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“Fabric for Ché” was realized at the Brooklyn Polytechnic Institute, using taped sequences, originally generated at Bell Labs. It was, to a great extent, influenced by the political and social upheaval of the time, and I have often heard the piece as an angry, beautiful shout. Tenney has said it was “an attempt to create a continuous sonic event with no beginning and no end.” Like much of his other music, he describes “the whole piece conceived as consisting of but a single sound, more or less complexly modulated” (from “The Early Works…”). It is surprising to hear it today, with its many-faceted sonic relationships: to the music of Xenakis, to works of composers using techniques like granular synthesis, and even more appropriate, perhaps, to industrial noise music of the 1970s and 1980s. The piece is, like “Music for Player Piano”, a palindrome (like some of the music of Carl Ruggles, which has been so influential for Tenney): the second half is simply the reverse of the first.

Technical note: This recording was digitally remastered and reconstructed from the original analog master.

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from JAMES TENNEY: SELECTED WORKS 1961 – 1969 (ART 1007, 1992), released January 3, 1992

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Artifact Recordings San Francisco, California

ARTIFACT RECORDINGS is a project of Ubu, Incorporated, an artist-run, non-profit organization supporting experimental and electronic music based in the San Francisco Bay Area. Our download and compact disk series is dedicated to representing a living experimental music tradition that continues to thrive in the cracks between the commercial, academic and classical music establishments. ... more

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