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"flickr lounge" "Lighting Effects" ... some more light painting effects...with a fiber optic brush and color changing light
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Landschaftspark Duisburg, former „Rheinische Stahlwerke zu Meiderich bei Ruhrort“, 1901-1985
1987, alfred-harth-vinyl.blogspot.com/ ,
a23h-discography.blogspot.com/
The titles of "Plan Eden", out in 1987, refer to Doris Lessing, Friedrich Nietzsche, Robert Anton Wilson and Harth himself. It's another "separated at birth" statement: the first side is Harth solo on the tenor sax, playing a series of short improvisations whose atmosphere changes like tropical weather: a serene reverb-drenched meditation one moment, a torrent of multiphonic schizophrenia a minute later, and the firm reminder that what we currently worship in the so-called "reductionist" movement had already been tackled by Mr.23 at least a decade earlier. The second side features a clutch of duets with Lindsay Cooper - on bassoon and sopranino, while Harth uses clarinets - and a furious one with John Zorn, plus a three-minute improvised "mini opera" with Phil Minton gurgling his tonsils out and a pre-iPod, pre-electronics Günter Müller on drums among the others. In this album, just like in "Anything goes", the composer also took good care of the cover artwork; the LPs include inserts with Harth's drawings, and the nostalgic collector who replaces my good self every once in a while is still moved by the carton's smell of his treasured copies. Sniff....Aaaahhh...
Massimo Ricci in Touching Extremes
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A first live encounter between A23H and John Zorn took place in 1985 during a Harald Haerter project in Zürich, Switzerland. This meeting paved the way for their duo, initiated by A23H’s invitation to Zorn for their pure sax duo performances at the Moers Festival in 1986, at the Brotfabrik Frankfurt/Main, and a concert in Würzburg, culminating in the track “Atom Sex Kino” on A23H’s 1987 LP, “Plan Eden”.
Structure and Style of “Plan Eden”:
The first side of “Plan Eden” is dedicated to Harth’s solo tenor saxophone improvisations, shifting from serene, reverb-washed meditations to intense, multiphonic workouts. These explorations anticipate the reductionist and minimalist trends later seen in avant-garde music, underscoring Harth’s forward-thinking approach.
On the second side, the album presents varied duets: Harth’s clarinet dialogues with Lindsay Cooper’s bassoon and sopranino, a high-voltage interaction with John Zorn, a turbulent three-minute “mini opera” featuring Phil Minton’s vocal improvisation, and contributions from Günter Müller on drums before his electronic phase.
Artistic Vision and Packaging:
Like its predecessor, “Anything Goes” (1986)—an LP merging remixes by Heiner Goebbels, John Oswald, and John Zorn—“Plan Eden” embodies Harth’s multidimensional artistry, which extends not only to composition and performance but also to visual design, with self-drawn cover artwork and inserts. Collectors particularly value the distinctive physical presentation and nostalgic appeal of these LP editions.
Impact and Legacy:
Through “Plan Eden”, A23H established an influential model in experimental improvisation and multimedia collaboration, foreshadowing trends that would only later gain broader recognition in the contemporary music scene.
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blast furnace 5
Landschaftspark Duisburg, former „Rheinische Stahlwerke zu Meiderich bei Ruhrort“, 1901-1985