Monday, August 10, 2009
More frequently credited as Richard Landry, for some reason he decided to go with the name Dickie for this LP. Landry would probably be best known for playing sax with Philip Glass throughout the 70's. He played on pretty much all the original recordings of Glass' seminal pieces, like "Einstein on the Beach", "Music in Twelve Parts", "Music With Changing Parts", "Music in Fifths", "North Star", etc.. He also played on the Talking Heads' "Speaking in Tongues" and Talking Heads member Jerry Harrison's solo album "Casual Gods". Despite his close working relationship with Glass, though, this album bears more of a relation to Terry Riley's early improvisational, jazzy aesthetic than Glass' additive, endlessly repetitious style. This is a great album of dreamy, droney minimalist music, which nowadays would probably pass for ambient or some such thing.
Landry has recorded a number of albums, and seems to still be somewhat active today. There's not much info about him on the web, but I was able to find this page with a short bio and some nice recordings. He released two albums in the earlyish seventies on Philip Glass' Chatham Square label, which I would LOVE to hear if anyone out there has them.
This album was released on the great German Wergo label in 1977, and has three long tracks performed entirely by Landry. The LP was produced by frequent Philip Glass producer Kurt Munkacsi.
The first piece, "Fifteen Saxophones", is about 10 minutes of overdubbed sax playing, presumably fifteen overdubbed tracks. There's some interlocking, hocketing parts, and some dronier sections. On the whole this piece is rather reminiscent of Terry Riley's "Poppy Nogood", though the fact that it's using overdubbing rather than just delay allows for a degree of complexity and interaction between the parts.
The second track, "Alto Flute Quad Delay", consists of, as you might guess, Landry playing an alto flute through a long delay. Landry plays primarily long tones here, so it doesn't end up sounding all that similar to Terry Riley's delay-based works like "A Rainbow in Curved Air" or "Poppy Nogood" which tended to have faster playing.
The last track, "Kitchen Solos", takes up all of Side B on the LP. Here Landry is playing solo saxophone with a long delay system. This track was recorded live at the Kitchen in NYC. While he plays some long tones and some repetitive phrases like a good minimalist, there's also some nice post-Coltrane free-jazzy sax squealing and multiphonics at times. This piece is probably mostly or perhaps entirely improvised, and has some really great bits, like a couple of minute of key clicks which end up sounding like some weird percussion instrument through all the delay.
Available on CD & LP from Unseen Worlds
I don't know a whole lot about Garrett List. According to the short bio on his website he had a background in Jazz playing and then went on to be more involved in new music composition. He's got quite a resume, having worked with minimalist and new music people like LaMonte Young, Arthur Russell (on various works from the '70s, including some of his recently unearthed pop stuff released on "Love is Overtaking Me"), Yoshi Wada, Fred Rzewski and MEV, as well as free-jazz greats like Anthony Braxton, Byard Lancaster and Ronald Shannon Jackson.
He's recorded a few albums but I haven't been able to find much of his music. His 1982 LP "Fire & Ice" on Lovely Music is, as I remember (it's been a while) a rather unfortunate pop-jazz-new music hybrid sorta thing which has not aged well at all. The only other thing I've heard is a track on the Orange Mountain Music compilation "New Music, New York 1979", which is nice but unspectacular. "Your Own Self" is another story.
This piece is a beautiful example of a minimalist/jazz crossover which is exceptionally unique. It inhabits a somewhat similar world to Fred Rzewski's Coming Together and Attica (covered earlier on this here blog, recorded around the same time and released on the same label), but is much more indebted to jazz, with a heavily improvised middle section.
The piece begins with an organ drone, and some quiet singing and reciting of phrases from the text. Gradually more instruments are introduced, primarily horns playing long tones. After a couple of minutes the bass comes in, and starts playing sparse notes, which over several minutes become more frequent until it's playing a full-fledged jazzy bass-line. The horns follow a similar build-up from long tones to faster playing.
