Henry Flynt: American Gothic

This was originally published in the October 2001 issue of The Wire. (To read more of my journalism, click here.)

“Is it OK to talk about what we think about this civilization?” asks 61 year old hillbilly minimalist fiddler and philosopher Henry Flynt, in his broad southern accent, as we drink coffee in a restaurant in New York’s Soho, where he lives. “It’s the aftermath of a wreck. It’s just in a condition of destruction. I’m trying to think of a more polite word than putrefaction. Everything that is organic is dead and decomposing, and everything that’s not organic is twisted and fused.”
For forty years, to almost complete indifference, Flynt has waged his own multi-front struggle against this culture, a struggle which has encompassed everything from music, dance and painting, to “concept art”, a term which he coined in 1961, a broad range of philosophical treatises on everything from mathematics, to psychedelics, to utopian politics, and even an envisioned 1975 commune called the Genius Liberation Project.
After decades of gathering dust, some of his key musical works are finally available. A 2 CD set New American Ethnic Music Volume 1, issued earlier this year by Baltimore musician and impresario John Berndt on his Recorded Records, collects two of the extraordinary drone and violin HESE (Hallucinogenic Ecstatic Sound Environment) pieces he developed with, Swedish composer, musician and mathematician, Catherine Christer Hennix in the late 1970s. Then there’s the recent Ampersand release Graduation, a set of avant-country recordings from the late-1970s, in which he places country on an infinite plateau that constantly surprises, while remaining as American as a cross-country road trip. Awaiting release are unique overdubbed violin pieces from the 1960s, like “Hoedown”, and recordings of his blazing cosmic rockabilly and freeform psychedelic guitar and drum collaborations with Hennix under the name Dharma Warriors, made in the years before Flynt quit making music in 1984.
Asked whether he’s a recluse, Flynt responds: “not at all. In fact, how strange. I’ve been screaming for attention for 40 years. I have a long list of attempts to become a public figure. It just keeps failing over and over!”
A self-described nerd, Flynt grew up studying classical violin in North Carolina in the 1950s, surrounded by yet oblivious to the southern “ethnic” cultures of bluegrass, country and blues. He studied mathematics at Harvard, with a view to pursuing philosophy, while continuing his studies of New Music. A meeting with La Monte Young in New York in 1960 provided the blueprint for Flynt’s future musical direction. Young was at that time simultaneously pursuing his work in modern composition while playing ferocious saxophone and gospel based piano pieces. Inspired by Young and exposure to Indian classical music, Coltrane and the country blues, as well as his growing commitment to leftist politics (Flynt was a member of a Marxist group in the mid-sixties, and has continued to pursue a radical, utopian politics in his philosophical works), he began producing solo fiddle pieces that embody his revolt against the clinical modernism of Cage and Stockhausen (against whom he demonstrated in 1964 with fellow Harvard student Tony Conrad), and his allegiance to what he calls “new American Ethnic music.” This was the music of the south of his childhood whose traditions he reshaped according to his own vision of an ecstatic, trance-inducing sound, appropriating techniques from contemporary composition, to add to the armory of ethnic music.
Flynt is at pains to differentiate his music from the superficial borrowings of ethnic music that are pervasive in modern music: “You can’t just say well now I’m going to go to the dimestore, get some hillbilly software and throw some hillbilly into my minimalist modern music. For me that’s not what it’s about. Since it’s a different musical language, you have to acquire some chops! Just saying you’re a composer and a musician and producing a violin and a piece of paper doesn’t count for anything in that world of banjo pickers and fiddlers. What the pedal steel player is doing on my CD is sophisticated stuff!”
Setting aside his own formidable fiddling skills, Flynt acknowledges that finding other musicians with the requisite chops who were willing to follow his instructions was never easy though. For the 1975 Graduation sessions, Flynt recalls that he had to trick the musicians into doing what he wanted: “It was always a fluke. You’d bring them into this situation, almost blind, throw them into these open forms and ask them to start flying. What usually happened was that they managed to do it once. Afterwards, they shrugged their shoulders and walked away. One of them said that he had a great job lined up playing in a ski resort near Denver.”
Flynt is aware of the paradox that his music embodies: that of trying to play ethnic music for a community that is for the most part uninterested in his attempts to elevate or enrich it. He in turn says “I have no interest in entering their world and becoming a commercial musicians with their three minute songs. I’ve taken their music and ripped it apart at the seams to expand it, make it work in a different way.”
Flynt has also had his brushes with the rock world. In the mid-sixties, he took guitar lessons from Lou Reed and sat in on violin for John Cale with the Velvet Underground for four nights in 1966, during the Exploding Plastic Inevitable period. “I enjoyed the experience, but I was kind of out of place. We would get into long chaotic pieces, but Reed stopped me because my sound started getting too hillbilly. He actually punched me to get me to stop.”
Through the late sixties, he pursued an electric guitar driven, political rock format, while in January 1975, he formed Novabilly, a rock’n’roll band, who performed spirited versions of the Communist Internationale along with their own songs – an exhilarating fusion of rockabilly riffing, free jazz and hillbilly fiddling. He recalls trying to get gigs at the downtown New York punk mecca CBGB, whose initials stand for Country, Blue Grass and Blues. “Because of Graduation, I thought that if anybody had a right to play there I did, I mean those initials describe exactly what I do!” But the club thought otherwise and blew him off. Six months later, punk hit town and his musicians jumped ship, leaving him with a lasting suspicion of a “punk value system” which he considers pervasive.
In love with music, like Coltrane, Young or his teacher Pandit Pran Nath, which “aspires to a beauty which is ecstatic and perpetual”, Flynt dismisses “alternative culture” as for the most part “a mystique of self-disintegration, hollowness and dishonesty, coming forth from this inchoate rage at the so-called establishment. And this self-disintegration, in most cases is also a hoax, since most of these people, like Marilyn Manson or Smashing Pumpkins, are well organized hustlers. It’s very rare that someone like GG Allin or Cobain lives out the myth by actually destroying themselves. You do have the occasional suicide or overdose, but what is more normal is for them to become enormously wealthy, like Eminem! It’s the youth rebellion industry. This mystique of bottomless emptiness is clearly not real. I mean someone who actually was all those things would just melt in their tracks if they were infinitely hollow, alienated. It as if they want to keep falling through the rotten floors of illusion forever. They affirm that as a state!”
New American Ethnic Music is out on Recorded; Graduation and Other Ceremonies is on Ampersand. Flynt’s philosophical writings can be found at www.henryflynt.org.

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