A Doughnut in One Hand is only the second solo album by vocalist Phil Minton. This seems strange considering how long he's been around, and how many records he's appeared on, but according to Paul Dutton's liner notes on this FMP release, it's the "sequel" to A Doughnut in Both Hands, which was issued on the tiny Rift imprint some 17 years previously in 1981. There are 30 pieces on this set, all of them recorded without technical special effects, so the multiphonics and polytonality are all from the mouth of Minton as they happened.
Artists Phil Minton A Doughnut in One Hand. A Doughnut in One Hand Phil Minton. A Doughnut in One Hand. This album has an average beat per minute of BPM (slowest/fastest tempos:, BPM). See its BPM profile at the bottom of the page. Tracklist A Doughnut in One Hand. BPM Profile A Doughnut in One Hand. Album starts at BPM, ends at BPM (+0), with tempos within the -BPM range. Try refreshing the page if dots are missing). Recent albums by Phil Minton.
Recorded in January 1998 at the Friends Meeting House, Welwyn Garden City.
A Doughnut in One Hand. In many ways Minton is developing a solo vocal vocabulary comparable to the a-cappella techniques of reed innovators like Anthony Braxton and Roscoe Mitchell. Recorded by Veryan Weston in January 1996 at the Friends Meeting House, Welwyn Garden City. Production DAT by Dave Hunt.
Phil Minton (born 2 November 1940, Torquay, United Kingdom) is a g vocalist and trumpeter. Minton is a highly dramatic baritone who tends to specialize in literary texts: he has sung lyrics by William Blake with Mike Westbrook's group, Daniil Kharms and Joseph Brodsky with Simon Nabatov, and extracts from James Joyce's Finnegans Wake with his own ensemble. He even once participated in a Jimi Hendrix tribute project, belting out the lyrics in particular over-the-top fashion.
This album is the third part of an astonishing trilogy, following A Doughnut In Both Hands (1975-1982) (Emanem, 1998) and A Doughnut In One Hand (FMP, 1998). The sole exception is "Vo Be Dayish," an improvisation on a transcription by Veryan Weston of an improvisation by Phil Minton, which verges on scat singing, albeit employing non-standard vocal technique. Non-standard vocal technique barely does justice to the rest of the tracks: "Para Five" and "Para Plus" sound like nothing so much as two cats hissing and fighting; on the twenty-two tracks in the "No Doughnuts In Hand" series, Minton variously sounds like a chronic asthmatic, someone speaking in tongues, someone with a speech impediment, a heart attack.
Many of the sounds on the album’s 15 short tracks are unpleasant, but they’re all the more powerful for it. This work is in no way deprived of wonder, and you have to marvel at the breadth of what Minton can do. Breaking News bleeds from high pitched warbling to multiphonic density, the throat pushed to the weirdest limits of its potential. There’s A Reason reprises this sonic field, almost electronic in texture, while Set In Stone takes these techniques and flirts with the operatic.
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Album CDs Phil Collins 1999. Import CDs Phil Collins 1999