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

Recorded in December 1975 & January 1976.

Recorded At – Jankowski Soundfabrik GmbH Mixed At – Jankowski Soundfabrik GmbH Mastered At – Headless Buddha Mastering Lab Published By – Intakt Records Artwork [Cover Art] – Heike Liss Design [Cover], Graphic Design – Fiona Ryan Electric Guitar – Fred Frith (tracks: 7, 14) Electronics [Laptop Electronics] – Ikue Mori Instruments [Home-made Instruments], Toy [Various Toys], Performer [Various Objects] – Fred Frith Liner Notes – Fred Frith, Ikue Mori Mastered By – Myles Boisen Photography By [Photo] – Ayako Mogi Producer [Produced By] – Anja Illmaier, Florian Keller (5), Fred Frith, Intakt Records, Patrik Landolt Recorded By, Mixed By – Peter Hardt

Genre: Jazz Style: Avant-garde Jazz, Free Improvisation Country: US

Fred Frith is simultaneously a singular musical figure and a collection of musical lifetimes. He‘s the composer who wrote fragile avant-garde music in the tradition of John Cage and Earle Brown, the innovator who created new concepts of underground rock with his colleagues in the band Henry Cow, and the improviser who developed his very own language on the guitar. The many facets of Frith‘s musical oeuvre shimmer in vibrant and unique colors, but stand as one rainbow monolith of musical creation, never disintegrating into esoteric eclecticism. Always musically curious and unbiased, he develops his ideas in the moment, demonstrating in real time how his creative process, while free of old hat conventions and tricks, creates an immediate yet unrandom and committed music. At the core is his unique guitar playing, which is on full display across these two records. His debut, "Guitar Solos" (1974), opened up a space beyond rock and improvised music, and now, 50 years later comes "Fifty" (2024), a new solo guitar album that sounds completely different and yet familiar, that adds to his monolith of musical creation with another new vibrant color. Guitar Solos (1974): Hello Music Glass c/w Steel Ghosts Out of Their Heads (on Locoweed) Not Forgotten Hollow Music Heat c/w Moment No Birds Fifty (2024): Dawns Outer Order Tempus Fugit Quicksilver (for Simone) Unterwegs (for Roman) Phalaropes Jack’s Neap Tide Schlechte Gewissen Move Indigo To Do The Map of Dreams Locomoting Dusks

Design [Cover] – Heike Liss Electric Guitar, Instruments [Preparations] – Fred Frith Engineer [Mastering] – Myles Boisen Engineer [Recording] – Barton McGuire Layout – Renée Paaschburg Liner Notes – Benjamin Piekut Photography By [Photo] – Seán Kelly Piano, Instruments [Preparations], Mixed By – Annie Lewandowski Recorded in the Littlefield Concert Hall, Mills College, May 4, 2010 Mixed [in] Southampton, August 2010 Mastered at Headless Buddha, Oakland, January 12, 2011 Made in Denmark

Design – Tom Kurth Mixed By [Remixed By], Engineer [Mastering Engineer] – Myles Boisen Photography [Cover Photo] – Tina Curran Written By, Mixed By [Remixed By] – Fred Frith Recorded at home on a 4-track tape recorder in the summer of 1983. Drums recorded at various times and places 2004 re-issue of the original Ralph Records LP, but no extra tracks. Comes as a digipak with clear tray. Manufactured and made in USA.

Alto Saxophone, Sounds [Mouthpieces, Duck-calls] – John Zorn Compiled By [Assembled] – Bob Boster, Fred Frith Instruments [Home-made Instruments], Voice, Keyboards [Casio Monophonic Keyboard] – Fred Frith 1 & 5 recorded live at P.A.S.S., New York City on 25th January 1983. 2, 3, & 4 recorded live at Roulette, New York City on 27th and 28th July 1985. Assembled from cassette recordings at the Center for Contemporary Music, Mills College, April 1997. Issued in a Digipak with obi strip. Made in USA. Catalog# on spine: "FRA 06". Distributed in USA by ReR USA, 303 S. Broadway Suite 386 Denver, CO 80209, USA Distributed in Japan by LOCUS SOLUS. 1-18-8 Naka-Ochiai, Shinjk, Tokyo.

