Radical Glass Music #6

The 6th installment in our Radical Glass Music series (#1|#2|#3|#4|#5), this episode welcomes glass sound experimentalists from avantgarde music circles and the art gallery world. Note all previous RGM compilations have been reuploaded earlier this year by several generous readers on the “2012 Re-ups” page. Artwork above after German kinetic and optical artist Adolf Luther (1912-1990). Since the 1960s, Luther has experimented with light and optical effect from concave mirrors, glass and lenses, in kinetic sculptures or installations. See German Wiki or English bio here.

01 Dieter Schrade Kristallstimmgabeln & Klangpyramiden (16:32)
02 Daniel Lentz Lascaux (9:24)
03 Roland Moser Stilleben mit Glas (16:41)
04 Agostino Di Scipio Stanze Private 1 & 2 (13:12)
05 Musica Elettronica Viva Spacecraft – live in Berlin, 1967 (13:48)
06 Dawn Scarfe Through the Listening Glasses: Landstrasse (14:05)

Total time 83:42
Compiled by Continuo, 2012

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Dieter Schrade Kristallstimmgabeln & Klangpyramiden (16:32)

German instrument builder and glass artist Dieter Schrade creates crystal diapasons (Kristallstimmgabeln) and crystal pyramids (Klangpyramiden) with unusually pure resonant properties used for healing and relaxation purposes. This is a montage of all the tracks found on Schrade’s sound gallery.

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Daniel Lentz Lascaux (9:24)

Included in US composer Daniel Lentz‘s album On the Leopard Altar on Icon Records in 1984, Lascaux is played on tuned wine glasses by Brad Ellis, David Kuhen, Arlene Dunlap, Jessica Lowe and Susan James, with additional studio post-production (sampler and keyboards) by the composer.

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Roland Moser Stilleben mit Glas (16:41)

Swiss composer Roland Moser, born 1943, was a member of Ensemble Neue Horizonte Bern. His track Stilleben mit Glas  was created in 1970 in the Studio für Elektronische Musik in Cologne, and uses glass sounds only, some highly processed and some left as is. Despite the unique sound source, the piece is highly varied in textures and contrasted in dynamics. The track was included in the Ensemble Neue Horizonte Bern double LP on Jecklin, Switzerland in 1977.

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Agostino Di Scipio Stanze Private 1 & 2 (13:12)

Italian artist Agostino Di Scipio, born in Naples in 1962, uses glass jars and contact microphones to record ambience sounds from an art gallery, with added filtering and EQ, as Di Scipio is also an electroacoustic composer.

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Musica Elettronica Viva Spacecraft – live in Berlin, 1967 (13:48)

In Musica Elettronica Viva‘s first incarnation ca1967, Frederic Rzewski was playing a large glass plate with springs and contact microphones, whose scraping sounds were amplified by Richard Teitelbaum’s “flashlights and photocell mixer”. This live recording of their classic Spacecraft brings glass music into noise territory. From the MEV 40 four CD set on New World Records, 2008.

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Dawn Scarfe Through the Listening Glasses: Landstrasse (14:05)

British contemporary artist Dawn Scarfe, born 1980, uses specially-conceived, Heimotz-type glass resonators to filter and enhance environmental sounds. This track is a recording of such resonators installed in a passageway near the Tonspur gallery in Vienna, Austria, in 2010 (see also here). Scarfe also performs on tuned wine glasses with Jem Finer, Dominic Lash, Mel Gough or Jane Dickson.

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Radical Glass Music #5

The Radical Glass Music series (#1|#2|#3|#4) collects examples of creative use of glass in music from contemporary composers or sound artists, with emphasis on 18th century-type spirit of discovery and magical sounds. Healing properties are not forgotten, as this kind of music is remarkably suitable during a headache, for instance, as this writer experienced!

01 Edgardo Rudnitzky & Jorge Macchi Twilight (20:32)
02 Yatri Highland Muse (4:19)
03 Steve Roden Bell Is The Truth (Berlin) (16:04)
04 Josef Anton Riedl Glas-Spiele (excerpt) (11:59)
05 Federico Fellini E La Nave Va (2:25)
06 Gunner Møller Pedersen Glasmusik II (15:14)
07 Russell Leach & Don Campau Glass Source (2:27)

Total time 73:00
Compiled by Continuo, 2011
Photo: Man Ray, Ce que manque à nous tous, 1969 (source)

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01 Edgardo Rudnitzky & Jorge Macchi Twilight (20:32)

Commissioned by the Centre for Studies of Surrealism and its Legacies, Twilight was a 2006 performance for glass armonica and Max/MSP software, by contemporary artists Rudnitzky & Macchi, part of the former’s Light Music series. In this serene, dense accumulation of glass sounds, a computer playback system interacts with the armonica player, Alasdair Malloy. Sound file from this page.

