MISCmedia for 11/29/00
Better Listening Through Research
by guest columnist Ilse Thompson

RAYMOND SCOTT--recognized these days for compositions adapted for Bugs Bunny cartoons--spent the first half of his musical career as a pop figure.

He was an acclaimed and formidable band leader, composer and pianist through the '30s and '40s. In the '50s, he led the house band on the TV show Your Hit Parade, all while writing bouncy ad jingles for everything from Sprite to IBM--allowing him to fund his secret, and very private, life as an avatar of electronic music.

This is the Raymond Scott--inventor, pioneer, visionary--Basta Records pays homage to with Manhattan Research Inc.

Left to its own devices, this two-CD set of Raymond Scott's previously unreleased electronic compositions evokes a transcendental catatonia. Played on instruments of his own invention (the Clavivox, Circle Machine, Bass Line Generator, Rhythm Modulator, Karloff, Bandito the Bongo Artist, and his baby, the Electronium) these pieces will shift your foothold.

So... enough about the music, already.

Scott's recordings are hardbound to accommodate a lavish 144-page set of "liner notes," edited by Irwin Chusid--WFMU radio mainstay, director of the Raymond Scott Archives, and author of the recently released book, Songs in the Key of Z: The Curious Universe of Outsider Music.

In his introduction, Chusid says that "throughout Scott's career in the public spotlight, there were occasional reports of an alter ego--the inventor, the engineer, the professor in the lab coat, the electronic music pioneer. But little of this work received public exposure."

In order to remedy that, Chusid has compiled a collection of interviews with Scott's contemporaries, including Robert Moog; historical essays, including one on Scott's trippy collaborations with Jim Henson; articles written about Scott from back in the day; photographs of Scott and his musical equipment; patent designs; private musings and correspondence; promotional material; advertisements; detailed descriptions of each piece included on the CDs; and a wealth of fascinating ephemera.

As Chusid says, MRI is "a chapter of electronic music history you won't find in most existing books on the subject."

"In the music of the future," Scott writes in 1949, "the composer will sit alone on the concert stage and merely THINK his idealized conception of his music. His brain waves will be picked up by mechanical equipment and channeled directly into the minds of his hearers, thus allowing no room for distortion of the original idea." These glimpses into Scott's mind make the listening experience deliciously disorienting.

If Chusid's compilation were simply an academic thesis on the subject of electronic music or a plain old biographical essay, I could take it or leave it.

It is essential as an accompaniment to the CD set, however, because it reveals Scott as a downright visionary--a man who collaborated with his machines and was driven by more than a simple desire to make wicked new sounds.

He was trying to ignite an evolutionary leap in music, technology and even consciousness.

TOMORROW: The ol' WTO-riot-anniversary thang.

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