Terry Riley (born June 24, 1935) is an American composer associated with th… Read Full Bio ↴Terry Riley (born June 24, 1935) is an American composer associated with the minimalist school.
Born in Colfax, California, United States, 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.
While his early endeavours were influenced by Karlheinz Stockhausen, Riley changed direction after first encountering La Monte Young, in whose Theater of Eternal Music he later performed from 1965-66. The String Quartet (1960) was Riley's first work in this new style; it was followed shortly after by a string trio, in which he first employed the repetitive short phrases that he (and minimalism) are now known for.
His music is usually based on improvising through a series of modal figures of different lengths, such as in In C and the Keyboard Studies. In C (1964) is probably Riley's best-known work and one that brought the minimalist music movement to prominence. Its first performance was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick, among others, and it has influenced their work and that of many others, including John Adams, Roberto Carnevale, and Philip Glass. 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 C. One performer beats a steady pulse of Cs 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. The Keyboard Studies are similarly structured – a single-performer version of the same concept.
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. He has composed in just intonation as well as microtonal pieces.
Riley's collaborators include the Rova Saxophone Quartet, Pauline Oliveros, and, as mentioned, the Kronos Quartet.
He has also had a notable collaboration with Beat poet Michael McClure, with whom he has released several CDs and most recently contributed music to a London revival of his play The Beard.
A Rainbow In Curved Air inspired 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.
Also during the 1960s were the famous "All-Night Concerts", during which Riley performed mostly improvised music from evening until sunrise, using an old organ harmonium ("with a vacuum cleaner motor blower blowing into the ballasts") and tape-delayed saxophone. When he finally wanted a break, after hours of playing, he played back looped saxophone fragments recorded throughout the evening. For several years he continued to put on these concerts, to which people came with sleeping bags, hammocks, and their whole families.
Riley began his long-lasting association with the Kronos Quartet by meeting its founder, David Harrington, while at Mills. Over the course of his career Riley has 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.
Official website: http://www.terryriley.net
Born in Colfax, California, United States, 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.
While his early endeavours were influenced by Karlheinz Stockhausen, Riley changed direction after first encountering La Monte Young, in whose Theater of Eternal Music he later performed from 1965-66. The String Quartet (1960) was Riley's first work in this new style; it was followed shortly after by a string trio, in which he first employed the repetitive short phrases that he (and minimalism) are now known for.
His music is usually based on improvising through a series of modal figures of different lengths, such as in In C and the Keyboard Studies. In C (1964) is probably Riley's best-known work and one that brought the minimalist music movement to prominence. Its first performance was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick, among others, and it has influenced their work and that of many others, including John Adams, Roberto Carnevale, and Philip Glass. 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 C. One performer beats a steady pulse of Cs 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. The Keyboard Studies are similarly structured – a single-performer version of the same concept.
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. He has composed in just intonation as well as microtonal pieces.
Riley's collaborators include the Rova Saxophone Quartet, Pauline Oliveros, and, as mentioned, the Kronos Quartet.
He has also had a notable collaboration with Beat poet Michael McClure, with whom he has released several CDs and most recently contributed music to a London revival of his play The Beard.
A Rainbow In Curved Air inspired 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.
Also during the 1960s were the famous "All-Night Concerts", during which Riley performed mostly improvised music from evening until sunrise, using an old organ harmonium ("with a vacuum cleaner motor blower blowing into the ballasts") and tape-delayed saxophone. When he finally wanted a break, after hours of playing, he played back looped saxophone fragments recorded throughout the evening. For several years he continued to put on these concerts, to which people came with sleeping bags, hammocks, and their whole families.
Riley began his long-lasting association with the Kronos Quartet by meeting its founder, David Harrington, while at Mills. Over the course of his career Riley has 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.
Official website: http://www.terryriley.net
Poppy Nogood and the Phantom Band
Terry Riley Lyrics
We have lyrics for these tracks by Terry Riley:
Embroidery There so many lives Struggling to find Just a little bit mor…
In The Summer In the sunrise You can feel the start Of Something new Under…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@SweetTeaConnoisseur
One of the best tracks ever.
@m.a.pourkhessalian6508
Wow god knows how much I searched for this. Finally. Thanks for sharing.
@clarkesuperman
Found the vinyl at a local flea market in my town for $20. Almost ripped my pants getting my wallet out so quickly.
@clarkesuperman
B-sides are always the best sides.
@onegathers
Terry's el dorado.
Over a modulating drone he plays against his looped and fading echoes ('his time-lag accumulator') thus creating a fourth-worls amalgam of eastern drone and improv over a raga-like jazz improv. So many standards were birthed here, of which lead to ambient, minimalism, world, experimental. As profound as Cage, as musical as Coltrane.
@coadmiller5010
Oh yeah, I didn't say when that was, the incident with the music director... It was 1970, only a year after this album came out, and I was seventeen back then, be it was summer vacation between my junior and senior year of high school...
@coadmiller5010
And what's more he showed me this album, so knew the cover and title by the time I finally got to around to obtaining it fo myself, my listen to pleasure. An aside... I'm typing this out on my Abdroid phone, asI don't have a laptop yet...hence the typos, such as "abdroid" for Android!..
.
@paulklein4096
I hear Celtic too.
@carlesriberaberenguer7469
listening to this puts me in place
@paulklein4096
It's as if every note ever played on a saxophone is heading for the event horizon never to return.
So moody, so disturbing, so beautiful.