Finders Keepers Records’ continued and unwaning commitment to preserving the archives of composer Suzanne Ciani pays off in an avalanche of dividends with this latest master tape discovery, placing further markers in the historical development of electronic music and cinematic composition. The music on this record was also commissioned two years before Suzanne’s first Buchla concerts in 1974 and 1975, which were accompanied by her seminal National Endowment Paper, and would reveal Suzanne’s proud commitment to the developed Buchla instrument and her confidence in its place in modern music. Unheard away from the origianl documentary screenings in the mid-70s, this soundtrack is available for the first time ever in any format with full cooperaiton and direct input of Suzanne Ciani herself.
The music on this record was also commissioned two years before Suzanne’s first Buchla concerts in 1974 and 1975, which were accompanied by her seminal National Endowment Paper, and would reveal Suzanne’s proud commitment to the developed Buchla instrument and her confidence in its place in modern music, thus proving the likes of Denali to be an earlier showcase of the instrument in it’s advanced infancy although still robust enough to carry the emotive and ambitious songwriting skills of the classically trained Ciani. After hearing this record it will come as little surprise that the track known as Ski Song would later be reappropriated (and rerecorded) on Ciani’s globally critically acclaimed debut album Seven Waves (as the Fourth Wave), which was initially released exclusively in Japan before Turkish-born electronic music pioneer Ilhan Mimaroglu signed the record to his Finnidar imprint at Atlantic records, thus making musical history for Suzanne as a widely celebrated American-Italian female composer. It stands as testimony to the composer’s determination and inventive nature that this single track, which would later make its way on to every future music best-seller list in the country, was originally composed on just piano and the modular synth model which she had helped to assemble on Buchla’s production line ten years before her Tokyo debut. “Denali was composed using just Buchla and piano,” explains Suzanne in 2020. “It was recorded at Rainbow Recording, which is the studio I found and shared with recording engineer Richard Beggs, who then sold it to Francis Ford Coppola after I fell in love and quickly moved to LA,” she laments. “If I had stuck around I would have probably ended up doing sound for Coppola,” she jokes. Instead, Suzanne would in a short time find her filmic feet in Hollywood (providing sound design for Michael Small’s aforementioned The Stepford Wives soundtrack) which would later lead to her winning the accolade of first female film composer to single-handedly record a major motion picture with The Incredible Shrinking Woman in 1982. But it was ten years earlier with Denali that the ball had started rolling alongside the film reel sprockets at Rainbow Recordings. “I have very fond memories of first meeting Patrick and his thick French accent,” Suzanne explained. “He was a rugged looking young man who literally looked like he had just stepped down from the mountain himself.” The basic brief around Suzanne’s musical journey was to be “The story of the arduous ascent and joyous descent of the mountain,” which, with one of her most melodic and dynamic projects from her early years, she successfully illustrated with utmost aplomb. Although Suzanne would only see the short film a handful of times, mostly during intense late night recording sessions (“I used to dress like a sailor so I wouldn’t get street hassle on the way home”), and never meet to actual cast of the film, she can still remember mind-blowing shots of the skier cascading down the mountains, images that have remained with her throughout the subsequent five decades as a composer.