the R.A. Moog Co. Electronic Studio in Trumansburg, N.Y. and at the Mother Mallard Studio in Ithaca, N.Y.
Ceres Motion was recorded at the Mother Mallard Studio in Ithaca, N.Y., and Train at the R.A. Moog Co. Masters remixed at the Sleepy Hollow Recording Studio, Ithaca, N.Y.
Instruments: 2 MiniMoogs; 3 custom Moog Modular Systems; RMI Electric Piano.
Originally recorded at the R. A. Moog Co., Trumansburg, NY (1970) and at the Mother Mallard Farmhouse Studio, Enfield, NY (1972 & '73)
Digitally remastered at Pyramid Sound, Itahaca, NY.
CD mastered at S.A.E.
Track 1 from 1973.
Tracks 2, 4, 5 from 1970.
Track 3 from 1972.
Mother Mallard's Portable Masterpiece Company makes "music of machined intricacy, like a metal-plated Bach fugue". Described as, "spiraling patterns of interlocking melodies that draw you into a kaleidoscopic maze", the group mines an intricate brand of contrapuntal minimalism that easily sits next to Steve Reich, Philip Glass and Terry Riley. MMPMC's music is a unique and extremely enjoyable blend of space electronics, minimalism, and contemporary classical and exhibits a uniquely American slant on synthesizer music by a band whose pioneering contributions to the genre have been largely overlooked by the mainstream.
Mother Mallard's Portable Masterpiece Co Before German bands like Kraftwerk and Tangerine Dream brought electronics to the attention of the mainstream, their musical path had already been tread here in the United States by Mother Mallard's Portable Masterpiece Company.
MMPMC got its start in 1968 when composer David Borden decided to put together the world's first all-synthesizer ensemble after meeting and working with the now legendary Robert Moog; widely credited as the inventor of the synthesizer. Moog literally gave Borden and his comrades the keys to his development shop in upstate New York where they experimented with the pioneering equipment.
Based in Ithaca, NY, Mother Mallard's Portable Masterpiece Co. began doing live performances of music composed for synthesizers in 1969. Formed with intentions to, "present very new and startling work", MMPMC initially presented pieces by, then obscure, Robert Ashley, John Cage, Terry Riley, Steve Reich and Philip Glass; being the first group to play Glass' music outside of his own troupe. Working closely with Robert Moog, MMPMC soon began focusing on original works and became an all-synthesizer ensemble devoted to new music (most likely the world's first) and one of the very first performing synthesizer ensembles. This material pre-dates or is contemporary with the first contributions to the genre and carried on fully the concept of experiencing experimental electronic music before a live audience. Said Borden: "it seemed to me that the synthesizer could fit in with Bucky Fuller's idea of 'doing more with less': that three people with Moogs could make a lot more noise than three string players!"
As Mother Mallard's Portable Masterpiece Comapny, David Borden, Steve Drews and Linda Fisher composed and performed their own pieces for RMI Electric Piano (their only polyphonic instrument), three modular Moogs and two MiniMoogs (including the prototype which is now on display at the Audities Foundation at the Chinook Keyboard Centre in Calgary). The Moogs were gradually replaced by digital instruments, and the group underwent personnel changes. Now, after over 30 years have passed, things have come full circle, with analog sounds and modular synthesizers being in vogue once again.
Listening to Mother Mallard's music now, we find that it references many electronic music movements that developed later: minimalism, art rock, ambient, techno and even "Krautrock". For history's sake, the re-issue of MPMC's two albums may help David Borden take his rightful place alongside Reich, Riley, and Glass (see reviews below).
Mother Mallard's Portable Masterpiece Co
MMPMc The group has continued on, in various incarnations, to this day. On 3 October 1999, MMPMC marked the 30th anniversary of its formation with a special concert at Cornell's Proscenium Theater. Assembling new and old members of Mother Mallard, they performed early and late selections from the group's repertory. This event was followed up by a concert appearance at The Smithsonian Institute on 15 April 2000.
MMPMC 2003In the late 1970's, David Borden and Mother Mallard's Portable Masterpiece Co. travelled to Philadelphia to perform a concert of electronic music in the church santuary of St. Mary's Hamilton Village, setting into motion the now 25+ year legacy of Philadelphia's innovative music scene. On 10 May 2003, MMPMC returned to this venerable venue to once again perform new music for yet another generation of adventureous listeners.
This timely release charts the original works of Mother Mallard's Portable Masterpiece Company, who have a pretty fair claim to be the world's first all-synthesizer group. The initial lineup of David Borden, Linda Fisher and Steve Drews came together in late-60s rural New York state, to work through the possibilities offered by Robert Moog's first commercially available synthesizers (for completists: 2 MiniMoogs, 3 Custom Moog Modular Systems and an RMI Electric Piano). In doing so, their investigations formed an important stage of development in electronic music. And, unlike other early electronic contemporaries, very little here sounds dated. Indeed it's amazing how fresh much of this music sounds, "Ceres Motion" in particular could be played in open-minded clubs without raising many eyebrows, partly due to it's relatively funky synth bassline, but also due to the recent fascination with all things analogue. Compositionally, a strident minimalism is the dominant motif, and it comes as little surprise to find that Philip Glass is a close friend of (groupleader) Borden's. Many of the pieces here are reminiscent of Glass, featuring repetitive melodies layered over sustained synth washes. The 1972 track "Music" must be a pretty early example of sampling, featuring a 10-second burst of cloying 50s pop from which a half-second loop is stolen and repeated, which I guess forms a proto-breakbeat. With layered bursts of frenetic Moog, we have another strangely contemporary-sounding piece of music, its age only really discernible via the timbre of the electronics and the vaguely quaint melodic touch at work. While the up-tempo tracks are the most obviously earcatching, "Cloudscape For Peggy" and "Train" (both 1970) are actually the deepest ambient experiences - extremely lovely liquid drones. Over the course of the seventies, Mother Mallard faded from view somewhat, and Borden moved on to run digital music courses at Cornell. However, with the release of this fine retrospective and with a performing version of the group reforming this year, perhaps now Mother Mallard's Portable Masterpiece Co. will get the recognition they clearly deserved