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All Music Guide:
Minimalist pioneer Terry Riley was among the most revolutionary composers of the postwar era; famed for his introduction of repetition into Western music motifs, he also masterminded early experiments in tape loops and delay systems which left an indelible mark on the experimental music produced in his wake. Riley was born June 24, 1935 in Colfax, California, and began performing professionally as a solo pianist during the '50s; by the middle of the decade, he was studying composition in San Francisco and Berkeley, where among his classmates was fellow minimalist innovator La Monte Young. Influenced by John Coltrane and John Cage, Riley began exploring open improvisation and avant-garde music, and in 1960 composed Mescalin Mix, a musique concrète piece consisting of tape loops of assorted found sounds, for the Anna Halprin Dance Company.
By the early '60s, Riley was regularly holding solo harmonium performances beginning at 10 p.m. and continuing until sunrise, an obvious precursor of the all-night underground raves to follow decades later. After graduating Berkeley in 1961, his next major work was 1963's Music for the Gift, composed for a play written by Ken Dewey; among the first pieces ever generated by a tape delay/feedback system, it employed two tape recorders -- a setup Riley dubbed the "Time Lag Accumulator" -- playing a loop of Chet Baker's rendition of Miles Davis' "So What." The loop effect sparked Riley's interest in repetition as a means of musical expression, and in 1964, he completed his most famous work, the minimalist breakthrough In C; a piece constructed from 53 separate patterns, it was a landmark composition that provided the conception for a new musical form assembled from interlocking repetitive figures.
In time, Riley also learned to play saxophone, introducing the instrument into his so-called all-night flights; these epic improvisational performances became the basis for his most successful recordings, 1968's Poppy Nogood and the Phantom Band, and the following year's A Rainbow in Curved Air, the music's cyclical patterns and ethereal atmospherics predating the rise of the ambient concept by several years. In 1970, Riley made the first of many trips to India to study under vocal master Pandit Pran Nath, with whom he frequently performed in the years to come; another collaborator was John Cale; that pairing resulted in the 1971 LP Church of Anthrax, arguably Riley's most widely known recording outside of experimental music circles. Throughout the '70s, he also taught composition and North Indian raga at Mills College in Oakland, California
A pair of early-'70s live performances -- one in L.A., the other in Paris -- resulted in the 1972 album Persian Surgery Dervishes, a work of meditative machine music clearly prescient of the trance sound to follow. Around the same time, while on staff at Mills, he befriended David Harrington of Kronos Quartet; the two collaborated on a number of concertos for string quartet and orchestra -- one even commissioned by the Salzburg Festival in 1991. Another Riley/Kronos collaboration, 1989's Salome Dances for Peace, was nominated for a Grammy. Recording less frequently as the years passed, Riley agreed to stage a performance celebrating the silver anniversary of In C, which was then released in 1990. Through the rest of the decade, and even into the 21st century, Riley saw his own works either re-released or had previously unissued early tapes released by various labels, including the Cortical Foundation, Wergo, and Elision Fields.
He didn't stop working, however. In 2001, Kronos Quartet released Terry Riley: Requiem for Adam on Nonesuch, and Riley issued Atlantis Nath on his own Sri Moonshine label. In 2005, he collaborated with poet Michael McClure on I Like Your Eyes Liberty (also on Sri Moonshine). Riley also worked with avant-garde bassist Stefano Scodanibbio on Diamond Fiddle Language, which was issued by Wergo the same year.
Riley turned 70 in 2008, and the year was marked by two releases. The first was the major Cusp of Magic by Kronos Quartet for Nonesuch. They had commissioned Riley to create a new work for them to celebrate the occasion of his birthday; the composer happily accepted. Later in the year, Riley released the more playful Banana Humberto on Sri Moonshine. He had the delightfully strange Autodreamographical Tales issued by Tzadik in 2010, on which he played all the instruments, and sang and recited stories and dream narratives. Riley released a live concert album with his son Gyan on Sri Moonshine in 2011, and followed it up with his two-hour, long-form composition Aleph for Korg Triton 88 synthesizer (originally created for the Aleph-Bet Sound Project at the Contemporary Jewish Museum in San Francisco); it was released by Tzadik in early 2012.