The build up in this piece is perfect. It's so slow and fluid, you barely notice anything is happening, until you compare two points in the piece. At 11:00ish on side A there's a sudden break, and a fast, hihat-based drum beat comes in, the first major change in the piece. This section has a beautiful texture with fast piano scales, sparse bass notes, long horn tones, fast vibes, and vocalists singing and reciting the text.
Side A fades out, and Side B begins where A left off, jumping quickly into a long section of freeish jazz, with a propulsive rhythm section laying the base. This goes on for about 9 minutes, and then the piece goes back into a section resembling the first part, with long tones and quiet speaking voices.
I don't recognize most of the names of the musicians on this LP. There's Fred Rzewski on piano, Jon Gibson on sax, and vocalist Joan LaBarbara (who is an excellent composer as well, and appears on the classic 70s recording of Philip Glass' "Music in Twelve Parts"). Other than that I don't know much about the other musicians. Oh well.
I imagine I'll be saying this a lot, but someone should really re-release this LP. It would be great to hear the whole piece without the side-break in the middle, for one thing.
This LP was released in 1973 on Opus One records.
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Sunday, August 9, 2009
This first posting features the phrase which this blog's title comes from. Rzewski's "Coming Together" is unquestionably one of the great Minimalist masterpieces, and this first recording of it is absolutely incredibly amazing. It's ridiculous that it's never been re-released.
"Coming Together" is an extremely simple piece. It's really nothing more than a short text read over a repetitive, fast sequence, much of which is played in unison. But the overall effect it creates is of a very slow build up of tension to an incredible climax after 19 minutes.
The text comes from a letter written by Sam Melville, who was an inmate at Attica prison, and was one of the leaders of the 1971 Attica riots, where Melville was killed.
The music starts with the piano playing fast rhythmic notes while most of the other instruments playing longer tones over this foundation. Gradually the other instruments start to play faster until they're all playing in a fast, tense unison.
The lineup on this recording is pretty amazing. Rzewski himself plays piano. Jon Gibson, who has worked with the big four minimalist composers (Young, Riley, Reich and Glass) as well as being an excellent composer himself, plays alto sax. Composer Alvin Curran, also of Rzewski's MEV group, plays synthesizer. Garrett List, whose beautiful LP Your Own Self will probably be the next thing I'll feature on this blog, plays trombone. Karl Berger play vibes, and has played on some classic ESP jazz recordings as well aso working with Don Cherry. Violist Joan Kalisch has played on recordings by Don Cherry and Alice Coltrane, and Richard Youngstein has worked with Paul Bley. The reading is done by stage actor Steve Ben Israel, who was a member of New York's Living Theatre.
The other pieces on the album are "Attica" and "Les Moutons de Panurge". "Attica" has the same lineup as "Coming Together", though Curran plays piccolo trumpet rather than synth, and is sort of a companion piece, with the text coming from a quote from former Attica prison inmate Richard X. Clark. It's much slower, calmer and droning than "Coming Together".
"Les Moutons de Panurge" is a classic piece of process music, whereby the performers are supposed to play a very long melodic line through a process of adding one note at a time (playing the first note, then the first and second notes, and so on). The interesting bit of the piece comes in the instruction that if the performers forget where they are in the piece (which should happen pretty easily), they are to continue playing but not try to find their way back together again. The piece is played here by the Blackearth Percussion Group.
This LP was recorded in 1973 and released on the excellent Opus One records - all the covers of LPs on the label were meant to respond to black light! Trippy.
For further information here's a link to a much longer, technical, musical analysis of coming together by Donna McCabe:
Download 320 kbps MP3
The point of this blog is to post some rare and/or obscure, out-of-print recordings of 20th century experimental music, hopefully exposing some forgotten or overlooked works. Much of the stuff I will post here is taken from vinyl records from my university library, which has a quite substantial collection, along with some stuff from my own collection. My interests tend primarily towards Minimalism and Post-Minimalism, as well as free-improvisation and free jazz, so the bulk of what gets posted here will probably fit into one of those rough categories, probably with the occasional modernist atonal wankfest.