Bang on a Can All-Stars
Terry Riley's Autodreamographical Tales
If you know In C and A Rainbow in Curved Air, then you know the wide-reaching precepts of minimalist repetition that Terry Riley inscribed into American music in the sixties. But unless you know Autodreamographical Tales, you don’t know Terry Riley.
First released on John Zorn’s Tzadik label a decade ago, Riley’s dream diaries were notable for the rare appearance of the composer’s own voice, narrating and singing tales dredged from one of the most wondered-about subconsciouses in music. Now, on a new release from Cantaloupe, Riley is joined by the seasoned post-minimalist institution Bang on a Can All-Stars, who play propulsive new arrangements that flirt with free jazz, blues, and pop.
From his aerie in California, Riley exerted a formative influence on musical giants as distant as Steve Reich, The Who, and Tangerine Dream. One of the earliest prominent experimenters with tape delay systems, he also broke open the Western canon to Indian tonality.
Riley is no stranger to Bang on a Can All-Stars, “the country’s most important vehicle for contemporary music” (The San Francisco Chronicle). The amplified sextet founded by Julia Wolfe, David Lang, and Michael Gordon, which has been vigilantly dedicated to the most daring new music for thirty years, recorded the definitive chamber-music version of In C. It was one of many landmarks in a career that has encompassed collaborations with Reich, Ornette Coleman, DJ Spooky, Meredith Monk, and Burmese drum master Kyaw Kyaw Naing.
At Big Ears, Bang on Can guitarist Mark Stewart reads from Riley’s dream diaries. He’s joined by cellist Arlen Hlusko, bassist Robert Black, pianist Vicky Chow, percussionist David Cossin, clarinetist Ken Thomson, and guitarist Gyan Riley (Terry’s son) to create a no-holds-barred journey into the creative unconscious, rendered with a compelling joie de vivre by one of the most influential composers of our time.