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CACOPHONIC / FINDERS KEEPERS

Ganimian & His Oriental Music

Come To The Casbah

Oft overlooked for over half a century while misfiled amongst exploit bellydance records and holidaymaker souvenirs this one-off 12 track album is the only existing full-length record by the best-kept mutant musical secret of the Armenian American diaspora, oud pop maestro Charles ‘Chick’ Ganimian.

One of the earliest examples of any kind of recorded fusion between rhythm heavy pop music and traditional Turkish music, Ganimian’s developments in New York City - with his sadly unrecorded Turk jerk combo The Nor-Ikes (New Dawn) combo - ran almost simultaneously alongside the rising Anadolou pop scene in Turkey, resulting in his short lived powerhouse of Kif proto-rock under the changing names of Ganim’s Asia Minors, Ganimian & His Orientals and Ganimian & His Oriental Music Orchestra. Combining a line-up of mostly unknown musicians from his local community, Ganimian, in a short unison with ATCO records, was fortunate enough to accommodate jazz guitarist Al Schactman as part of his studio personnel as well as French born Armenian folk singer Onnik Dinkjian and reid player Steve Bogoshian as well as the esteemed Turkish raised Kanun player Ahmet Yatman. As one of the very few early American recorded authentic Middle Eastern fusion record 'Come With Me To The Casbah' has piqued a refined interest in a new generation of progressive world music collector resulting in a distinct drought in original Ganimian pressings on the collectors’ market earning Chicks name a rising placeholder on the want lists of DJs, vinyl hounds and ethno psychedelia collectors.

This LP includes all of Ganimians recordings including the rare singles for Atco and East West which sit awkwardly next to bizarre and unique takes on popular American standards enhancing the exciting freak factor of this record which simply could not be made by today’s stifling self-aware anti-standards. Aside from rare (poorly recorded) private family tapes this album is the only chance to hear the music of this lost enigma of early world music, Eastern fusion and a missing kink in the fabric of New York pop music history captured before his short stint as an exotic Herbie Mann sideman which proceeded his migration into obscurity and his well-imparted tragic struggle with alcohol dependency depriving pop culture of a forward thinking pioneer who paved the way for the more credible exponents of the cross-continental Indo fusion enigma such as John Berberian and the later well pruned hard rock efforts of The Devils Anvil.

TRACK LISTING

Oriental Jam
Over The Rainbow
The Whirling Dervish
Play Girl Play
Swingin’ The Blues
Daddy Lolo
My Funny Valentine
Come With Me To The Casbah
Hedy Lou
Hayastan Moods
Halvah
Nine-Eight

Karel Goeyvaerts

Karel Goeyvaerts

    Karel Goeyvaerts was born in Antwerp in 1923. After having received a humanistic education in Antwerp, he took courses at the Lemmens Institute in Malines. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud, music analysis with Olivier Messiaen, and was, in addition, the pupil of Maurice Martenot at the Conservatoire National in Paris.

    In 1949 he was awarded the 2nd Prize for Composition and the Lili Boulanger Prize at the same Conservatoire. He obtained the Halphen Prize in 1950. During the winter of 1950-51 he wrote the ‘Sonata For Two Pianos’. Because of its decisive and total stylistic novelty he designated this work as ‘Composition No 1’, thus rejecting all his former work. With this sonata he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen, and laid the foundations for generalized ‘punctual’ serialism. He demonstrated the application of this technique on the electronic medium in his compositions Nrs. 4, 5 and 7.

    During the period 1951-1956, he influenced directly - through personal contact and intensive correspondence - the musical creativity of Karlheinz Stockhausen, whom he met during the summer-courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first electronic music in the studio of the NWDR in Cologne.

    In 1970 the BRT appointed him as producer at the Institute Of Psychoacoustics And Electronic Music (IPEM) in Ghent. Since 1974 he is in charge of the New Music productions for BRT-3 in Brussels. Karel Goeyvaerts received several awards, such as the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders and the NOS (Nederlandse Omroepstichting).

    His works have been performed in several European countries, in Canada, the United States, Japan and at the festivals of the International Society For Contemporary Music (ISCM) Brussels 1950, Oslo 1953, Graz 1972 and Bonn 1977.

    The first collection of some of Karel Goeyvaerts’ ultra rare releases, unavailable away from their original vinyl pressings.

    The third full length release on Finders Keepers’ new experimental imprint, Cacophonic.

    Michel Magne

    Musique Tachiste

      As the debut release on Finders Keepers’ new experimental / jazz / avant-garde imprint, Cacophonic release the first in a series of rare records by French experimentalist Michel Magne.

      One of the very earliest full-length French concept albums - part radical manifesto, part pantomime. This anti-intellectual "physical" reaction to the bourgeoning musique concrete movement combines found sounds and industrial noise with piano jazz alongside imposing avant-garde orchestral elements and Magne's own hammered cimbalom flourishes. This unique debut album also provides an early insight into a fruitful soundtrack / conceptual jazz career collaborating with Jean-Claude Vannier, Martal Solal and Artie Kaplan as well as founding the French Strawberry Studio at Château d' Hérouville where French groups like Magma, Catherine Ribeiro, Brigitte Fontaine and Ange shared a diary with Terry Riley and Pink Floyd.

      Presented here for the first time since its initial humble pressing in its unabridged entirety complete with its collectable illustrated sleeve art this album stands as the perfect debut release and musical modus operandi for this new archival imprint.


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