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I'm on a roll right now, watch out.
So I definitely can't take credit for this album or anything about this musician because I just downloaded this from one of my favorite music blogs on the web: My Jazz World. That site is awesome. Super rare funky jazz and shit primarily from the 70s. Lot of different styles thrown into the mix, some are pretty bad, but guy running it, Smooth usually comes correct. This is definitely one of those occasions.
Obviously I downloaded it because of the album cover. Look at this Rasputin ass dude who looks like he should be playing british folk or something. This is actually just excellent late 70s jazz. Linc is the guitarist, but the album is full of badass sax, bass and drum solos as well. Got a scan from the blog of the record sleeve, so I'll type up the liners because that's what I do:
It's been some time since the jazz guitar was freed from the rhythm section and allowed to become the creative, improvising instrument its potential warranted. What Jimmy Blanton did for the bass, Charlie Christian did for the guitar and his efforts helped to create a whole nation of plectrum devotees. We are now faced with a generation that can embrace folk heroes, men as diverse as Jimi Hendrix, Larry Coryell and Jim Hall. The guitar has become a symbol of protest and liberation. Its six strings hold the key to fame and fortune, a chance to see the world on three chords a day. The least skilled practitioners are frequently the most successful. Today's garage rock band can be tomorrow's mascaraed superstars. The flash and the wah-wah pedal can overshadow a brilliant technique.
There have been plenty of spectacular near misses. George Benson's brief fling with Miles Davis was fascinating and hinted at greater things that never materialized. Wes Montgomery was asked to join John Coltrane but the connection was never made. One can only imagine the fireworks had Charlie Christian survived.
The release of this LP helps to insure that a great talent does not get overlooked. Linc Chamberland has been playing the guitar for over twenty years and this is his first record as a leader. If justice is to be had, his name will soon be listed among the greats of the instrument.
I first stumbled upon Linc at one of his Tuesday night Rapson's gigs in Stamford, Conneticut. I had long heard of him from admiring friends who couched there descriptions in adjectives fit for "the one that got away." Rapson's is a tiny club but it was packed like Reveren Ike's sermons the night I finally made it down. There was a devoted hush in the room that is all too rare in nightclubs. Linc entered, a black bearded intense looking fellow in his mid 30's, and soon proved the rumors correct. Notes and ideas flew so fast that it was hard to believe they were issuing from the man on the stool in the corner. I recall a version of Chick Corea's "500 Miles High" that continued for 30 minutes and threatened to levitate the room with its intensity. All this achieved without attachment, pedals, or gimmicks of any kind and only a small amplifier to project that incandescent sound.
Much time has passed since that night and now Muse Records is as excited as I am about Linc Chamberland. This record is his own story, told in his own term. The music is not unlike what transpires still at Rapson's. It is pure, honest, and refreshingly alive.
Linc, of course, did not emerge fully formed. He is a native of Norwalk, Conneticut and still lives there. The guitarist admits to first picking up the instrument because he "wanted to be a singing cowboy." He joined his first group, "The Rhythm Chords," when he was 15. This led to a lengthy stint with an R&B big band known as "The Orchids" that yielded one album and a chance for Linc to hone his writing and arranging skills. This band toured almost constantly, a fact that explains Linc's current reluctance to travel. At one point, this band was reduced to eating mustard sandwiches in Hawaii no less! Other groups followed with some fairly unique names: "Gasmask," "Gotham," and "Sawbuck." Linc began to put in a lot of studio time and worked with the jazzy version of Felix Caviliere's "Rascals" (Alice Coltrane, Joe Farrell, and Richard Davis were also along.) Lic started playing at Rapson's soon after and says the long running gig has "helped me find out a lot about myself."
Linc now makes his living from teaching. His reputation is deservedly strong: Charmberland alumni perform with Alphnse Mouzon, Judy Collins, Wishbone Ash and (believe it or not) Alice Cooper. He has over 40 students and finds the work "a constant creative challenge."
