Jerry Hunt was a brilliant pianist and electronics designer and, as a composer, created a unique musical terminology and sound vocabulary that enabled him to realize subtle musical and spiritual goals. This is the welcome CD re-release of highly innovative and engaging music that formerly appeared on two vinyl discs on Hunt's Irida label. "Lattice" is one of the root scores used to realize many of Hunt's performances, to form a "stream" as he would have termed it. Much of Hunt's music is built from the gradual ...
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Jerry Hunt was a brilliant pianist and electronics designer and, as a composer, created a unique musical terminology and sound vocabulary that enabled him to realize subtle musical and spiritual goals. This is the welcome CD re-release of highly innovative and engaging music that formerly appeared on two vinyl discs on Hunt's Irida label. "Lattice" is one of the root scores used to realize many of Hunt's performances, to form a "stream" as he would have termed it. Much of Hunt's music is built from the gradual transformation of repeated sounds, a kind of real-time signal analysis that in concert took on the appearance of mysterious ceremonies of evocation and conjuring. The piano realizations of the score produce a background resonance of non-harmonics. The "Cantegral Segments" (repeatable materials) are realized from a 1972 compositional procedure called "Haramand Plane: parallel/regenerative," which used signal analysis techniques. "Transform (Stream)" is a transformation of "Cantegral Segment 16" -- built on slow variations on the building blocks of human speech -- and "Cantegral Segment 7." In a concert performance, several voices independently respond to a soloist using many kinds of small percussive instruments. Combined with the breath sounds and human speech fragments, the result is one of great mystery and incantation. "Cantegral Segment 18" electronically emulates a collection of speech fragments, and "Cantegral Segment 17" produces changes in these electronic emulations. The sonic result is a fascinating journey among mysterious planes of electronically modified speech sound. "Cantegral Segment 19" consists of material for lip-vibrated aerophone in two versions, one for solo mechanical instrument and one for that instrument "in an electronically extended environment." "Cantegral Segment 16" uses the language structures of remote cultures, and formulates a context for the individual performer's vocal mechanism. In "Cantegral Segment 7," strange melismatic incantations punctuated by small percussive rattles and shakers hypnotize the listener. ~ "Blue" Gene Tyranny, Rovi
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