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.