The musicians on this album are veteran associates of the guitarist. Lookout Farm leader Dave Liebman has been a regular Rapson's jammer. Australian Dr. Lyn Christie (a medical doctor in addition to his bass talents) only recently left the Chamberland fold and the young Bobby Leonard is Linc's current drummer.
An attempt to get Linc to talk about his music drew a dismissive wave. "It speaks for itself," he said, and indeed it does. I can only call attention to some highlights: Liebman's possessed soprano on Lyn Christie's "Place Within," Christie's tense, brooding arco bass on Chamberland's "1957" and Leonard's sensitive accompaniment on the trio feature "What's New." Chamberland's guitar holds it all together with rhythm playing that offers firm footing and solos that just don't stop. The music offers no compromise and holds back nothing.
Dave Liebman tracked down in Wethersfield, Conneticut, offered the following assessment of Linc: "He's a great musician and a fine human being." Further elaboration is unnecessary. Listen to the record.
-Jim Motavalli
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The second set of Violin Concertos from 20th century composer Alfred Schnittke! Look, two posts in two days and about 12 hours! Got the liners on this, so I might as well...
Concerto No. 3 for Violin and Chamber Orchestra (1978)
This work was originally intended to form part of a programme in which Hindemith's Piano Concerto and the Chamber Concerto of Alban Berg were to be played. This determined the orchestral forces of my piece, which sum up those of the other two pieces but which also influenced the sound concept of my concerto: thirteen wind instruments and only four strings produce an inequality of weight. I found a solution to this problem in saving the strings for the third movement, where they enter for the first time and replace the wind sound towards the end of the composition.
The title original planned, Canticum canticorcum, which I eventually renounced since I am against programmatic explicitness, found a certain reflection in the concerto's musical language (for example, in the soloist's initial cadenza). But there are also quite different influences at work - those of Russion Orthodox church music (in the final chorale of the first and third movements) and German Romanticism (the forest music at the beginning of the third movement which, despite the horn fifths and fluctuations between major and minor, is not a quotation from Schubert or Mahler). And the atonal idiom also leads naturally on occasion to twelve-note themes, but never to twelve-tone rows. the combination of these tonal spheres is not subject to any constructional principle: I merely followed my ear's commands.
I have long been preoccupied by the opposition of the tonal and the atonal. In this work I tried to construct a unified system of intonations linking the two soundworlds organically - that is, not only through the contrasting effects of night and day but also by means of the morning and evening transitions and the ever-present play of shadows and colour modulation. Atonality can be reached from any point in tonality (and vice versa).
The Violin Concerto's three movements follow the scheme of double contrasts (slow-fast-slow) and are played without a break. The solo part makes no virtuoso demands on the soloist and is predominantly melodically conceived. The first performance took place January 1979 in the Great Hall of the Moscow Conservatory.
-Alfred Schnittke
The meeting and co-existence of a variety of forms of musical material, a variety of worlds of style and imagery - these probelms are central in Alfred Schnittke's Third Violin Concerto. The orchestral forces are similar to those used in Alban Berg's Chamber Concerto for violin, piano and thirteen wind players (1925). Additionally there are four string players, whose entry marks the beginning of the finale, of the illumination and alleviation of the general atmosphere.
The three movements of Schnittke's concerto are there different stages or aspects of one idea. The first movement, emerging from the soloist's tense trills, presents the 'prehistory', as it were. Here one may discern the most important spheres of imagery in the concerto: firstly the intensively expressive, tauntingly enraged, dissonant structure of intervals which serves as the point of departure for the rebelliously unbalanced second movement; secondly the light and conciliatory major/minor flickering of triad runs, which finally becomes decisive in the finale; and finally the strict chorale, the most important of the elements, which concludes the flow of events like an epitaph.