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02 Yatri Highland Muse (4:19)

Yatri is Canadian pianist Kathryn Taussig’s 1996 glass armonica project. Her instrument was build by Gerhard Finkenbeiner, who famously build German interpret Bruno Hoffman‘s armonica in the early 1980s, thus contributing to a revival of 18th century glass music. Sound file from website.

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03 Steve Roden Bell Is The Truth (Berlin) (16:04)

This soundtrack to a film installation is based on light bulbs and bells sound samples, reconfigured by Steve Roden into a hypnagogic soundscape of tintinabulating and resonating sounds. From the 2003 CD on Semishigure/ Bottrop-Boy. Unrelated picture above from Roden’s Fulgurites 2004 installation.

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04 Josef Anton Riedl Glas-Spiele (excerpt) (11:59)

One of the two existing versions of Glas-Spiele, or Glass Games, 1974-77, a collective composition for glass tubes exploring the percussive properties of glass. From #8 of the Zeitgenössische Musik In Der Bundesrepublik Deutschland series of LPs. Performers include: Florian Tielebier-Langenscheidt, Johannes Göhl, Lorenzo Ferrero, Michael Hirsch, Robyn Schulkowsky and Stefan Gabanyi, under the direction of Riedl. Source: Avant Garde Project #1.

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05 Federico Fellini E La Nave Va… (2:25)

In this famous scene from Fellini’s film E La Nave Va… (1983), a group of musicians and conductors seem to improvise on Franz Schubert’s Six Moments Musicaux No.3, 1828, originally for solo piano. One source claims the music was recorded by virtuoso glass player Bruno Hoffman and arranged by Nino Rota. Glass music doesn’t come more magical than this. Sound from DVD.

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06 Gunner Møller Pedersen Glasmusik II (15:14)

In 1991, Danish composer Perdersen was commissioned a piece for the Ebeltoft Glass Museum, to be played as a permanent installation in the museum’s rooms. The glass sound samples and programming were produced at the Danish Institute of Electro-acoustic Music in Aarhus and premiered in the museum in 1993. From the 1994 Winter Garden CD.

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07 Russell Leach & Don Campau Glass Source (2:27)

On their 2011 Inside/Outside project, Californians Russel Leach (l) and Don Campau (r) use a variety of small percussion, traditional instruments and sampler to create exquisite otherworldly tracks with exotic resonances typical from West Coast musicians. Their instrumentation includes glass percussion and ringing glass, as is the case on this unreleased track from the same sessions. Thanks to Don for this one.

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Radical Glass Music #4

Above photo by Henry Groskinsky, from: Sound and Hearing,
by S. S. Stevens, Fred Warshosky, eds., Time Life Books,
originally published 1965, USA.

Interestingly, while John Cage claimed never to have written a note for glass instrument (see interview with Miguel Frasconi in Musicworks journal, issue #17, 1981), members of the Fluxus movement embraced glass as a medium of choice, supposedly for its transparent and sonic properties – see Yoko Ono’s numerous sculptures and installations with glass, as well as the Season of Glass LP cover photo. The 4th installment in the Radical Glass Music series (where I collect and document examples of creative use of glass in music) embarks two Fluxus artists (Paul Panhuysen and Henning Christiansen) as well as Charlemagne Palestine, whose live performances always start with a prologue for ringing Cognac glass and high-pitched voice. Each artist uses glass in a personal way: Panhuysen by blowing bottle necks, Christiansen as Gamelan-type percussion, and Palestine with the usual ringing glass. The Fluxus artists perhaps fell attracted to the glass’ anti-establishment dimension, since you don’t have to be a trained musician to play it – another reason why John Cage could have composed for glass. On the other hand, composers so obsessed with unusual tonalities as Harry Partch and George Crumb inevitably had to fall under the spell of glass sounds. Crumb included water-tuned crystal glasses played with a bow in the instrumentation of his 1970 Black Angels string quartet, where they add eerie tonalities to the strings’ own special effects. Partch build several glass instruments, including the Mazda Marimba made of actual light bulbs, and the Cloud Chamber Bowls, made of half-cut Pyrex bowls from cloud chambers, of which an example is given here. Frenchmen Jean-Claude Chapuis and François & Bernard Baschet are part of the tradition of local crystal music, Chapuis on self-build séraphin (a set of empty glasses of different sizes) and the Baschets on their own Crystal.
See also Radical Glass Music #1 >, #2 > and #3 >

