Terry Riley's Dorian Reeds (For Brass)

by Matt Starling

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  • Compact Disc (CD) + Digital Album

    Professionally replicated standard Red Book CD packaged in a standard jewel case. Art design by Ryan Fedor. Program notes by Matt Starling. Printed and assembled in the office of Matt Starling.

    Includes unlimited streaming of Terry Riley's Dorian Reeds (For Brass) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • DVD-Audio disc with studio master audio quality: 24 bit 96 khz high resolution stereo audio. Recorded to quality DVD-R media and packaged in a standard CD jewel case. This disc requires a special DVD-Audio player, which is different from a regular DVD player. Art design by Ryan Fedor. Program notes by Matt Starling. Printed and assembled in the office of Matt Starling.

    Includes unlimited streaming of Terry Riley's Dorian Reeds (For Brass) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • AUDIO ONLY. Playable in any Blu-Ray player, this disc takes advantage of the high quality Blu-Ray audio specification to deliver a disc with studio master audio quality: 24 bit 96 khz high resolution stereo audio. Recorded to quality BD-R media and packaged in a standard CD jewel case. Art design by Ryan Fedor. Program notes by Matt Starling. Printed and assembled in the office of Matt Starling.

    Includes unlimited streaming of Terry Riley's Dorian Reeds (For Brass) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • Full Digital Discography

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1.

about

Review:

I first came across Matt Starling with his Salt Lake Electric Ensemble's recording of Terry Riley s ground-breaking minimalist work In C. That was a première in that it was the first time the piece had been recorded with mainly electronic instruments. With Dorian Reeds (for Brass) Starling... has adapted a less well-known Riley score from the same period as In C, originally composed for solo performer, microphone and two tape recorders and performed by Riley himself using a soprano saxophone... 2015 is Terry Riley s 80th birthday year, so what better time could there be to greet one of his masterpieces anew in this way. Starling has been a brass player since childhood, and his choice of the flugelhorn for this recording is a good one. This is an instrument with a mellower tone than the trumpet and has the potential for plenty of depth and colour...The use of mutes adds further layers of colour, even sounding not unlike a saxophone at times.... This breadth of sound quality also allows for further clarity of counterpoint in this kind of recording, which involves much looping... If you know Terry Riley s In C then you will know a little about his ability to vary and develop material in overlapping lines and layers, creating tonal fields and rhythmic ostinati and in effect giving birth to what we know as minimal music ...Terry Riley s minimalism is utterly distinctive and the real thing in the same way that a symphony by Bruckner is the real thing in the sense that, whatever you feel about it, it commands respect through its sheer sense of purpose and identity. The feel of groovy meditation which is a 1960s signature is very nicely preserved in Starlings adaptation of Dorian Reeds. You could easily transplant this recording retrospectively into one of those all-night concerts and imagine minds being expanded all over the place. This recording is in that sense a sort of authentic revival of a neglected classic, but it also reminds the listener of how relevant the power of strong ideas can be in a world where composers are spoilt for choice when it comes to sonic sources and influences. I have to admit to being someone who is very interested in the seizing and stretching of a moment in time, of creating vast horizons with the most stripped-down of means, so you can expect me to be biased in favour... True minimal music won t be for everyone. This is the kind of piece which requires you to relax your expectations of thematic development and contrasts of tonality, and to suspend your impatience with clock time. If however you have ever found yourself grabbed by an abstract painting, finding your imagination making transformative interpretations of lines and forms and losing yourself in inner spaces created by yourself and an unspoken dialogue with the artist, then you should find your ears will take up the challenge of Dorian Reeds in a similar way. Just to pick a moment at random, there is for instance a section from about 31 minutes in where just four notes tumble over each other in a joyous rhythmic consonance. If you enjoy change-ringing from English church towers of a Sunday then you can close your eyes and imagine a choir of shiny bells blown rather than struck, but creating a comparable soul-tingling effect. Masses of effort and time three years from start to the final mix have gone into this project, but the results show in the quality of what is delivered. Matt Starling s affection for this music is watermarked through the entire performance. He deserves every acclaim for an achievement which not only revives a 20th century minimal classic, but shows us all how much good music there is still to be made with the meagre handful of conventional notes at our disposal.

--Dominy Clements, writing for MusicWeb International.

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released March 22, 2015

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about

Matt Starling Salt Lake City, Utah

Matt Starling founded the Salt Lake Electric Ensemble in 2009. He holds a Bachelor of Music degree from the University of Utah, and a Master of Music
Technology degree from IUPUI in Indianapolis, IN. He is active as a performer, composer, multimedia artist, music journalist, music educator, and audio engineer.

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