Michael Lytle and George Cartwright

The Memphis Concert – 5/5/81
I don’t remember much about this concert but from the applause I can tell we had a nice audience, and from the music that we played very well. I’ll bet we had some good friends in the audience. 
         
The recording is very good as well. The tape says “mixed” on the label. Perhaps it was recorded by the house and mixed down. Don’t really know, but the quality is quite good for the period.

We were listening very well that night. A lot of thoughtful, subtle inflections. At the end David says, as Lyn comments below, “ We’d like to thank the music for having us here”. Sums it up.

Lyn Gillick, writing in the “Dixie Flyer” in September 1981 said;

The most provocative concert I’ve been to in a long time, happened in early May at Southwestern. Cartwright, Lytle and Moss, a trio from New York, specialize in spontaneous, freely-improvised music. Lytle and Cartwright played a full range of extended techniques on clarinets, saxes and flutes. There were multiphonics, …flutter tonguing, ululating as if in a tribal frenzy, enveloping tones with squeaky attacks, a full spectrum of whoops and squawks, raspy tremolos, buzzings and hummings. The sax/flute person, Cartwright (originally from Mississippi) managed to work in some Faulkner too.

The amazing percussion batter included Mason jars, a Bertoia sculpture, sheets of mylar and Plexiglas, a thumb piano, bull roarer, and small thrown objects…all subjected –along with woodwinds- to varying sorts of electronic manipulation. Also, Moss was adept at mouth noises such as articulated gibberish and gurgles.  
   
Texture was the main element throughout the evening. Its use was organic and essential rather than the usual function of adding character or color to a melody line. Unbelievable amounts of resourcefulness, imagination and sheer energy were necessary to keep the ideas vibrant and flowing. Remember, no traditional chart-type harmonies and not much melody. It worked…they emoted, whimpered, went on rampages, got bent, made like little birds or large fowl and did a lot of other things. I felt a strong urge to participate. It was a resonant, inspiring evening. An appropriate comment was made by one of the performers after the last piece; “We’d like to thank the music for having us here.”
                                             And George seeze:
Yep, an epic moment for me. I think this was at the then called Southwestern College now called Rhodes College and we played in a sort of buried under dirt bunker or food place for the school. I believe drummer Doug Garrision set it up. As Lyn said, I read some William Faulkner. Out loud.
Now the national Civil Rights Museum is there. Go. First. Graceland. Second. I read that they are renaming the civil war parks.  I guess it’s finally hard to live with the names of these parks but to know that  Bukka White (the baddest of the bad) used to have his ‘office’ in one of them defies credulity. But he did. Why not name it after Bukka and have a footnote of the history of the wonderful park from which you can see Arkansas.