**Limited Edition, individually numbered LP in an edition of 500**
Often, when looking back over the history if experimental music in France, easy divisions can be seen to emerge. There are the pioneers of improvised music, usually associated with jazz, and there are the pioneers of electronic music, including tape, synthesis, and electroacoustic practice. This separation is convenient and serves historians well, providing simple answers for the what and why of what occurred, but, in most cases, fails to represent the true spirit of any of this music, or what actually transpired. This became apparent on Alga Marghen’s release Intra Musique, by French free jazz drummer Jacques Thollot, whose electronic experiments flirted around the edges of his peers in other fields, and is now vastly expanded by Atelier de Libération de la Musique, a series of wild recordings made by an ensemble led by Luc Ferrari in June 1975, never before released.
Of all he names connected with electronic and electroacoustic music, few trump Luc Ferrari. In 1958 he co-founded the Groupe de Recherches Musicales with Pierre Schaeffer and François-Bernard Mâche, forever associated with that studio, among the most revolutionary and important of all. What often gets overlooked, is that, before coming to electronic music, Ferrari was a pianist of radical and freely atonal temperaments - studying under Alfred Cortot, Olivier Messiaen, and Arthur Honegger, before shifting his focus after meeting Edgard Varèse. While his radicalism never wavered, where his music was understood to reside and how it operated, was often allowed to.
Because electronic and electroacoustic music of the sort which was produced at Groupe de Recherches Musicales, has long been viewed as an adjunct to avant-garde classical music, the social vision within which it was conceived is often overlooked. Most artists, Ferrari included, saw this music as having the potential for direct impact - as a music of the people, with the potential for arching collaboration, rather than something to be produced for a stuffy concert hall - something illuminated by a series of incredibly rare recordings, created in 1975 and never before released, entitled Atelier de Libération de la Musique.