Accordion – Heinz Huber (tracks: 9 to 21) Bassoon, Contrabassoon – Noriko Shimada Cello – Michael Kasper Clarinet – Roland Diry Co-producer [Co-Production] – Markus Heuger, Dr. Ulrich Kurth, Westdeutscher Rundfunk Köln Conductor – Franck Ollu (tracks: 1 to 8) Double Bass, Electric Bass – Thomas Fichter Drum Machine [Drum Machines] – Ikue Mori (tracks: 9 to 21) Engineer – Stefan Hackspiel Engineer [Head] – Carlos Albrecht Engineer [Mastering] – Adrian von Ripka Engineer [Mixing Assistant] – Sebastian Stein Engineer [Recording Assistant] – Jahn Nehring, Sebastian Stein Engineer [Technical] – Martin Cichy Executive-Producer – Stefan Winter Flute, Flute [Bass], Piccolo Flute – Dietmar Wiesner Guitar, Directed By [Music Director], Composed By, Producer – Fred Frith Harp, Harp [Electric] – Zeena Parkins (tracks: 9 to 21) Horns – Franck Ollu Layout – Günter Mattei Oboe, English Horn – Catherine Milliken Percussion – Rainer Römer Percussion, Cimbalom [Cymbalom] – Rumi Ogawa-Helferich Photography By – Heike Liss Piano, Sampler – Hermann Kretzschmar Producer [A Production Of] – Winter&Winter Recorded By [A Recording By] – WDR Köln Saxophone, Contrabass Clarinet – Wolfgang Stryi Trombone – Uwe Dierksen Trumpet – Bruce Nockles Viola – Susan Knight Violin – Freya Kirby, Hilary Sturt Digital recording at "Das TAT im Bockenheimer Depot", Frankfurt, December 14th - 17th, 1998 Digital mixing at Musikhochschule, Detmold, July 19th - 23rd, 1999 Digital editing at Bauer Studios, Ludwigsburg, August 9th, 1999 Digital mastering with super bit mapping at Bauer Studios, Ludwigsburg, October 12th, 1999 "Traffic Continues" (1996) consists of a number of cells of composed music which can be juxtaposed with improvisation of various kinds. The structure and precise content are determined spontaneously by the conductor, with the help of the players, during the course of each performance. Commissioned by the Klangspuren Festival in Schwaz, Austria, it was first performed in September 1996. "Traffic Continues II: Gusto (For Tom Cora)" (1998) was constructed, in the immediate aftermath of his death, around samples of the late Tom Cora's unique and extraordinary cello playing. Interpolated with great sensitivity by Hermann Kretzschmar, these quotations were taken from <A HREF= >"Etymology"</A>, a record for sampling enthusiasts made by Skeleton Crew for the Rarefaction label in 1995. Commissioned by the Ensemble Modern, and premiered in the Philharmonie Köln in June 1998 (C) + (P) 2000 Winter&Winter, München, Germany CD-SmartPac® 193532321.1-53: Herzog + Idex CD-Packaging M 97 10 405.1 Print: Peter Postel GmbH Made in Germany ________________ 16 page booklet attached to SmartPac

RPR1249（Free Improvisation, Avant-garde Jazz, Experimental） Artwork – Ian Kornfeld Electric Harp, Harp [Acoustic Harp], Piano [Ebow Piano] – Zeena Parkins Electronics [Red], Electronics, Synthesizer – Cecilia Lopez Mastered By – Tom Hamilton Mixed By – Owen Mulholland Photography By [Session Photos By] – Jeff Preiss Recorded By – Andrea Schiavelli

Composer/Performer Zeena Parkins announces the release of two multi-part compositions, inspired by discoveries she made combing through the Walter Benjamin archives in Berlin. “Past Turned Space” features virtuoso players William Winant/percussion and Brett Carson/keyboards navigating a set of vignettes, flickering in response to Benjamin’s intimate descriptions of childhood memories. “Dam Against the Spring Tide” is graced with an all-star band of composer/performers, including: Zeena Parkins/acoustic harp and electronics, Magda Mayas/prepared keyboards, Tony Buck/percussion, Laurent Bruttin/clarinets, Christian Kesten/voice, Matty Ostrowski/electronics, and special guest, Sebastian Roux/processing. All of these pieces reveal how colors, shapes, codes, scribbles, erasures, puzzles, wordplay, graphology, and imitation as a way of knowing, can be used to initiate musical processes, playing strategies, conversations and ultimately scores.