Accordion – Silvia Fanti Alto Saxophone – Daniela Cattivelli Clarinet, Bass Clarinet – Olivia Bignardi Composed By, Producer – Fred Frith Double Bass – Pierangelo Galantino Engineer – Davide Sandri Engineer [Voice Recording] – Carlos Gabezas Ensemble – Eva Kant Executive-Producer – John Zorn Executive-Producer [Associate] – Kazunori Sugiyama Flute, Piccolo Flute, Soprano Saxophone – Stefano Zorzanello Guitar [Prepared] – Claudio Lanteri, Paolo Angeli Keyboards – Tiziano Popoli Lyrics By – Pablo Neruda Marimba – Nicola Zonca Mastered By – Allan Tucker Mixed By – Peter Hardt Percussion – Andrea Martignoni, Mario Martignoni, Pino Urso Piano – Filomena Forleo Tape, Performer [Records, Cds], Coordinator [Project] – Massimo Simonini Trombone – Giorgio Simbola, Salvatore Panu Trumpet – Ferdinando D'Andria Violin – Ferdinando D'Andria, Pierangelo Galantino Voice – Margareth Kammerer Voice [Neruda Poem] – Sergio Meza Composed 1993-1995. Recorded at Centro Musica, Modena, July 1995. Voice recorded at Studio Constantinople, Santiago, September 1997. Mixed at Studio Jankowski, Stuttgart, February 1998. Mastered at Foothill Digital, NYC.

Bagpipes – Roger Kent Parsons (tracks: 1 to 5) Engineer [At CBGB] – Charlie Martin (tracks: 7, 8, 10, 12) Engineer [In France] – François Riethier (tracks: 1 to 5) Engineer [In Switzerland] – Etienne Conod, Tomas Kurth (tracks: 6 to 13) Guitar, Violin, Composed By – Fred Frith Layout – Thomas Kurth Mastered By – Paul Zinman Photography By – Tina Curran Producer – Etienne Conod, Fred Frith, Tina Curran Recorder, Other [Unusual Edits] – Tina Curran (tracks: 1 to 5)

Bass, Electric Guitar, Organ, Performer [Metal Objects], Producer, Liner Notes – Fred Frith Design – Chippy, Heung-Heung Chin Drums, Gong, Cymbal, Performer [Metal Objects, Simtak, Paper], Vibraphone, Steel Drums, Marimba, Toy Piano, Voice, Bell Tree – Evelyn Glennie Engineer [Assistant] – Patrik Höderrath Executive-Producer – John Zorn Executive-Producer [Associate Producer] – Kazunori Sugiyama Mastered By – Scott Hull Mixed By [First Re-constructions] – Jonathan Segel, Myles Boisen Music By – Glennie, Frith Recorded By – Jörg T. Schnabel Recorded By [Final Recordings], Mixed By [Final Recordings] – Myles Boisen Technician [Percussion] – James Wilson Recorded 14th to 16th July 2003 at ZuckerFabrik, Dormagen. Equipment in Dormagen: Whitehouse Studio, Cologne.

Quartets is a 1994 studio album by English guitarist, composer and improvisor Fred Frith. It consists of two compositions by Frith, "Lelekovice, String Quartet #1", performed by the Violet Wires String Quartet, and "The As Usual Dance Towards the Other Flight to What is Not", performed by an electric guitar quartet. Frith performs with the guitar quartet, but not with the string quartet. Contents Background "Lelekovice, String Quartet #1" was composed by Frith in 1990 and was dedicated to Iva Bittová, Lelekovice being the name of the village near Brno in the Czech Republic where Bittová lives. It was first performed in July 1991 by the Edison Quartet at the Nieuwe Musiek Festival, in Middelburg, the Netherlands, and was used by the United States choreographer Amanda Miller in her dance piece, My Father's Vertigo in 1991. The recording on this album was made in December 1992 by the Violet Wires String Quartet at Angel Studios, London. "Lelekovice" was recorded again in June 2003 by the Arditti Quartet and appeared on Frith's 2005 album, Eleventh Hour.[2][3] "The As Usual Dance Towards the Other Flight to What is Not" was commissioned by Roulette, New York City and composed by Frith in 1989.[2] It was first performed in February 1989 by Les 4 Guitaristes de l'Apocalypso-Bar at The Kitchen, New York City,[2] and recorded by the same group in February 1989 at Studio Victor, Montreal.[4][5] An album of this piece and other recordings by the group were released on Fin de Siecle (1989). Only sections A and C of this composition appear on the album. Frith did not play on "The As Usual Dance Towards the Other Flight to What is Not" with Les 4 Guitaristes de l'Apocalypso-Bar, and when he wanted to perform this piece himself, he assembled an electric guitar quartet in 1992, comprising René Lussier, Nick Didkovsky, Mark Howell and himself. The quartet recorded the complete piece in April 1992 at Sorcerer Sound, New York, releasing it on Quartets. Later Mark Stewart replaced Howell and the new quartet became known as the Fred Frith Guitar Quartet, touring internationally and recording two albums, Ayaya Moses (1997) and Upbeat (1999). Parts of "The As Usual Dance Towards the Other Flight to What is Not" also appear in the documentary film, Step Across the Border (1990), and its soundtrack, Step Across the Border (1990), performed by an electric guitar quartet which Frith conducts.