Wikipedia:
Terrence Mitchell Riley (born June 24, 1935) is an American composer and performing musician intrinsically associated with the minimalist school of Western classical music and was a pioneer of the movement. His work has been deeply influenced by both jazz and Indian classical music.Cite error: There are <ref> tags on this page, but the references will not show without a {{reflist}} template (see the help page).
Life[edit]
Born in Colfax, California, Riley studied at Shasta College, San Francisco State University, and the San Francisco Conservatory before earning an MA in composition at the University of California, Berkeley, studying with Seymour Shifrin and Robert Erickson. He was involved in the experimental San Francisco Tape Music Center working with Morton Subotnick, Steve Reich, Pauline Oliveros, and Ramon Sender. His most influential teacher, however, was Pandit Pran Nath (1918–1996), a master of Indian classical voice, who also taught La Monte Young and Marian Zazeela. Riley made numerous trips to India over the course of their association to study and to accompany him on tabla, tambura, and voice. Throughout the 1960s he traveled frequently around Europe as well, taking in musical influences and supporting himself by playing in piano bars, until he joined the Mills College faculty in 1971 to teach Indian classical music. Riley was awarded an Honorary Doctorate Degree in Music at Chapman University in 2007.
Riley also cites John Cage and "the really great chamber music groups of John Coltrane and Miles Davis, Charles Mingus, Bill Evans, and Gil Evans" as influences on his work, demonstrating how he pulled together strands of Eastern music, the Western avant-garde, and jazz.
Riley began his long-lasting association with the Kronos Quartet when he met founder David Harrington while at Mills. Over the course of his career, Riley composed 13 string quartets for the ensemble, in addition to other works. He wrote his first orchestral piece, Jade Palace, in 1991, and has continued to pursue that avenue, with several commissioned orchestral compositions following. Riley is also currently performing and teaching both as an Indian raga vocalist and as a solo pianist. He is married to Anne Riley.
Riley continues to perform live and was part of the All Tomorrow's Parties festival in May 2011.
He has a son named Gyan Riley, who is a guitarist.Cite error: There are <ref> tags on this page, but the references will not show without a {{reflist}} template (see the help page).
Techniques[edit]
Riley's music is usually based on improvising through a series of modal figures of different lengths, such as in In C (1964) and the Keyboard Studies. The first performance of In C was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick. Its form was an innovation: The piece consists of 53 separate modules of roughly one measure apiece, each containing a different musical pattern but each, as the title implies, in the key of C. One performer beats a steady pulse of s on the piano to keep tempo. The others, in any number and on any instrument, perform these musical modules following a few loose guidelines, with the different musical modules interlocking in various ways as time goes on.
In the 1950s he was already working with tape loops, a technology then in its infancy, and he has continued manipulating tapes to musical effect, both in the studio and in live performance, throughout his career. An early tape loop piece titled The Gift (1963) featured the trumpet playing of Chet Baker. Riley has composed in just intonation as well as microtonal pieces.
Riley's collaborators have included the Rova Saxophone Quartet, Pauline Oliveros, the ARTE Quartett, and, as mentioned, the Kronos Quartet.
Riley's famous overdubbed electronic album A Rainbow in Curved Air (recorded 1968, released 1969) inspired many later developments in electronic music, including Pete Townshend's synthesizer parts on The Who's "Won't Get Fooled Again" and "Baba O'Riley", the latter named in tribute to Riley as well as to Meher Baba.
Riley's 1995 Lisbon Concert recording features him in a solo piano format, improvising on his own works. In the liner notes Riley cites Art Tatum, Bud Powell, and Bill Evans as his piano "heroes", illustrating the importance of jazz to his conceptions.Cite error: There are <ref> tags on this page, but the references will not show without a {{reflist}} template (see the help page).