Composer/Performer Zeena Parkins announces the release of two multi-part compositions, inspired by discoveries she made combing through the Walter Benjamin archives in Berlin. “Past Turned Space” features virtuoso players William Winant/percussion and Brett Carson/keyboards navigating a set of vignettes, flickering in response to Benjamin’s intimate descriptions of childhood memories. “Dam Against the Spring Tide” is graced with an all-star band of composer/performers, including: Zeena Parkins/acoustic harp and electronics, Magda Mayas/prepared keyboards, Tony Buck/percussion, Laurent Bruttin/clarinets, Christian Kesten/voice, Matty Ostrowski/electronics, and special guest, Sebastian Roux/processing. All of these pieces reveal how colors, shapes, codes, scribbles, erasures, puzzles, wordplay, graphology, and imitation as a way of knowing, can be used to initiate musical processes, playing strategies, conversations and ultimately scores.

Design – Ikue Mori Engineer – Elliott Sharp Executive-Producer – John Zorn Executive-Producer [Associate Producer] – Kazunori Sugiyama Mastered By – Allan Tucker Musician [The Gangster Band], Cello – Margaret Parkins Musician [The Gangster Band], Guitar, Idiophone [Daxophone], Cello – Mark Stewart Musician [The Gangster Band], Percussion, Vibraphone [Vibes] – Jim Pugliese Musician [The Gangster Band], Piano, Sampler, Accordion, Harp [Electric Harp] – Zeena Parkins Musician [The Gangster Band], Violin – Sara Parkins Performer [Performed By] – The Gangster Band Photography By [All Photographs], Design Concept [Cover Concept By] – Mark C. Producer [Produced By] – Elliott Sharp, Zeena Parkins Recorded at Studio 900, NYC, August 1998 Additional recording at Studio zOaR, NYC, September-December 1998 Mixing, editing, pre-mastering at Studio zOaR, NYC, January-May 1999

One of the world's most creative harpists, Zeena Parkins has contributed her inimitable playing style to the work of artists like Bjork, John Zorn, Yoko Ono,Sonic Youth and Matmos, whilst also recording a number of wonderful solo albums (including the timeless Nightmare Alley) and a couple of Phantom Orchard collaborations with electronics guru Ikue Mori. What most immediately sets Parkins apart from her peers is a roving appetite to look beyond the ordinary constraints of her instrument. While she's an accomplished classical musician, Parkins tends to treat her harp as a sound generating machine with near limitless possibilities, intertwining its natural timbres with amplification, heavy effects and electronic processing. As Table Of The Elements put it: "Zeena is the Jimi Hendrix of the amplified harp". From the outset, Between The Whiles finds Parkins developing a complex and often very noisy soundscape: 'Glass' begins with the quiet swill of water before various layers of bell-like tones fire up; it all sounds like it's been generated from a glass harmonica, with Parkins generating drones by rubbing wine glasses. The piece quickly accumulates a cluster of brittle, sparkling sonorities, leaving an ethereal jumble of sounds. 'Vibratory' is an entirely different proposition however, firing up with deep, bassy harp runs that begin to crumble and fragment, ultimately erupting in jolts of noise and hacked-up feedback. From this harsh, freeform soloing style, 'Inyoufrom' cleans up and arrives with less bluntly manipulated sounds, at times bringing to mind flamenco-style flurried string plucks, and at others evoking a kind of angelic Derek Bailey solo. Sara Parkins joins in on a couple of tracks, notably contributing violin to the excellent 'Gold' - an exquisitely crisp electroacoustic piece that also features the Thin Man Dancers providing a strange rhythmic backbone through their collective panted breathing. Clocking in at a packed hour-long duration, there's a lot to absorb from Between The Whiles - an adventurous yet very energetic experimental album that comes highly recommended.

Ikue Mori, also known as Ikue Ile, is a drummer, electronic musician, composer, and graphic designer.