Tall Poppies


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 TP (1-901)


Totally Prepared

Roger Frampton, prepared piano

$23   (Australian dollars)


buy at: AMC - Buywell - iTunes

Roger Frampton plays a world first - improvisations on prepared piano. Frampton is one of Australia's leading jazz pianists and composers. His interests in contemporary music are broad and eclectic, as this CD shows. It is the first of a set of three featuring Frampton as a soloist (See also TP006 and TP019)

Improvisations by Roger Frampton

After before
Second nature
Suite for prepared piano
Over the top
Final flourish


' ... characterised by an energy all too rare in recordings ofnon-improvised music.'
Andrew Ford, 24 Hours, January 1993

'I consider Roger Frampton to be the genius of contemporary music in Australia. His mind seems to lack any musical inhibition allowing his creativity to take him where it wishes. That's usually into areas which surprise and delight - the real joy of improvisation ... I am fascinated by what he achieves on Totally Prepared.'
Jim McLeod, 24 Hours, January 1993

'Frampton seems to revel in having the physical layout of his normal instrument but the musical challenge of having it produce abnormal sounds.'
Cathie Travers, Sounds Australian, Autumn 1992

' ... a creative mind being given free rein ... The proceedings - whether intense probing, abstract musing or the shaping of melody - are fascinating, and continually surprising.'
Adrian Jackson, The Age, July 1992

…there is only one Roger Frampton, and he operates best when he takes for granted a certain level of musical curiosity on the part of the listener. As witness these two fascinating and deeply satisfying CDs. The first uses the one 'prepared' piano. Frampton was inspired by John Cage's Sonatas and Interludes, but his approach, including his own method of preparing the piano, is quite his own… At times Frampton makes the instrument sound like a gamelan orchestra, but industrial associations also arise, particularly the sounds of antiquated technology. Reluctant ticks, whirrs and shirrings lead to agitated rhythmic passages that may suggest a donkey engine at the point of flying apart. The off-pitch bonging of ancient clocks is also evoked, with accompanying remote poignancy. When he plays two pianos – one prepared, the other not – two contrasting tonal and textural worlds interface.
Gail Brennan Sydney Morning Herald

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 TP (1-901)



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