Radical Glass Music #4:
01 George Crumb Black Angels – God Music (3:07)
02 Jean-Claude Chapuis Luminescence (2:57)
03 Paul Panhuysen Blowing (6:34)
04 Harry Partch Cloud Chamber Music – from Eleven Intrusions (4:03)
05 François & Bernard Baschet Comme Une Autre Réalité (3:25)
06 Henning Christiansen Gibbon in Glass Sound (5:32)
07 GOL + Charlemagne Palestine Live Paris 2008 (1:32)
08 The Glass Duo JS Bach (:19)

Total time 27:30
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The Glass Orchestra ‘Tales from Siliconesia’

Created  in 1977 by students of Toronto’s York University Music Department, The Glass Orchestra (hereafter: the Orchestra) benefited from favorable local factors in its rise to a leading, world-class performing act. The university’s music teachers included David Rosenboom and Richard Teitelbaum and was welcoming contemporary experiments and avantgarde composers – John Cage premiered his Lecture on the Weather at York in 1976 (in which Miguel Frasconi performed) and some future Orchestra members took part to a performance of David Tudor’s Rain Forest installation in 1975, when Tudor visited the university as a guest artist/lecturer. Some Orchestra members also studied with pianist and improvisation teacher Casey Sokol. Launched by Al Mattes and Peter Anson with generous government funding in 1976, the Music Gallery, then located on 30 St Patrick Street, held weekly concerts and various music festivals, ensuring regular gigs and emulation with local and visiting musicians. In 1980, the Glass Orchestra performed there regularly the first Wednesday of each month, and toured extensively across Asia, North America and Europe during the 1980s. Contrary to what I wrote in my first Orchestra post, they never studied with R. Murray Schafer, though, and their influences must be found elsewhere.

The core members of the classic Orchestra were Marvin Green (b Toronto 1956), who was then running the Music Gallery Editions of live recordings and LP releases, and half of the Pitch duo with John Oswald, 1976-1982 ; Eric Cadesky (b Toronto 1956), who created many of the Orchestra’s glass instruments ; Paul Hodge (b Toronto 1957), the Gallery’s technical director ;  Miguel Frasconi (b New York City, 1956), composer and performer with the New Music Co-op, created 1970, and pianist with the Three Sided Room quartet, along Paul Hodge (clarinet, autoharp), John Oswald (saxophone) and Marvin Green (bass, voice). They performed at the Ear It Live festival, Toronto, 1980.

When the Music Gallery Editions had to cease publishing records, the Orchestra decided to create their own label and to launch things off with this exquisite single, released 1981. Text and music on both sides were totally spontaneous and recorded during longer improvisations in the Orchestra’s own rehearsal space at the time, an art deco building on 31 Mercer Street, coincidentally the ex-headquarters of the Pilkington Glass Company. Fred’s Fable definitely carries a feeling of exhilaration and contagious joy. The hilarious story-telling juxtaposes a nonsensical children’s tale with weird sounds from the glass instruments, including speaking in a bowl and a rhythm track played on water (1:40), presumably emulating a washing-machine! The music is both exotic, dreamy and funny, from a variety of glass percussion and flutes. Marvin Green is the lead vocalist on Fred’s Fable, though Eric Cadesky and Miguel Frasconi start things off with their own vocal interjections. That same year (1981) Frasconi played bowl gongs on Jon Hassel‘s Dream Theory in Malaya, recorded in Hamilton, Ontario. On Malay, a recording of a ‘joy-filled water splash rhythm’ by Asian children, edited and looped by Paul Fitzgerald, is used as a rhythm track for almost the entire composition. The result is close to Fred’s Fable, though the Orchestra have a more communal sense of having fun. Note on the same Hassel LP Canadian composer Andrew Timar is credited with frog field recording – he appeared on several Musicworks cassettes as well.

