- 1. FIRST ENCOUNTER PART ONE (05:46)
- 2. FIRST ENCOUNTER PART TWO (08:47)
- 3. FIRST ENCOUNTER PART THREE (02:17)
- 4. SIDE ONE PART ONE (14:58)
- 5. SIDE ONE PART TWO (04:12)
- 6. ADDITIONAL ENDING (03:27)
- 7. SIDE TWO PART FOUR (01:14)
- 8. SIDE TWO PART TWO (05:22)
- 9. VERY SHORT PIANO SOLO (00:09)
- 10. SIDE TWO PART FIVE (01:45)
- 11. EMBRACEABLE WHO? (02:58)
- 12. EMBRACEABLE YOU (05:55)
- 13. SIDE TWO PART THREE (03:41)
- 14. MORE SUBSTANTIAL PIANO SOLO (02:46)
- 15. SIDE TWO PART ONE (07:41)
- 16. I CAN'T GET STARTED (02:14)
Electronics – Simon Emmerson (tracks: 1 to 6)
Piano – Veryan Weston (tracks: 7 to 16)
Soprano Saxophone – Lol Coxhill
The 39 minute duet with SIMON EMMERSON is an early example of interactive saxophone and electronics, wherein Emmerson modifies Coxhill's sound, and Coxhill reacts accordingly, etc. The 34 minute duet with pianist VERYAN WESTON from two weeks later is an early example of their very compatible duo, which was still going strong until Coxhill´s death in 2012 brought the music to an end. Reissue of Random Radar RRR 005 with extra material from the same sessions. 73 minutes.
Excerpts from sleeve notes:
The Digswell House concert by Lol Coxhill and Simon Emmerson is one of the earliest examples of a saxophonist being processed by electronics controlled by another musician - something that is quite common today. The Oxford concert with Veryan Weston represents one of the earliest recordings by this duo which performed for decades - a brief recording made the previous year was issued on Ogun.
Both duet recordings are significant as well as excellent, and worthy of reissuing even though the source material is imperfect. Fortunately, it was possible to work from tapes which yielded a considerable amount of extra material. The Digswell tape consisted of six extracts from the concert, only two of which were included on the original LP, so there is now twice as much music available as before.
The Oxford tapes were more problematical. To start with, the original recording was made on inferior equipment, resulting in a sound that is lacking but listenable. The original LP side appears to have been made up from five excerpts, some of which lead directly into sections of music that were not issued at the time. It was therefore decided to keep the sequences that apparently happened, rather than recreate the LP side. The five sections of the LP side have been made into separate tracks, so that it is possible to programme them back into the LP side if so desired. It is not possible to ascertain the order of performance after all these years, but the order on this CD is probably closer to reality than the LP was.
MARTIN DAVIDSON (2001)