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Agitation Free, Terry Riley, sampling, Ralph Towner articles

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  • Jason Gross
    Greetings, In the latest issue of Perfect Sound Forever , you ll find (among other things): AGITATION FREE Krautrock
    Message 1 of 1 , Sep 30, 2007

      In the latest issue of Perfect Sound Forever
      <http://www.perfectsoundforever.com>, you'll find (among other things):

      Krautrock interview
      Luul Ulbrich "cannot answer the question of how Krautrock was born,
      although he was deeply involved in shaping it. 'It's always
      complicated with categorizations. Primarily, we saw ourselves as a
      rock band, as psychedelic rock. We never called it 'krautrock.'
      There's a nice explanation in France, 'musique planante,' which means
      'music of the spheres.' Maybe it's just experimental rock music.'"

      His middle years
      Colfax, California, 1935. Who in that NoCal hamlet would've guessed
      that a major influence on modern music had just been christened?
      Unlike religious icons, angels don't appear when artists leave the
      womb and commence their slog through the muck of the world, but
      that's where Terry Riley nonetheless saw his advent, soon trafficking
      along a childhood not terribly dissimilar to that of most other young
      males in America. He did, however, display early on a strong bent for
      music. Still, little reveals itself historically with very much
      clarity in his first decade and a half. Colfaxians did as adolescents
      tended to do since time immemorial: goof around, have fun, discover a
      little bit of the world, and try to figure out why the hell anyone
      was even put here in the first place.

      From concrete to hip-hop
      There are many opinions on sampling. Some view it as a fresh,
      post-modern take on music; music had taken us only so far and
      sampling helped to shake things up, re-evaluate the past, and use it
      to create exciting new music. Others view it as simple thievery, a
      refuge for the untalented to hide behind. What inspires both these
      views? Is either correct?

      Segovia's Mutant Brother- Part 2
      Part 1 looked at the nascent Oregon as an ironically inadvertent
      subversion within the Paul Winter Consort, further paradoxical in its
      production of the best work Winter's ensemble would ever see. Topping
      the paradox, the sub-group wouldn't release its first LP until many
      years after the attainment of firm regard in the music world (as we
      saw, Music of Another Present Era wasn't really Oregon's true first
      set of recordings). Unparalleled in its creativity, the band quickly
      grew in critical and consumer eyes and ears, first nailing down a
      quartet signature sound that later attempted to induct new members...
      elegantly failing every time. Oregon was ever and only best as a
      foursome, a chamber jazz effort embodied by Colin Walcott, Paul
      McCandless, Glen Moore, and Ralph Towner... most especially Towner.

      Classical festival
      "The Irish love music of almost any kind, so it seemed logical to
      consider the possibility of music festivals. What happened is a
      variety of them, devoted to various musical categories: early music,
      jazz, contemporary and traditional Irish being among the first
      suggested. They were so successful there are now other varieties, as
      well. The West Cork Chamber Music Festival comes pretty close to
      being all things to all people. They certainly try hard."

      We're always looking for good writers and/or ideas so let us know if
      you have anything to share.

      See you online,

      Perfect Sound Forever- online music magazine since 1993- now new and
      MySpace Page: <http://www.myspace.com/perfectsoundmagazine>
      Yei Wei Blog aka Wild Taste: <http://yeweiblog.blogspot.com/>
      Crazed by the Music blog: <http://www.popmatters.com/pm/blogs/crazedbythemusic/>
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