Terry Riley

Terry Riley’s compositions are now so embedded in the advanced music repertoire, it’s almost hard to believe that mass dissemination only came in the late 1960s. But that happened when California-born Riley, who celebrated his 90^th birthday this year signed a contract with Columbia then one of three major record labels. Complete with LP-replica CDs, miniature reproduced sleeves, and a 56-page booklet with the albums’ original and updated notes this box set collects the music from all four LPs for the label.

Two sessions are justly famous, the last two less so, and a retrospective listen delineates why. Featuring 11 players, including Riley on soprano saxophone and other noted sound explorers like trumpeter John Hassell and violist David Rosenboom, the melodic transformation that characterized 1968’s jaunty and billowing “In C” perfectly fit in optimistic feel of the times. Driven by Margaret Hassell’s pulsing piano continuum from with further scents provided by ringing marimbaphone and vibraphone clanks, the broken octave piece defined minimalism at that juncture. Creating what seems to be part of a never-ending theme, the five mewling reeds, two yearning horns and string harmonies come in and out of focus with dense blaring or light floating dynamics coupled with tape delay. Rhythmic and harmonic changes transmute so gradually that only in the final sequence do speedy trumpet trills confirm the melodic change.

“A Rainbow in Curved Air “ and “ Poppy Nogood and the Phantom Band” from the next year featured Riley alone. But with overdubbing and more tape delay the studio creation meant the timbres from soprano saxophone, tambourine, dumbec, electric organ, harpsichord and Rocksichord was affiliated to create a hovering narrative that portend ambient, new age and electronic music. On the first bongo-like and ersatz marimba tones create backbeat variations that are interspaced with elevated calliope-like and organ-like reverberations with the pulse become more heavily rhythmic at the end. “Poppy Nogood …” is more varied with primary and secondary expositions criss-crossing the near solid narrative that piles notes upon notes and phrases upon phrases. Flutters, slurs and hockets from what could be a bagpipe chanter, heraldic trumpet blasts and pinched woodwind variations are heard with programmed chords that vibrate at different tempos and end with bell-like textures.

The raga -like inflections sensed on the previous disc are intensified on the four tracks of Shri Camel, a 1980 return to the label. Recorded after Riley’s extensive study of raga-based classical Kirana singing with Pandit Pran Nath. His modified organ tuned in just intonation and augmented with studio digital delay created tonal ambiguity as languid organ washes are superseded by plinking bell-like tones that envelop the program. By the finale of “Desert of Ice”. The extended final track, the resultant melody is louder and livelier.

Outlier of the set is 1971’s Church of Anthrax , a duo with John Cale, who had recently left the Velvet Underground, rock band and mirrors Cale’s past and future rock music background rather than minimalist composition. Added to Riley’s  keyboards and sax and Cale’s keyboards and string are the sounds of two drummer and on one track a vocalist singing a simple rock ballad complete with backbeat and a backing chorus. Other tracks could be mistaken for alt-rock with jiggly organ riffs, overdubbed reed riffs, percussion pounding and feedback from Cale’s viola and electric bass. Curiously enough “Ides of March” the standout track sounds more like jazz than any other style. Its melody includes piano clip, a relaxed drum shuffle and blends swing with timbral sophistication.

Designed as an object d’art and keepsake, The Columbia Recordings preserves sounds from a more risk-taking era and will be of interest to many. Two certified classics are included, as well as glimpses of how Riley’s music might have changed and how it did.

–Ken Waxman

Track Listing: In C (1968). 1. In C (2009 Remastered)

Personnel: In C: Jon Hassell (trumpet); Stuart Dempster (trombone); Terry Riley (soprano saxophone); Jerry Kirkbride (clarinet); Lawrence Singer (oboe): Darlene Reynard (bassoon); David Shostac (flute); David Rosenboom (viola); Margaret Hassell (piano pulse); Jan Williams (marimbaphone) and Edward Burnham (vibraphone)

Track Listing: A Rainbow in Curved Air (1969): 1. A Rainbow in Curved Air 2. Poppy Nogood and the Phantom Band 3. A Rainbow in the Curved Air (Radio Spot) (Bonus Track)

Personnel: Terry Riley (soprano saxophone, tambourine, dumbec, electric organ and harpsichord, Rocksichord)

Track Listing: Church of Anthrax (1971) 1. Church of Anthrax 2. The Hall of Mirrors in the Palace of Versailles 3. The Soul of Patrick Lee* 4. Ides of March 5. The Protégé

Personnel: Terry Riley  (piano, organ, soprano saxophone); John Cale (bass guitar, harpsichord, piano, guitar, viola, organ); Bobby Colomby, Bobby Gregg (drums) and Adam Miller (vocals)*

Track Listing: Shri Camel (1980): 1. Anthem of the Trinity 2. Celestial Valley 3. Across the Lake of the Ancient World 4. Desert of Ice

Personnel: Terry Riley (modified Yamaha YC-45D combo organ tuned in just intonation and augmented with studio digital delay)