| | Steve Reich 1966-1996 CD Reich, Steve CDS
10 CD's For Price Of 6 Steve Reich 1966-1996 Music | List Price | $99.87 (You save $16.32) | | Label | Nonesuch | | Orig Year | 4/15/1997 | | All Time Sales Rank |  2374  | | CD Universe Part number | 1242957 | | Catalog number | 79451 | | Discs | 10 | | Release Date | Jun 03, 1997 | | Mono/Stereo | Stereo | | Additional Info | Box Set |
Steve Reich 1966-1996 Review
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Purchase Steve Reich 1966-1996 To buy, Click on price to add to cart | Bar Kokhba Sextet Zorn - The Circle Maker / Masada String Trio, Bar Kokhba CDs (1998)
Steve Reich 1966-1996
 $18.75   
John Zorn is a music innovator with a reputation for blending vastly different styles and creating something new: hardcore punk and jazz, Italian movie music and cartoon themes. Here he combines the tradition of Jewish klezmer with New York avant-garde jazz. The result is both fresh and timeless, touching upon ancient songs no one has heard before.
THE CIRCLE MAKER is actually two separate albums, combined by a theme (as well as packaging). The first features the Masada String Trio, part of Zorn's Masada klezmer project. Because of the instrumentation, it has the more traditional sound of the two CDs. The second disc adds a percussive element by expanding the trio to a sextet. Drummer Joey Baron and percussionist Cyro Baptista give these tracks an international flair. Guitarist Marc Ribot lends his guitarwork to the project, including some fascinating use of controlled feedback.
Photographers: Ashley Thayer; Michael Macioce.
Unknown Contributor Role: John Zorn.
Personnel: Marc Ribot (guitar); Mark Feldman (violin); Erik Friedlander (cello); Joey Baron (drums); Cyro Baptista (percussion).
Recording information: Avatar Studio, New York, NY (12/06/1997-12/07/1997).
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Steve Reich 1966-1996
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Steve Reich 1966-1996
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2cds-2001 Grammy Nomination For Best Choral Performance
| | Steve Reich Reich: Triple Quartet, Etc / Kronos Quartet, Frasco, Et Al CD (2001)
Steve Reich 1966-1996
$13.15
Steve Reich continues his exploration of counterpoint and phasing with Triple Quartet, a commission piece for the Kronos Quartet dating to 1999. For this piece (a suite in three movements), Kronos recorded two quartet scores, then played along with the tape, resulting in the Triple Quartet. Originally inspired by Bela Bartok's Fourth Quartet, the movements alternate fast, slow, and fast, with thick contrapuntal melodies rising and falling throughout. "Electric Guitar Phase" began life as "Violin Phase" in 1967. For this version, Dominic Frasca plays four electric guitar parts designed to set up phasing patterns. The initial melody (which almost sounds like the intro to a Van Halen tune) is doubled on a second guitar, then gradually sped up so that the second guitar winds up one eighth note ahead of the original melody. As other guitar parts are added in, the melody constantly changes subtly, the end result being a fascinating mixture of stasis and evolution. "Music for Large Ensemble," originally dating to 1977, is for a group approaching 30 players and is reminiscent of "Music for 18 Musicans" (also from the same time period), while "Tokyo/Vermont Counterpoint" is originally from 1981 and is performed by only one player performing multiple parts. For this piece, the original arrangement for flutes and piccolos is scored for MIDI marimba and xylophone. The natural duration of the notes was shortened in order to maintain the clarity of the composition, but the piece still shares a sonic kinship with "Six Marimbas." Triple Quartet is another beautiful offering from Steve Reich. It would also serve as a fine introduction to his work, as it surveys each of his four active decades as a composer and touches on the various styles and processes he's been interested in since moving away from pure musique concrète. Highly recommended. ~ Sean Westergaard
Personnel: John Sherba (violin); Paul Miller, Hank Dutt (viola); Susanne Kelly, Jennifer Culp (cello); Jessica Johnson (flu
| | Bonnie 'Prince' Billy Letting Go CD (2006)
Steve Reich 1966-1996
$12.69
Like 2003's MASTER AND EVERYONE, THE LETTING GO is a quiet, introspective record that examines the human heart, but the songs here equal or better those on its excellent predecessor. Oldham's insight into the politics of self and relationships is unflinching, and his wordplay--which balances surreal poetry with heartbreaking confessionals--is at its peak. Sonically, THE LETTING GO is expansive, adding strings, subtle percussion, and ambient effects that enhance but never crowd the songs. Harmony vocalist Dawn McCarthy contributes gorgeous textures to the mix of blues, country, folk, and minstrel-like elements, and all of it makes a persuasive case that Oldham has grown into an artist of striking vision and emotional power.
On one hand, Will Oldham (a.k.a. Bonnie "Prince" Billy) seems to have journeyed a long way from his recordings with Palace Music in the 1990s--which featured a ragged, lo-fi/indie take on backwoods, old-timey American folk--to the comparatively clean, thoughtful, and mature sound of 2006's THE LETTING GO. On the other hand, Oldham's course has remained true in its use of a spare, even stark, singer-songwriter mode to convey complex feelings and observations rendered through his creaky voice and literate, associative lyrics.
Personnel: Will Oldham (vocals, guitar); Dawn McCarthy (vocals); Emmett Kelly (guitar); Una Sveinbjarnardottir , Greta Gudnadóttir (violin); Thórunn Osk Marinósdóttir (viola); Hrafnkell Orri Egilsson (cello); Eirikur Orri Olafsson (flugelhorn); Paul Oldham (bass guitar); Jim White (drums).
| | Wolf Parade At Mount Zoomer CD (2008)
Steve Reich 1966-1996
$11.69
Of all the 2000s' indie-rockers, Wolf Parade have perhaps been most adept at standing alone despite an obvious kinship with contemporaries such as Islands and splitting personalities with its own side projects like Sunset Rubdown. An unusual record, AT MOUNT ZOOMER grasps at the straws of classic canonical influences without really bowing at their altar in its attempt to spin a sophisticated pop gem. "California Dreamer" in particular is a bizarre little nugget, with Spencer Krug playing his keyboard like Ray Manzarek on a song that sounds like a bent Christine McVie number for TUSK-era Fleetwood Mac. Elsewhere, "Language City" sounds as close to pure pop as anything from the Pac Northwest indie revival in the post-Shins era. Born primarily from cut-and-paste jams recorded in a church, ZOOMER is remarkably cohesive for having been conceptualized in largely free-form fashion. And while it might resemble any number of bright and bristling genre-starters before it, this feels like a record that will be a hallmark for the way it leaves the listener thrilled and moved.
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