The most striking feature on Verrillon 9, recorded during a public concert on Mercer Street, is the use of a long glass tube played by Marvin Green, its end placed in a glass bowl filled with water, as depicted on the cover. At first it sounds like a regular glass flute, but soon transmogrifies into a weird instrument when submerged in water, its eery sound contrasting with the pseudo-ethnic rhythm played on glass by Cadesky and Hodge, with bass by Frasconi. The frequent use of water in the Glass Orchestra is possibly derived from some John Cage‘s composition like Water Music, 1952, for various objects and water containers, a piece Miguel Frasconi frequently performed himself around 1981. During the 1952 premiere, David Tudor poured water from various pots into others, in addition to playing the piano and radio. Another Cage composition using water is Inlets, 1977, for 3 gurgling consh-shells filled with water. In an interview published in Musicworks journal, issue #17, 1981, Miguel Frasconi asks John Cage about his Water Music and also tries to have Cage’s opinion about glass music. Frasconi:  ‘John Higgins once told me he was in a class of yours at Welseyan University and there was some sort of exhibit there of glass sculpture. And one day you took the class over there and asked them to make sounds with the sculptures. Have you ever made a piece using glass? – No, I never did’, Cage replies.

Thanks to Eric Cadesky and Miguel Frasconi for permission and invaluable information.

The Glass Orchestra ‘Tales from Siliconesia’:
01 Fred’s Fable (4:44)
02 Verrillon 9 (6:50)

Total time 11:34
7” single released by The Glass Orchestra, GO01 EP, Canada, 1981

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Akio Suzuki ‘Soundsphere’

01 De Koolmees Suzuki Type Glass Harmonica, 1973 (23:46)
02 Analapos A – Voice Composed, 1970 (14:44)
03 Analapos B – Multiple Stand, 1973 (22:33)
04 Analapos C – Object For A Single Person, 1970 (9:20)

Total time 70:23
Book+CD released by Het Apollohuis, The Netherlands, 1990

‘Soundsphere’, Akio Suzuki‘s acclaimed masterpiece, was meant by Paul Panhuysen, director of Het Apollohuis, as an introduction to his sound work, with a book detailing various instruments Suzuki created, as well as diagrams and documentation on previous performances from the 1970s and 1980s. It was conceived during an artist-in-residence time Suzuki spent at Het Apollohuis. The 36-pages booklet edition came in an oversized cardboard box and was limited to 1,000 copies. The disc focuses on 2 instruments only: the De Koolmees, a self-build glass instrument already described in a previous post, and the Analapos, a long spring attached to a pair of cylinders, played either by plucking the string or singing through a cylinder. As customary with Suzuki, all sounds are out of this world, hardly ever sounding like man-made music at all. On track #1, Suzuki uses 2 of his glass instruments at the same time, making various use of them: rubbing or percussion, or a combination of both. The whole disc is extraordinary.

Music (133mb) and pictures (13 scans) provided by Olivier Prieur. Thanks!

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William Penn ‘Crystal Rainbows’

01 Reflections in a Plastic Vase (6:20)
02 Interlude: Crystal Rainbow (2:18)
03 Moonshine (7:22)
04 Gossamer Looms (6:58)
05 Iridescent Stillness Through Curved Space (6:36)
06 Reprise: Crystal Rainbow (2:32)

Total time 32:00
LP released by Sounds Reasonable, Inc. (SRI) SR 7801, Washington, D.C., 1978

This record is based on an exhibition held at the Renwick Gallery, Washington, D.C., home of the Smithsonian American Art Museum’s craft and decorative arts program since 1972. The exhibition was titled ‘The Harmonious Craft: American Musical Instruments’, and was on show in 1978 and 79, including ‘unique and esoteric American handcrafted musical instruments’. Composer William Penn (b. 1943) was asked by Sounds Reasonable Associates to compose music based on the instruments on display. Penn graduated from Buffalo University in 1967 where he studied Northern Renaissance music, Theater Music with Maurizio Kagel and serialism with Belgian composer Henri Pousseur. At one point, he played in a band called The Creative Associates including Lukas Foss, George Crumb and Kagel. He turned to more academic music as a composer and producer for Arizona University Recordings, and nowadays writes scores for theater productions. Penn has records out on CRI, Smithsonian, Hebra, Advance, etc. On a side note, in 1974, the Washington, D.C. Sounds Reasonable label released an intriguing 7” single by The Stereofernic Orchidstra, an orchestra of plants triggering electronic sounds from an ARP 2600 synthesizer. The Orchidstra was the brain-child of physics student Norman Lederman with help from Jeff Bagato and Gary Burke. It seems S.R.I. producer Edmund Barnett was quite an adventurous person as a producer.

