Spindizzy (New American Ethnic Music Volume 2)

Henry Flynt was born in Greensboro, North Carolina in 1940. He is both an exhibited artist and an anti-art activist as well as a philosopher-musician.  His work is often associated with conceptual art, nihilism, and Fluxus. 

Flynt’s work devolves from what he calls cognitive nihilism, a concept he developed and first announced in the 1960 and 1961 drafts of a paper called Philosophy Proper. The 1961 draft was published in Milan with other early work in his book Blueprint for a Higher Civilization.  Flynt refined these dispensations in the essay Is There Language? that was published as Primary Study in 1964.

In 1961, Flynt coined the term "concept art" in the neo-dada, proto-Fluxus book An Anthology of Chance Operations (co-published with La Monte Young). Concept art, Flynt maintained, devolved from cognitive nihilism, from insights about the vulnerabilities of logic and mathematics. Drawing on an exclusively syntactical paradigm of logic and mathematics, concept art was meant to supersede both mathematics and the formalistic music then current in serious art music circles. Therefore, Flynt held, to merit the label "concept art," a work had to be an object-critique of logic or mathematics or objective structure.

Because of his friendship and collaboration with La Monte Young, Flynt sometimes gets linked to Fluxus. While Flynt himself describes Fluxus as his "publisher of last resort" (Flynt did permit Fluxus to publish his work, and took part in several Fluxus exhibitions), he claims no affiliation or interest in the Fluxus sensibility.  In fact, he is a strong critic of the neo-Dada sensibility.

In 1962, Flynt began an anti-art campaign.  He demonstrated against cultural institutions in New York City (such as MoMA and Lincoln Center for the Performing Arts) in 1963 and against the composer Karlheinz Stockhausen twice in 1964.  Flynt wanted avant-garde art to become superseded by the terms of "veramusement" and "brend" - neologisms meaning pure recreation. 

Flynt is also known for his musical work that attempts to fuse avant-garde music (particularly the hypnotic aspects of minimalism) with free jazz, country blues, rock, and hillbilly music.  

Raga Electric: Experimental Music 1963-1971 is an anthology of Flynt's most challenging avant-garde work that includes Raga Electric (1966) and Free Alto (1964).  In 1966, Flynt recorded several demo tapes with The Insurrections, a folk-rock garage band, which were later compiled and released as I Don't Wanna in 2004.

His first CD release was You Are My Everlovin'/Celestial Power, initiating the "New American Ethnic Music" or NAEM series, quickly followed by Spindizzy (NAEM Volume 2), above. Reviewing Spindizzy for AllMusic.com, Eugene Chadbourne writes:

The opening violin solo, entitled Hoedown, presents in its nearly 15 minutes of playing time many of the concepts that the composer, a native of Greensboro, NC, would return to in the decades when he was creating solo performances for violin and electric guitar. Old-timey music is a wonderful subject for the creative composer to sink their teeth into, as indeed they have, including the so-called dean of American music, Aaron Copland. The generations of artists involved in genres bubbling around the avant-garde music scene during Flynt's epoch, including minimalism, could and did take pointers from old-timey string bands which often repeated melodic fragments with slight variations for long periods of time. One thing Flynt does not have on his fiddle is the tone of an old-timey player; compared to Fiddlin' Arthur Smith, for example, he sounds like a student hanging around a fiddle contest, and if contrasted with the timbre of a non-professional, real backwoods fiddler, Flynt would come across even more the greenhorn. But the city slicker tone is no distraction when the real genius of the music is in how the content of the old-timey themes is rethought -- edited and clipped into different sections that are on the face uncharacteristic of the original structure of the music. In other words, there are ways in which old-timey music, bluegrass, or blues phrases would be divided up if one wanted to still recognize them as such, and this wouldn't be it. Yet at the same time, the listener will never lose track of the roots of these phrases because of how clear the feeling of the mountain music is, no matter what is done with it. The music is thus able to revolve between poles of familiarity and unfamiliarity -- perhaps the source of the "Spindizzy" feeling. These are beautiful performances, and Flynt becomes even more adept at manipulating the material as the years go on.