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If Bwana is the project of Al Margolis (1955), who began producing tapes of dadaistic
noise in 1984.
The five compositions on Wah Yu Wan (Generations Unlimited, 1990) are, instead, almost ambient/new age in the way they flow organically and search for a cohesive structure.
If Bwana later released:
33 Birds Went (Pogus, 1995), with a female vocalist,
Jane Scarpantoni on cello, Brian Charles on clarinet, oboe and saxophone, Kevin Sparkle on percussion;
Breathing (Pogus, 1996), whose title-track (both tribal and droning)
features
Jane Scarpantoni on cello, Dave Prescott on dijeridu and Brian Charles on dijeridu and oboe;
Tripping India (Pogus, 1997), containing three pieces for tape manipulations of acoustic instruments (including 3 Out of 4 Ain't Bad for 3 different pianists playing 3 different pianos at 3 different times);
Clara Nostra (1999), a monumental composition for 106,476 clarinets, a rivised version of his old Horn & Hard Arts (1988);
and the double-CD I Angelica (2001).
Fire Chorus (Ants, 2004) compiles four compositions, including
Accidentally Angelica for cello and synthesizer, that was left out of
I Angelica (2001).
Rex Xhu Ping (Pogus, 2005) contains six electro-acoustic compositions.
Their quality is mixed.
Natraj is a concrete collage performed by Margolis alone (that evokes
the sounds of small underground animals in the forest, whatever the original
sources were).
Frog Field does not use samples but only electronic sounds and a xylophone to compose a soothing blanket of minimalist repetition and ambient drones.
Quaderni is equally abstract and eerie (voices and other sounds are used as sources).
Oy Vey Angie is a haunting chamber piece, scored for accordion, organ, trombone, guitar, cello and the usual arsenal of electronic devices.
Other pieces are far less engaging and perhaps did not deserve to appear
next to these ones.
An Innocent Abroad (Pogus, 2007) contains two pieces by Margolis.
The 43-minute four-movement
An Innocent Abroad for electronics, vocals and flutes was created by
having the vocalist improvise a vocal track, then by multiplying the track,
then by feeding the tracks to flute improvisers, then by manipulating the
results. Whatever the process, the result is oneiric, languid and spaced-out,
almost psychedelic in nature.
The 19-minute Issue for electronics and multi-tracked voice falls in
the tradition of musique concrete and concocts a more dynamic processing of
the original vocals.
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