artist: Terry Riley country of origin: USA style(s): Minimalism, world music, orchestral, psychedelia essential releases: A Rainbow In Curved Air (1969, CBS) Descending Moonshine Dervishes / Songs For Ten Voices Of The Two Prophets (1977/1982, Kuckuck) Harp Of New Albion (1984, Celestial Harmonies) In C (1989, Celestial Harmonies)

The Californian-born Riley is one of the founding fathers of minimalism (see also Philip Glass and Steve Reich), an outgrowth of the classical avant-garde scene of the 1950’s. While the more recent work of many in this "school" may have outgrown that term, it’s still useful in understanding the basics of their style - repetitive, pattern orientated, cyclic music, in Riley’s case distinguished by unusual tunings and exotic non-Western sounds.

In C was written in 1964 and is a highly influential work. It was one of the launching pads for minimalism as a recognisable style, and its use of interlocking repetitive phrases would go on to inform a good deal of ambient and experimental electronic music that was to follow. The composition consists of 53 musical fragments that can be played by any number and combination of players and instruments, in order and at any speed.  The result? Self-indulgence for some listeners, liberation for others; it partly depends on your sensibilities although it's far less chaotic than you might imagine. This is a vital piece of music history and makes essential listening. The particular version listed here has an unexpectedly cosmic flavour and is a recent performance by the Shanghai Film Orchestra, mixed by Riley along with Brian Eno and John Hassell.

Of the original minimalists it was Riley who was most popular with rock audiences. His classic A Rainbow In Curved Air became something of a cult item amongst the 60’s counter-culture with its droning, hypnotic organ lines, sustained bursts of saxophone and rapidly repeating melodic patterns. It's intoxicating trance music, though like Philip Glass’ earlier music some listeners may not be able to handle the seemingly unending repetition. If you’re among them, then you’re directed beyond this period to some of Riley’s more recent and accessible works.

Songs For Ten Voices Of Two Prophets and The Harp Of New Albion are the results of his intensive studies with Indian musicians. The former album features Riley on vocals and playing two Prophet-V synthesisers. His beautiful singing is based on special Indian vocal techniques, and coupled with the richly textured keyboards the resulting music is mystical, expansive and at times utterly compelling. The double-CD New Albion features a specially prepared 'muted' piano - originally invented by John Cage - from which Riley pulls a remarkable range of sounds, performing music primarily ambient in nature. Those seeking Riley's more accessible work are also directed to the Kronos Quartet's interpretation of his pieces on their album Salome Dances For Peace (1989).

Like the music of Glass and Reich, Terry Riley's music requires some patience and at times a redefinition of notions of progression. But if you doubt the importance of Riley and his ilk then try this: buy A Rainbow In Curved Air and then go back and listen to Mike Oldfield’s Tubular Bells (1973). Without it, Oldfield’s popular two part opus may never have been made. By popularising the idea of repetition and cycles in Western music, the contribution of Riley and his peers has been to have us re-examine music, break it down into its simplest forms and, in a way, start all over again.

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