Tracklisting:
"Snaïa / Proslambanomenos / Anschlag / Sonate Pour Flutes Alto Et Harpes" (Point-Radiant #No 1, 1971)
1-01. Solange Ancona; Snaïa (4:52)
1-02. Alain Abbott; Proslambanomenos (15:58)
1-03. Fernand Vandenbogaerde; Anschlag (10:23)
1-04. Tristan Murail; Sonate Pour Flutes Alto Et Harpes (12:57)
from "Accordéon De Concert Vol. 3; Alain Abbott Joue Alain Abbott" (Discara #149)
1-05. Alain Abbott; D'Autres Espaces... (12:36)
from "Accordéon Pour Concert" (APA Association Promotion Accordéon #PS 4991)
1-06. Alain Abbott; Electronique II (9:29)
1-07. Tristan Murail; Eaux Territoriales (11:16)
"Initiation / Yod / Alternances / Hevel" (Point-Radiant #No 2, 1972)
2-01. Louis Roquin; Yod (14:57)
2-02. Roger Tessier; Alternances (10:52)
2-03. Marcel Goldmann; Hevel (13:14)
2-04. Gérard Grisey; Initiation (15:14)
[CP 000.41 CD] Complete Point-Radiant Recordings +
Creel Pone
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This (Point-Radiant No. 1, alone) was the 41st of the original "Proto Creel Pone" (P.C.P.) titles assembled ca. 2003, extended significantly here into two lengthy discs of music covering both of the untitled LPs issued in 1971/1972 by the French "Private" imprint Point-Radiant, along with a trio of Electronic pieces by P.R. mainstays Alain Abbott & Tristan Murail as issued on a pair of "Accordeon Recital" collections in the intervening years.
Featuring works by Solange Ancona, Fernand Vandenbogaerde, Louis Roquin, Roger Tessier, Marcel Goldmann, Gérard Grisey, Abbott, & Murail, these recordings & performances feature a who's-who of C.P. -adjacent figures such as prééminent Free Jazz Bass titan Jean-François Jenny-Clark, composer Pierre Marietan & his G.E.R.M. ensemble, Françoise & Renaud Gagneux (see [CP 247 CD] for Renaud's wonderful Sonoriages single), Paul Mefano, Philippe Drogoz (see his impeccable piece "Agressions" for Guitar & Tape on the recent [CP 115-1 CD] set), & dozens more.
Presenting a mix of pieces for Tape and/or Live Electronics (experimental work for Ondes Martenot is a constant throughout) mixed in with Spectralism & structured Improvisation, the music heard herein is a wild ride, seldom discussed in the greater dialogue due to the somewhat fraught nature of the micro-pressings (each of the editions was individually silkscreened at a clearly visible, painstaking degree of detail; wonderfully recreated in the semi-glossy booklets here).
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