Schott has said that his goal was to develop "material from as many angles as possible: free improvisation, 'musique concrete,' postwar composition, AACM-derived strategies, and pop music." Sometimes these idioms are juxtaposed, but more often they're integrated, and tracks vary considerably in length. The ancient recordings themselves range from a 4,000-voice chorus at a Handel festival to a lady named Mrs. Shaw whistling in 1888 to a snake dance song sung by Passamaquoddy Indians. It's intense, colorful music, a collage of avant-garde styles that may appeal to non-avant-garde listeners, because most of the 28 tracks are brief, varied, and exciting. All sorts of unusual instrumental combinations are used, including an accordion-guitar duo. Some of the music is funky; much of it is humorous. Plonsey takes a biting, well-constructed alto sax solo on "Poor Mourner Intro," demonstrating that he, too, is a man to be reckoned with.
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