and/45

Track List:

CD 1
Location Recordings
01. Fire Alarm From A Distance (Winter Park, Florida)
02. ... (Mt. Yonaha, Okinawa)
03. Water Pipe Beneath A Pier (Bainbridge, Washington)
04. Power Lines (Wallace Falls, Washington)
05. Metal Structure In The Desert (Dead Horse Ranch, Arizona)
06. Bugs Near A Lake (New Mexico)
07. Mountain Water Pipe (Kyoto, Honshu)
08. & 09. Train Tunnel 1 & 2 (Snoqualmie, Washington)
10. Docks (Seattle, Washington)
11. Log Partially Submerged In Water (Seattle, Washington)
12. Rain Within A Parking Structure (Seattle, Washington)

CD 2
Location Recordings: O'ahu
01. Bamboo (Manoa Valley)
02. Power Line Supports ('Aiea)
03. Blowhole (Kaena Point)
04. Fly Swarm (Makakilo)
05. Rain (Moanalua Valley)
06. Tree In The Wind (Moanalua Valley)
07. Lone Frog In The Wind (Hau'ula)
08. Metal Tower On A Ridge ('Aiea)
09. Power Lines Blown In The Wind (Moanalua Valley)
10. Mynah Birds (Moanalua Valley)
11. Blowhole (Makapu'u Point)
12. Forest Creatures (Nu'uanu)
13. Light Tower Resonance (Manoa Valley)
14. Thunderstorm (Makakilo)
This release re-issues Jon Tulchin's two early and/OAR field recording CDR
releases (and/2 + and/18) as a double CD set plus extra tracks.

Jon is an acute listener, always paying attention to fine details that may go
unnoticed by most people. While some of his recordings sound like they
might have been processed and composed, they were not. All recordings are
straight field captures using a portable DAT recorder and a variety of
microphones including geophones and contact microphones.

The first CD presents recordings of various locations in the USA and Japan,
while the second CD presents recordings made on the island of Oahu
(Hawaii). Super limited at 100 copies.

Below is a review of the first version of "Location Recordings" (and/2).:

"Discussing 'truth' vis-a-vis music has become an occupation virtually
abandoned in this age of internet authorship and facile 'criticism'. Jon
Tulchin's Location Recordings, however, begs that the consideration for truth
be taken to absurd ends. Included on the CDR are recordings from around
America of: a distant fire alarm, a water pipe beneath a pier, power lines, a
metal structure in the desert, bugs near a lake, a tree in the wind, rain heard
splattering a parking structure, docks, and a log partially submerged in water.

Each track varies in length from three-and-a-half to six-and-a-half minutes,
giving the appropriate location a proper chance to introduce itself, express its
make-up, and then diminish, usually within the unyielding parameters of the
sound level control. Where the beauty of these recordings lies is
embellished in their lonely, if active, nature. For people sensitive to everyday
sounds, this disc is the ideal panacea. The quality of the recordings is
unbelievable, with a broad, dynamic range and vibrant authenticity, fat in
bass and sharp in treble; hear transformers sizzle and rain approach such
cacophony, the intensity of it could shatter your eardrums at high volumes.

Because these recordings are not in any way manipulated, which Tulchin
points out with pride in his liner notes, the recording makes its prima facie
case for validation of the phonographer's specialty-in-trade. These are the
crusaders for sonic truth; they traverse the sonic aspects of culture and
environment we all take for granted, transliterating the fundamentalism of
'sound' into a fabric recognizable as 'music'. Tulchin makes us forget there's
even a difference. (Michael Bernstein, E/I Magazine, Autumn, 2003)