Over a month ago Else Marie Pade died, and this has stuck with me more than other recent musician deaths.
For the very fact Else did more in her life than most of us ever really will. She had an uncommon passion for jazz, musique concrete, and fighting Nazis. The last part by the way is absolutely true, she was a demolitions expert for the resistance during WWII, and was eventually imprisoned for it.
I have often linked the relationship between avant garde music and jazz, but Else really makes this connection especially strong as an electronic musician. While there are many other members of the Avant Garde music community in Europe who were jazz musicians at one point, Else had an uncommon passion for the musical style even if she didn’t pursue it in traditional way. She really did bring a love for it into her music.
This passion eventually lead her to musique concrete and early electronic music. It is how she took this passion is what makes her unusual, in that she basically took oscillators to tape, and created the early groundwork to more austere experimental electronic styles. While Oram was playful in here compositions, Else droned and mangled. Else embraced the more chaotic elements of early electronic instrumentation. The reality is people like myself are in fact standing on the shoulders that Else laid the groundwork. Especially those of us who bring free improvisation and chaotic leanings to electronic instrumentation.
There is something that deeply interconnects those of us who are so rooted in passion for avant garde electronic music and improvisation with Else. It is a deep love, almost nerdiness, for the edges of sound. One does not go about making avant garde music without some deeper need to explore, to connect. Else had that, and the world is a better, and wonderfully weirder place for her contribution to the art of sound.