Originally released by Incus in 1974. Recorded at a private house in Catford, south-east London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony. Never mind the guitarist’s championing of ‘non-idiomatic improvisation’, the poet Peter Riley gets the ball rolling in his identification of the various hauntings of Bailey’s playing at this time: ‘mandolins & balalaikas strumming in the distance, George Formby’s banjo, Leadbelly’s steel 12-string, koto, lute, classical guitar… and others quite outside the field of the plucked string.’
The five pieces on side two were recorded back home in Hackney around the same time — with the exception of Improvisation 104(b), from the year before (and issued by Incus in its TAPS series of mini reel-to-reel tapes) — opening with ventriloquised guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann and Harry Bentink.
"In 1974, when Derek Bailey was planning his second solo LP on Incus, he decided to include a side-long solo using his stereo electro-acoustic set-up. Unfortunately, he never seemed to have a 20-minute stretch of time free of interruptions in his home, so he asked if he could record it at my place. After a fairly lengthy drive across London on the arranged date, he discovered that he had brought all his gear except the actual guitar. So he had a cup of tea and a chat, then drove home again. He came again about a week later, on May 13th, this time with everything. I set the level too high for the first two takes, not quite allowing for his enormous dynamic range (which really was not suitable for analogue recording and reproduction equipment). The result was too much distortion for his liking. The level was corrected for the third take which was the one used as the title track on the LP, even though he preferred the music on the earlier takes.
All but one of the short pieces on the second side of the LP were recorded by Bob Woolford around the same time, probably at Derek's home. (The exception, 'Improvisation 104(b),' was recorded the previous year and originally released on one of the Incus TAPs -- mini reel-to-reel tapes that were an attempt to bypass the technical problems of going from tape to vinyl. They were reissued by Organ of Corti.) 'Pain In The Chest' and 'In Joke (Take 2)' feature the unamplified 19-string (approx) guitar, which was probably the only instrument that Derek modified -- he otherwise used standard guitars.
There was a shortage of good vinyl at the time, making it difficult to get decent pressings. (The original pressing of the solo Steve Lacy Emanem LP sounded as though it had been recorded in a hail-storm.) We were recommended to go to a pressing plant that specialized in 'classical' music. (At the same time that Derek was trying to get Lot 74 pressed, I was also working on his duo album with Anthony Braxton.) The first test pressing of Lot 74 was very muffled, and we discovered that the cutting engineer had played the tape up-side-down, so that the music had been filtered through the tape backing (used on professional tapes to reduce print-through). The cutting was subsequently redone correctly, resulting in an acceptable test pressing. However, the plant manager was completely incredulous and perplexed, as he was used to checking pressings using his library of scores of Beethoven sonatas and the like. How could he tell if the vocal and feedback howls at the start of side two ('Together') were correct?
Over thirty years later, advances in technology have eliminated most of the technical problems we had then, so that this magnificent music can be heard sounding better than ever. Every so often, I get someone asking me to issue things on vinyl -- my response is usually not very polite." Martin Davidson
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Derek Bailey was one of the most influential and adventurous experimental guitarists to come from England (Sheffield), evolving out of the trad-jazz scene of the fifties into the avant/jazz scene in '60s London. By the late sixties he was a member of the Joseph Holbrooke Trio, Spontaneous Music Ensemble and Music Improvisation Company which later became the amorphous Company under his leadership. These groups were at the birth and center of the British free-jazz scene. In the early seventies, Derek Bailey and Evan Parker started their own record label called Incus Records - one of the first artist-run labels.
Although Derek played with members of the British free/jazz scene, he also forged relationships with a number of European players like Han Bennink & Peter Brötzmann, Japanese free players like Abe Kaoru, Toshinori Kondo, as well as American improvisers like Anthony Braxton, George Lewis and John Zorn to name a few.
Derek organized an annual festival called Company Week in the 80's & 90's, which brought together a unique group of international improvisers from varied backgrounds.
"He was a man who repelled pretension, refused to be shoehorned into comfortable categories, and played amazing guitar." - John Butcher
"I do not subscribe to the idea that free improvisation began or ends with any individual. This only suggests that somehow the music Derek made was so individualistic that it failed to communicate anything beyond personal expression." - Eddie Prevost