Artist: John Schneider, Amy Shulman, Gene Sterling
Title: Just West Coast
Year Of Release: 1993
Label: Bridge Records
Quality: FLAC (image+.cue,log)
Total Time: 01:01:15
Total Size: 265 Mb
Lou Harrison - Suite No.2
02. Waltz for Evelyn Hinrichsen
04. Sonata in Ishartum
05. Beverly's Troubadour Piece
Harry Partch - Two Studies on Ancient Greek Scales
07. Study on Olympos' Pentatonic
08. Study on Archytas' Enharmonic
Harry Partch - Barstow: 8 Hitchhikers' Inscriptions
09. Today I am a Man
11. Considered Pretty
12. A very Good Idea
13. Possible Rides
14. Jesus was God in the Flesh
15. You Lucky Women
16. Why in Hell did you Come?
18. In a Landscape
Lou Harrison - Six Sonatas
John Schneider, guitar, adapted guitar, baritone
Amy Shulman, celtic and concert harps
Gene Sterling, percussion
The seven works on the disc (two each by Harry Partch, John Cage, and Lou Harrison and one by LaMonte Young) are among of the most enjoyable introductory albums to just intonation. Guitarist John Schneider, who arranged several of the pieces on the disc for harp and guitar, is joined by harpist Amy Schulman and, in one work, by percussionist Gene Sterling. Schneider's extensive and highly informative notes guide the reader painlessly through a discussion of tuning theories and the history of the pieces.
Lou Harrison's Suite No 2, LaMonte Young's Sarabande, and Harry Partch's Two Studies and Barstow were all originally written or later adapted by the composer for just intonation. Except for Barstow, the performances are arranged for the present combination of instruments by Schneider. The performances are gentle and atmospheric, using the unexpected scale notes -- often with certain notes being pretty far off the standard piano keyboard -- for color and drama, rather than chromaticism and chord structure.
The only vocal work is Partch's Barstow, Eight Hitchhiker Inscriptions, intoned, sung, and played by Schneider in his reconstruction of its original version for voice and adapted guitar. Partch fans will be familiar with the later version of Barstow, with additional voices and an ensemble of Partch instruments. In this close-to-original version, Schneider finds the work grittier and less funny than in the later version. Here, the sense of desperation yet determination to carry on is closer to the surface.
Three other works, (Dream and In a Landscape by John Cage, and Six Sonatas by Harrison) are adapted into just intonation tuning by Schneider. These non-harmonic pieces, without appreciable tonal modulation, work just fine in this manner.