From 1975 to 1979, London improvisors published the most innovative artists and musicians of their generation in the magazine Musics. Derek Bailey, Evan Parker, John Zorn, David Toop, John Russell, The Feminist Improvising Group, Bob Cobbing, ICP, Val Wilmer, Annabel Nicholson, Han Bennink, Eddie Prévost, David Cunningham, Steve Beresford among many others were contributors.
…a blueprint for the interlinked activities we now call sound art, field recording, improv, live electronics & audio culture. it came out six times a year and ran for twenty-three gorgeous issues. the journal covered improvised and non-western music alongside performance art, reflecting the broad interests of the so-called “second generation” of London’s improvisers, and provided a convivial focus point. overlapping with London musicians’ collective (LMC), the publication first launched in Spring of 1975, with the tagline: an impromental experivisation arts magazine and a manifesto that proposed the destruction of artificial boundaries, and linked Free Jazz, the works of John Cage, and indigenous and non-European music….
Hugh Davies (1943—2005) was a British composer, performer, inventor, and musicologist.
Davies developed an interest in electronic music early: in January 1962, at 18, he visited Daphne Oram’s Tower Folly studio to further his knowledge on the subject. Davies studied music at Oxford University between 1961 and 1964; shortly after completing his degree, he travelled to Cologne, Germany, where he worked as Karlheinz Stockhausen’s personal assistant until 1966. Davies then lived in Paris and New York working on compiling the Répertoire international des musiques électroacoustiques (RIME) or, International Electronic Music Catalog – a survey of electronic music studios, compositions, and techniques published by M.I.T. Press in 1968. On his return to England in 1967, Davies founded the Electronic Music Studio at Goldsmiths College; Davies was the studio director until 1986 and then a consultant researcher until 1991. One of the main activities in Davies’s own work, which spanned over 40 years, was building and discovering new musical instruments, often consisting of salvaged materials, usually electronically amplified, and on which he improvised solo or as part of a group.