To compose the tracks on Crystal Rainbows, Penn grasped some of the instruments on display at the exhibition: the Cloud Chamber Bowls built by Skip LaPlante and designed by Harry Partch; the Single String Stainless Steel Cello by Robert Rutman; the Electronic Jawbone by Bob Natalini; the Triple Ocarina by Susan Rawcliffe; the Steel String Guitar by Max Krimmel; the Bicentennial Turkey Tambourine by Jan Brooks Loyd; the Portative Organ by John Brombaugh and George Taylor; the Music By The Inch by Bob Hanson or the Appalachian Dulcimer by Rufus Jacoby. To this Penn added his own rubber piano, jaw harp and ARP 2600 synth. Dominick Labino plays Glass Harmonica on two solo tracks (#2 & 6). All other instruments are played by Penn himself, except:

• Carol J. McCloud: bagpipes
• Magruder Dent III: Steel String Guitar
• Tom McCarthy: Fender bass
• Elizabeth Garrett Bunker, Robert Wieczorowski: voice
• Dominick Labino: glass harmonica
• Jim Harmon: piano (on Reflections)

The music is unlike any other music from self-build instruments I can think of, for William Penn is a trained composer, making full use of counterpoint and other elaborate techniques in composing. Some passages are freely improvised, like the powerful sounds emitted by the Stainless Steel Cello on #4 Gossamer Looms. In this case, the menacing sounds are counterbalanced by Jew’s harp and Sanza Finger piano. #3 Moonshine gets very close to a Jean-Jacques Perrey hit on self-build instruments. While this LP is far from the avantgarde of the time, its charm lies in the exquisite arrangements and originality of instrumentation.

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Below: instrument builders

Radical Glass Music #3

01 Meredith Monk/Collin Walcott Prologue (2:29)
02 Osso Exotico & Verres Enharmoniques Untitled #2 (7:12)
03 Christina Kubisch Armonica (excerpt) (12:59)
04 Michael Vorfeld Light Bulb Music (4:12)
05 Miguel Frasconi Issue Solos For Glass (22:25)
06 Akio Suzuki Ha Go Ro Mo (15:24)
07 Meredith Monk/Collin Walcott Unison (4:36)

Total time 63:30

Radical Glass Music is a series of specially curated compilations appearing on this blog from time to time and documenting creative use of glass in music, a field that is of particular interest to special tunings and microtonality lovers, but also to those who simply crave magical sounds and continuous music. While previous issues have featured long duration, mesmerizing sounds extensively, this 3rd installment introduces some percussion sounds as well, and I’d like to include more of them, hopefully, in the future

On ‘Our Lady of Late’, recorded 1973, Meredith Monk confronts her voice with high pitched crystal glass tonalities by Collin Walcott, a renowned NY percussionist who played with Miles Davis, Oregon or Don Cherry. The opener ‘Prologue’ (included here) is a minimal solo for crystal glass hit with a stick. On ‘Unison’, the singer tries to adjust her pitch to that of the crystal’s pure continuous tone, producing delicious harmonics on the way.

French duo Verres Enharmoniques, known today as Orbes, teamed with Portuguese drone masters Osso Exotico to record this wonderful disc in 2006 for Phonomena. Using their usual instruments (guitar, organ, percussion), Osso Exotico engage into a risky dialogue with the ambiguous tuned glasses. On this track, the awkward pumping mechanism of an harmonium is heard producing long-held notes, building up on the massive glass tonalities (6 large glasses).

The ‘Armonica’ CD, published 2005, seems at odds with Christina Kubisch‘s usual sound artwork, the latter usually focusing on amplified electric fields in public spaces. Whether she considered the traditional glass harmonica an appropriate tool to reveal room acoustics or simply wanted to indulge into the magical sounds of the instrument, the disc shows the artist obviously delighting in the bath of tones produced by the rotating bowls. The recording enhances the mechanical noises of the Glass Harmonica, appropriately making it sound like the industrial age invention that it originally is.

Michael Vorfeld is a very original German percussionist and sound installation artist. His Light Bulb Music was developed during live performances using a collection of colored amplified light bulbs and electrical apparatus. The electricity is used to make the glass bulbs resonate, however briefly, and the music arises from the multiple clicks and pops of bulbs and electrical switches. Vorfeld plays on the bulb’s fragility on one side, and the danger emanating from his less than secure electric installation on the other. Soundtrack from this video.

Miguel Frasconi is a founding member of The Glass Orchestra, whose first 1978 LP was previously featured on this blog. He’s still a champion of glass music today, with a distinct, un-dogmatic conception encompassing all kinds of glass sounds. This track is a solo from a live performance with John Morton at Issue Project Room, Brooklyn, 2007, available at Archive.org. Frasconi uses a large array of jars, bowls, rods and even water for what sounds like an exploration of the entire range of glass sounds. What the track lacks in focus it more than compensates with original sounds and exploratory spirit.

