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Voodoo

by julian Broadhurst

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1.
Cajón - Rh 46 04:54
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2.
Bounce - Rh 47 06:06
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3.
Arac - Rh 48 01:02
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4.
Ober - Rh 49 08:22
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5.
Tumble - Rh 70 01:10
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6.
Longdale - Rh 75 08:36
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7.
Voodoo - Rh 82 12:56
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8.
Voodoo Duet - Rh 105 12:55
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9.
Voodoo Trio - Rh 106 13:44
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about

DCM 004 Voodoo - Drum music, Dm 4 - my fourth album .The second of a set of 3 albums of Drum studies, Dm 3 - 5. Most noted I should think for the piece ‘Voodoo Duet – Rh 105.

Cajon – Rh 46. In imitation of a Cajon – I doubt - a friend I was performing with at the time was using them and wild about them the word – the sound – was in the air. A nice Close Order Precession and the lovely bounce of my Tibetan Drum’s Top end – as used so many times.

Bounce – Rh 47. well this one is perfectly named for the Bounce Flick off my Tibetan Drum. A bright conundrum of a piece – I wish I had called it ‘Conu-Drum.’ Both hands seem to be playing independent rhythms – two hands 3 fingers, one low, two high – the two dance around the one, at shifting time intervals. Live to tape, one take.

Arac – Rh 48. A short, time shifting exercise, with low pitched wooden sonority.

Ober – Rh – 49. An exercise in touching the boundaries of Coherence by electronically multiplying the beat. You can, just, hear it as a performance, you can imagine it as such with no real difficulty. That’s why I say assisted performance and not Electronic music – which would have to take it way out of it’s acoustic source.

Tumble – Rh 70. Disrupting coherence with delay. Between piece numbered 49 and no. 70 I am working away on what would become the second Metal Percussion Album MPm 2. In these early days everything was happening at once. I separated it all out – that’s how I got this block structure of Albums - My Blue Cherries.

Longdale – Rh 75. Riding a wave of echoes – perfectly timed to roll with it. It was an interesting Study – timing it to be just so.

Voodoo – Rh 82. First of the ‘Voodoo Set’ - these are the real ‘manner’ of the album – in the sense that they were a ‘gift’ a as if given – gemstones in my early work – Given in the sense of a Perfect Line –as I used to say, long time ago as a Visual Artist. This is the image for the Duet and The Trio that followed – a short time later. An acoustic recording, live to tape – it must have been a beautiful day, or some stars must have been aliened. One of my most dynamic performances and yet it is what I did to in the Voodoo Duet – Rh 105 that hits a mark I’d never hit before. Composing a dynamic and coherent work for ‘two’ percussionists – me.

Voodoo Duet – Rh 105. A piece which I would be happy to be remembered for if for nothing else.

.In the 23 pieces between Voodoo – at Rh 82 and this Duet– at Rh 105 - I established another of my Five Geres., My Phase music’ genre, tape loops et al - ‘Phm’ by convention - and produced pieces, for its Study Albums - Phm 1 – 3. All this was in the air, when I turned back to Drum works. Here, in the Duet, we have one ‘Tape Image’ over another, not phasing, but one, harmonically longer than the other by lowering the pitch. Giving contrast, to a now ‘second drum,’ in an ‘Assisted Performance’ – as Milton Babbit might have said. I was very interested in him at the time.

Voodoo Trio – Rh 106. Curiosity having killed the Cat - I wondered what it would be like as a Trio. Now we are pushing coherence probably to point of destruction. But that was the point in making these pieces – to test coherence and it does. There is interesting distinction to draw between Coherence in Phasing and in these Harmonic Expansions. Where these cease here – the Phasing music Sailed on.


An early reorganization of my music research interest defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Drum music – Percussion on Drums of various kinds 'Percussion specifically on Drums of many kinds - as a speciality’
– Dm by convention.

Albums 1 - 7, collect together first seven Dm albums, placed in a block, one of 5 blocks, placed like books on a shelf. in an in an overarching 'Group' of my first 27 albums. Five Blocks for the Five Tranches - as they were founded (more of less) - five sets of studies and pieces, as my Foundational Group 'Blue Cherry' [after a friend]. The foundation stone the rest of my music is built on - in four further Groups.

The Seven Dm albums in the Blue Cherry Group are Dm 1 - a set of inventions for an American frame drum: Dm 2 – in a landmark set of the first 5 of my 12 Drum sonatas: Dm 3 - 5 are three volumes of Drum Studies; Dm 6 is in aother landmark set, the first of my 6 sets of Inventions for Djembe; finally Dm 7 is a fourth set of Drum studies.

The DCM album numbers list volumes in a [for the most part] chronological edition.- The DCM Broadhurst Edition - Prepared for the British Library in 2019. The Volumes or Albums themselves were actually released as and when it was possible. The Edition though, was planed from the start to stand on the 'foundation Stone' of the Blue Cherry group.

The Rh catalogue, numbers my works in order of Completion.

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released May 28, 2011

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julian Broadhurst Derby, UK

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