Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Music in the Twentieth Century) [Hardcover] Review

Potter's book will be best appreciated by those with a much better understanding of music theory than I.However, I learned something about the personal and musical history of so-called "minimalism."(Potter falls prey to some extent to the problem of reifying an abstraction -- having first grouped some things together into a category, then searching for the true meaning of the category.)Is there a torch passed, so to speak, from Young to Riley to Reich to Glass?Glass is the only one to adamantly deny it, but Potter documents the basis for seeing it just that way (including Reich's influence on Glass).

One aspect I am keen to know more about, but which Potter doesn't stress overly much, is the striking confluence of non-Western influences.Young and Riley are both disciples of the North Indian master singer, Pandit Pran Nath, who died in 1996.Reich studied both African drumming as well as the gamelan music of Bali.Glass studied Indian music, after being immersed in serialism.With the European "classical" tradition at an impasse at the turn of the millennium, it seems only natural that the future would lie in creative fusions and combinationswith other traditions.(Not a very original idea, I realize, as evidenced by the recent emphasis of the Kronos Quartet among others.)Minimalism seems by now to be another style that passed into history and critical assessments -- is there an opening there that is being missed?

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Product Description:
This book offers the most detailed account so far of the early works of these four minimalist composers, putting extensive discussion of the music into a biographical perspective. The true musical minimalism of the 1960s and early 1970s is placed in the wider context of their music as a whole, and considered within the cultural conditions of the period, which saw not only the rise of minimalism in the fine arts but also crucial changes in the theory and practice of musical composition in the Western cultivated tradition.

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The Ambient Century: From Mahler to Moby--The Evolution of Sound in the Electronic Age [Paperback] Review

Your evaluation of THE AMBIENT CENTURY will depend on what you're looking for.I expected serious analysis, and by that criteria would give it 1 star.If what you're interested in, though, is an eclectic encyclopedia of interesting 20th century musicians, loosely grouped by the theme of "ambience," which is never defined, then you might think this is great.(I can't comment on the fact-checking criticism, but to me it's a secondary point.)Prendergast moves from "high art" composers including Debussy and Stockhausen, to "minimalism," to rock, broken into categories such as psychedelic, krautrock and synthesizer music, to the '90s techno/house/drum&bass/ambient trend.

However, his definition of "ambient" involves "music being deconstructed" by Mahler and Debussy (sounds really "postmodern," but what does it mean?), and developments in technology/electronics, along with an "interest in pure sound."He pronounces:"[T]he bleeding heart of electronic progress had by its very nature rendered all recorded music, by definition, Ambient." (4)Given this sort of cosmic perspective Prendergast could have included all music, and what he does include seems to be more or less "cool stuff that I like."Harsh, I know, but does Bob Dylan's "Knocking on Heaven's Door," by any stretch of the conceptual imagination, belong on a list of the Essential 100 Recordings of 20th Century Ambient Music?If so, our author fails to offer any explanation.How about Led Zeppelin IV (ie, ZOSO)?I'm at a loss.

If the book was appropriately titled, I would have much less to criticize.But when you title a book "The Evolution of Sound in the Electronic Age," you lead the reader to expect some sort of theoretical analysis -- what sort of evolution?In what direction?What mechanisms are involved?But there is "no there there" if what is happening is just technological progress, and "an interest in pure sound" may characterize Cage's famous *4'33"* (the silent composition), but there is not even an attempt here to argue that it is the direction of 20th century music.If Prendergast really means to emphasize the use of music as background, where is his discussion of Muzak, and music in advertising?He doesn't develop his embryonic theme(s), but rather rushes headlong into profiles of musicians, which are strung together with little connecting analysis.

Caveat emptor -- if you're looking for serious analysis, look elsewhere, but if you want a breezy journalistic encyclopedia of non-mainstream music (that is seen as cool by The Wire magazine) you might find this a useful reference work.(For a model of analysis of cutting edge music, check out Nyman's EXPERIMENTAL MUSIC.It also has a foreward by Brian Eno!)

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Free Jazz (The Roots of Jazz) [Paperback] Review

This is a great book, but, thankfully, it differs from other books on the same topic.This is a fairly in-depth analysis of the musicians' MUSIC.Don't expect long anecdotes about Cecil Taylor's life or John Coltrane's spirituality or about revolutionary politics or whatever.Jost feels that this stuff is abundant in others' books and accounts of the "free" movement, and that it has distracted us from the music itself.That's what I love about this book; the author isn't afraid to dig deep into the music.Also, most of his recorded examples are easy to find (or at least available somewhere).There isn't any of that "one time in 61' I saw Ornette play the harmonica in this pub in sweden and....".This book makes this seemingly difficult music more accessible...check it out.

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Product Description:
When originally published in 1974, Ekkehard Jost's Free Jazz was the first examination of the new music of such innovators as Sun Ra, Ornette Coleman, and the Art Ensemble of Chicago. Jost studied the music (not the lives) of a selection of musicians-black jazz artists who pioneered a new form of African American music-to arrive at the most in-depth look so far at the phenomenon of free jazz. Free jazz is not absolutely free, as Jost is at pains to point out. As each convention of the old music was abrogated, new conventions arose, whether they were rhythmic, melodic, tonal, or compositional, Coltrane's move into modal music was governed by different principles than Coleman's melodic excursions; Sun Ra's attention to texture and rhythm created an entirely different big bang sound then had Mingus's attention to form.In Free Jazz, Jost paints a group of ten "style portraits"-musical images of the styles and techniques of John Coltrane, Charles Mingus, Ornette Coleman, Cecil Taylor, Archie Shepp, Albert Ayler, Don Cherry, the Chicago-based AACM (which included Richard Abrams, Joseph Jarman, Roscoe Mitchell, Lester Bowie, Anthony Braxton, and the Art Ensemble of Chicago), and Sun Ra and his Arkestra. As a composite picture of some of the most compelling music of the 1960s and '70s, Free Jazz is unequalled for the depth and clarity of its analysis and its even handed approach.

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