The De Koolmees is a self-build glass instrument consisting of 6 hollow glass tubes suspended over a frame. Akio Suzuki apparently rubs the glass with his hands from above and bellow, and even sings into it. As often with Suzuki’s music, the process has an organic feel, the composer only revealing latent sounds (or so it seems) from the materials. The result is pure magic. Track from the ‘Odds and Ends’ 2xCD, MIMI, 2002.

Thanks to harps for the Kubisch suggestion.

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Doyen/Lasry ‘Poèmes dits par Jacques Doyen’

01 François Villon ‘La Ballade Des Pendus’ (3:20)
02 Edgar Poe ‘Annabel-Lee’ (4:20)
03 Jean Cocteau ‘Batterie’ (2:25)
04 Frederico Garcia-Lorca ‘La Femme Infidèle’ (3:02)
05 Colette ‘Nonoche’ (4:30)
06 Guillaume Apollinaire ‘Gui Chante Pour Lou’ (1:30)
07 Walt Whitman ‘Chant De La Grand’ Route’ (2:20)
08 Pierre Emmanuel ‘Je Sais’ (2:12)
09 Luc Bérimont ‘Un Feu Vivant’ (2:50)
10 Charles Vildrac ‘Visite’ (4:49)
11 René Barjavel ‘Farendol’ (2:42)
12 Paul Eluard ‘Le Dit De La Force De L’amour’ (1:35)
13 Henri-François Rey ‘Le Rachdingue’ (3:31)

Jacques Doyen: voice
Jacques Lasry: Structures Sonores Baschet

Total time 39:40
LP released by Disques Alvarès, ref. C 475, France, ca 1972-75

Poetry reading by legendary raconteur Jacques Doyen, famous for his recordings with Jac Berrocal in the 1980s. Half of the tracks have musical accompaniment by Jacques Lasry, a Baschet brothers collaborator playing some of the Structures Sonores – the Crystal immediately recognizable on tracks #2, 4 and 5. The music reaches sublime heights on the latter, the haunting, hallucinatory ‘Nonoche’, yet Colette’s poem is almost comical, telling the story of an old, battered cat calling for the female ‘Nonoche’, no less old, to meet him in the woods, leaving her little kitty alone. The tone reminds of Thomas Hardy’s poem ‘Ah, Are You Digging On My Grave?’[+]. Elsewhere, particularly on the Gothic Edgar Poe poem, Lasry’s insidious, louche tonalities perfectly fit the Decadent, dubious tone of some of these turn of the century poems. 4 of them (Villon, Edgar Poe, Garcia Lorca and Cocteau) already appeared on Doyen+Lasry’s first disc, a 1957 released 7” single – fellow mp3 blogger Airform Archives posted some mp3s. The versions on this LP include new recordings with better sound quality. Another blog, Alice Rabbit, posted a 1966 LP worth checking out. Note: my copy of ‘Poèmes dits par Jacques Doyen’ is almost free of clicks. The noticeable tape hiss comes from the recording technology, not from background LP noise.

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Jacques Doyen’s discography:
1957 w/Jacques Lasry, 7”, Ducretet-Thomson 460 V 316
1966 w/Jacques Lasry ‘Poésie à mi-voix’, LP, Barclay 88006s
1968 Jacques Doyen ‘Récital de poésie’, LP, BAM La Fine Fleur #06
1972 w/Jacques Bertin ‘Claire’, LP, BAM
ca 1972-75 w/Jacques Bertin ‘Chansons et poemes’, LP, Alvares C 470
ca 1972-75 w/Jacques Lasry ‘Contes de la Cinquieme Saison’, LP, Alvares C 472
ca 1972-75 w/Jacques Lasry ‘Poèmes Dits Par Jacques Doyen’, LP, Disques Alvarès C 475
1982 w/Jacques Lasry, LP, Structures Sonores,

Doyen appears on:
1983 Jac Berrocal & Jacques Doyen ‘Sacré !’ (Allen Ginsberg) on ‘Paris Tokyo’ cassette, Tago Mago
1997 Jac Berrocal & Jacques Doyen ‘Sacré !’ (Allen Ginsberg) on ‘Fatal Encounters’ CD, Megaphone Records
2004 Jac Berrocal & Jacques Doyen ‘L’union Libre’ (rec 1985) on ‘Prière’, 10” vinyl, Alga Marghen