Butch MorrisCurrent Trends In Racism In Modern America (A Work In Progress)

Label:Sound Aspects Records – SAS 4010, Sound Aspects Records – 4010
Vinyl, LP, Album, Stereo
Genre:Electronic, Jazz, Rock
Style:Experimental, Free Improvisation, Avantgarde


APart One24:35
B1Part One (Continued)12:20
B2Part Two10:30

Companies, etc.



Recorded live on February 1st, 1985 at the Kitchen, New York City.
℗ + © 1986 de Freitas Sound Aspects
Some copies (US imports) released with stickers on cover: Distributed by Polygram Special Imports, sas 4010 (see image)
1st cat# on labels, 2nd cat# on spine.
Runout data are stamped except HR etched.

Barcode and Other Identifiers

  • Rights Society: BMI
  • Rights Society: GEMA
  • Label Code: LC 8883
  • Matrix / Runout (A runout): SAS 4010-A HR
  • Matrix / Runout (B runout): SAS 4010-B HR

Other Versions (1)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Current Trends In Racism In Modern America (A Work In Progress) (CD, Album, Reissue)Sound Aspects RecordsSAS CD 4010GermanyUnknown



  • harbri's avatar
    This music-composition method Morris created, a way of presenting Morris’ own variation on a live music performance, he described as “an improvised duet for ensemble and conductor.” The Morris conduction combined the techniques of centuries-old European classical music and jazz with, consciously or unconsciously, the concepts of consumer electronics. Most notable was that for most of the three decades of conductions, there was no preconceived source material. Morris commandeered his musicians’ improvised gestures during each performance and directed them into set-long temporal compositions. No repeat performance, no greatest hits shows and no classic album tours.

    1985’s Conduction No. 1 – provocatively titled “Current Trends in Racism in Modern America” – featured burgeoning New York downtown scenemakers including reedist John Zorn and turntablist Christian Marclay. No. 1, like most conductions, sounded far more like a new strain of modern classical music than jazz improvisation. The recorded outcomes of Morris’ numerically ascending conductions often float like the fantasias of the Renaissance era, imitative of voices while introducing various tempos and clashing harmonies.

    Though he’s not widely remembered as an arranger, Morris, in effect, was a live mix editor: choosing which spontaneous figures would get mirrored, modified, discarded or saved for later usage by a series of baton and hand signals. Morris’ imitation of electronic memory (or sampling) was a gesture to the head and a number signal. A musician’s riff or an entire conducted section might get a number and return later in the performance as a repeat or counterpoint to another idea.....

    Matt Gorney


    For sale on Discogs

    Sell a copy

    13 copies from $42.50


    • Have:247
    • Want:335
    • Avg Rating:4.58 / 5
    • Ratings:38


    Videos (1)