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Raymond Scott: “Nursery Rhyme”

From the album Soothing Sounds for Baby, Volume 1 (1964)

In honor of my newborn son, Felix Troutt Patteson (born November 3, 2011), I present this wonderful bit of 1960s sound design by the intrepid American bandleader, composer, and inventor Raymond Scott. Conceived as a musical soporific for small children—“an infant’s friend in sound,” as the marketing proclaimed—Soothing Sounds for Baby was a set of three records corresponding to the graded age-groups 1-6, 6-12, and 12-18 months. Using his own electronic instruments, which included some of the world’s first musical sequencers, Scott created bright, shimmering sonic textures comprised of short motivic patterns overlaid with playful melodic improvisations. 

In its intended purpose, the record was a failure, but it is now seen as a striking anticipation of the repetitive electronica to emerge in the 1970s. Originally produced in collaboration with the Gesell Institute of Child Development in 1964, Soothing Sounds for Baby was re-released on CD in 1997 by the Dutch label Basta Records, which has specialized in reanimating Scott’s discography. More recently, Soothing Sounds received the full-blown remix treatment.

On a related note, fans of Raymond Scott should check out the recently released documentary film Deconstructing Dad, produced by Scott’s son Stan Warnow and Jeff Winner.

November 10, 2011, 10:45pm

[Flash 9 is required to listen to audio.]

Raymond Scott: “Cindy Electronium” (1960-63)

From the album Manhattan Research, Inc. (2000)

A sprightly little ditty by American inventor, bandleader, and electronic music pioneer Raymond Scott.  The title of the piece refers to a device created in 1960 by Scott and called the “Electronium,” which was one of the first musical sequencers.

“”In the music of the future, the composer will sit alone on the concert stage and merely think his idealised conception of his music. His brain waves will be picked up by mechanical equipment and channelled directly into the minds of his hearers, thus allowing no room for distortion of the original idea. Instead of recordings of actual musical sound, recordings will carry the brain waves of the composer directly to the mind of the listener.” (Raymond Scott, 1949)

August 28, 2009, 3:28pm