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yoshi wada

Lament For The Rise And Fall Of The Elephantine Crocodile
€ 160.00
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yoshi wada - Lament For The Rise And Fall Of The Elephantine Crocodile
  Included in
Alan Licht's minimal top ten

yoshi wada

Lament For The Rise And Fall Of The Elephantine Crocodile

€ 160.00

LABEL: INDIA NAVIGATION
GENRE: Electronic | FORMAT: Vinyl LP | CATALOG N. IN 3025 | YEAR. (1982)

Out of stock

Original copy of this transcendant drone waves masterpiece, with mysterious harmonic overtones created by 2 large homemade bagpipes that look like crocodiles and played in an empty swimming pool. 1 (i know, very expensive) copy available only, in excellent condition

LP liner notes

Lament For the Rise and Fall of the Elephantine Crocodile is a vocal and instrumental work, on which I started working in 1979. This recording is meant to be one continuous piece; side A: solo singing & side B: the instrumental music of the bagpipe with singing. The piece itself is an experiment with reed & improvisational singing within the modal structure. The instrument could be played solo or as a drone accompaniment for voice. I originally built the bagpipe instrument out of plumbing fittings & pipes pumped by a large air compressor. I called it "An adapted bagpipe with sympathy". Since that time, the original instrument has been altered and improved for the stability of the air source and accuracy of the tuning.

The photograph above shows the instruments used for this recording. {AUCTION NOTE: the photograph is on the back cover and has been scanned below.} The Elephantine Crocodile (right) & the Alligator (left) are both reed instruments pumped by the air. The alligator instrument plays precise pitch and enables me to tune the Elephantine Crocodile drone pipe pitch. When I began to work with these cane reed pipes, I realized that they could be tuned to produce the intervals of extremely fine tolerance. One of the strong characteristics of these bagpipe drones is the clarity of harmonics & partials in the higher octaves. When these pipes are perfectly in tune, in unison, or in different intervals, one can hear the high microtonal partials very clearly.

In 1979, I came to the "Dry Pool" (An empty swimming pool in the basement of Media Study, Buffalo, N.Y.) with "An adapted bagpipe with sympathy" to do a concert. Although I normally do not like long reverberation added to my music, when I entered the pool I immediately liked the acoustics of the space, which had very long delay time. The pool gave rich resonance to the voice & bagpipe sound. Since that time, I became much more aware of the psychological effect of the acoustics of the room.

Last November, I had a chance to come to the "Dry Pool" to do the recording. I stayed in the pool for preparation and slept there as well. It was very quiet. It gave me the feeling as though I were in an anechoic chamber. I started to hear all kinds of droning sound and almost could not tell as if I were hallucinating or not. When I began singing, it was with a very simple overtone series, then I gradually developed a series of intervals which I felt strong. My concern is with the timbre and tuning of the multiple chords which enable me to evolve my improvisational singing and the mode in progression.

 


Notes   Tracklisting
Recorded on November 29, 1981, at Dry Pool, Media Study, Buffalo, N.Y..
A   Lament For The Rise And Fall Of The Elephantine Crocodile (22:20)
B   Lament For The Rise And Fall Of The Elephantine Crocodile (Continued) (22:40)