1. A Rainbow in Curved Air by Terry Riley 1969
Bought this LP on a trip to Manchester when a teen living in Chorley.
"A Rainbow in Curved Air is the third album by experimental music and classical minimalism pioneer Terry Riley. Through the use of overdubbing, the composer, a keyboard virtuoso, plays all the instruments on the title track: electric organ, electric harpsichord (Rock-Si-Chord), dumbec (or goblet drum), and tambourine. The work begins with a simple minimalist drone but quickly erupts in exciting rapid-fire figurations far removed from typical slowly evolving minimalist structures (as in Riley’s ownIn C). The rest of the piece explores various layered keyboard and percussion textures.
The largely improvisational nature of the work, based on modal scales, owes much to jazz and Hindustani classical music. Some jazz musicians had explored overdubbing techniques before, notably Bill Evans, one of Riley’s piano “heroes”[3], on his classic album Conversations with Myself from four years earlier, with its three piano tracks; but Riley uses a far wider range of instruments and colors.” from Wikipedia
 ”I am taken away to distant suns with psychedelic worlds. Colors explode and wash together in a maelstrom of unrestrained joy. I think of the persistent beats of distant pulsars guiding the way for a whole humanity reaching across the great expanse of space to discover places and ideas not yet even dreamed of in this world.” unknown reviewer

    A Rainbow in Curved Air by Terry Riley 1969

    Bought this LP on a trip to Manchester when a teen living in Chorley.

    "A Rainbow in Curved Air is the third album by experimental music and classical minimalism pioneer Terry Riley. Through the use of overdubbing, the composer, a keyboard virtuoso, plays all the instruments on the title track: electric organ, electric harpsichord (Rock-Si-Chord), dumbec (or goblet drum), and tambourine. The work begins with a simple minimalist drone but quickly erupts in exciting rapid-fire figurations far removed from typical slowly evolving minimalist structures (as in Riley’s ownIn C). The rest of the piece explores various layered keyboard and percussion textures.

    The largely improvisational nature of the work, based on modal scales, owes much to jazz and Hindustani classical music. Some jazz musicians had explored overdubbing techniques before, notably Bill Evans, one of Riley’s piano “heroes”[3], on his classic album Conversations with Myself from four years earlier, with its three piano tracks; but Riley uses a far wider range of instruments and colors.” from Wikipedia

     ”I am taken away to distant suns with psychedelic worlds. Colors explode and wash together in a maelstrom of unrestrained joy. I think of the persistent beats of distant pulsars guiding the way for a whole humanity reaching across the great expanse of space to discover places and ideas not yet even dreamed of in this world.” unknown reviewer

Notes

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