Always err on the side of the music: Recording the first AACM sessions

Tape Op’s Steve Silverstein seems slightly disappointed that there wasn’t more studio razzle-dazzle involved in the mid-1960s recordings of the first LPs by Association for the Advancement of Creative Musicians (AACM) members in Chicago. However he supplies a fascinating and unusual take on how such sessions as Roscoe Mitchell Sextet’s Sound, Muhal Richard Abrams‘ Levels and Degrees of Light, Joseph Jarman‘s Song For and a couple each by Lester Bowie, Kalaparusha Maurice McIntyre and Anthony Braxton were captured on tape. Speaking to producers like Chuck Nessa and Bob Koester, who supervised those discs, he finds out about studio details, instrument set up and placement and the width of tape used in the recordings. Silverstein also discovers from these sources that as well as the technical expertise efforts of Stu Black, who engineered most of the discs, the general recording philosophy was to interfere as little as possible with the musicians’ concepts; to not try to replicate a live performance in the studio; or conversely to use studio refinements to alter the group’s basic sounds.