The second and third movements merely develop the 'theses' of the first; they unfold a temporally calculated concept. The strongest contrast arises before the beginning of the finale: a storm-wave of contradictions and passions crashes down in an aleatory culmination; the musical material shatters into the tiniest fragments. And here, amidst the catastrophe, like an illusion of ghostly harmony, horn fifths suddenly appear - in the music of past centuries the frequently-occurring symbol of problems happily resolved. The sound here is devoid of the unambiguity acquired through the centuries; doubt shines through the major/minor play of light and shadow...The tide of music finds no rest; it hurries on into the depths of centuries, eventually finding its hold in a universal, eternal symbol: the chorale.
-Alexander Ivashkin
Concerto No. 4 for Violin and Orchestra (1984)
My Fourth Violin Concerto, a commission from the Berlin Festival, is dedicated to my dear friend Gidon Kremer, as a sign of my great admiration and most heartfelt thanks. Gidon has contributed decisively to the spread of my works, both through countless performances and also by inspiring and stimulating other musicians. For this reason the musical material on this four-movement concerto is taken from monograms of Gidon Gremer and of myself - and in the last movement also of three other kindred souls, Edison Denisov, Sofia Gubaidulina and Arvo Part. It is not, however, a constructed Babel (except for the perpetuum mobile passacaglia in the second movement); rather it is an attempt to create a melodic tension both between one note and another and also between notes and rests, with free application of techniques both 'new' and 'old'. Two beautiful plush melodies (the first running through the entire piece as a fatum banale, the second appearing as a false relief in the third movement) are merely two 'corpses decorated with make-up'. On a few occasions (for example the 'cadenza visuale', second movement) a peep is ventured behind the curtain into the soundless, hypnotic music Hereafter - into the world of silent sound (otherwise called 'rest'). But these are only moments, brief attempts to fly; the foundering descent back into the world of sound is inevitable. Or is it?
-Alfred Schnittke
The Fourth Violin Concerto dates from 1984. The concerto is unquestionably one of Schnittke's preferred musical forms. The previous violin concertos had demonstrated quite different compositional methods on Schnittke's part. This piece confirms his path towards greater simplicity, towards love for tonal, extremely straightforward musical figures. A large romantic orchestra is required, reinforced by instruments of striking sonic character such as the saxophone, the felaxatone (usually confined to lighter music) and most especially by an unconventional battery of chord instruments: xylophone, glockenspiel, marimba, vibraphone, bells, celesta, harpsichord and piano. Schnittke employs these last-named instruments principally for the support and coloration of static textures. The idea of a colossal Basso continuo, the chordal accompaniment of baroque music, must have been determining significance in this respect.
The Fourth Concerto has four movements. The sequence Andante-Vivo-Adagio-Lento makes it plain that a measured and well audible tone takes precedence over virtuoso passages. Right at the beginning of the first movement, important structural elements are presented. After a reverberating bell motif we hear a peculiarly plain, warm theme in A flat major, its instrumentation rather gentle and peaceful (woodwind and horn). With its tonic/dominant exchange it is intentionally trivial, like an exponent of another, lost musical language. The solo violin tries to attune itself to this, but upon its entry the veil of comfort is torn aside. A dissonant chord, including all twelve notes of the tonal system, is rudely inserted; the violin continues the melodic development with a harsh friction of semitones and broken chords. The mood only brightens when the violin takes up the opening bell motif. The plain theme then occurs once more, this time in C sharp minor, and - richer, as it were, in experience - shot through with distracting notes. The first movement concludes with the return of the bell motif, this time over a dissonant, static string structure.
This movement has not only seen the exposition of the musical material but also the erection of the compositional principle: the zones of insecurity lurk behind apparently tranquil beauty. The entire concerto is to be understood in this light. The lively second movement is basically one large cadenza over intricate broken chords from the soloist. At the movement's climax, with ever more rugged breakings, the tone of the soloist becomes more and more 'faded out' - Schnittke calls this a 'cadenza visuale', with the utmost passion but almost devoid of the means to express it. Only after a grandiose entry by the previously silent strings on the note G (the lowest note on the violin) does the soloist regain his tone - but at this point the movement breaks off. The remaining two movements advance other attitudes, stated at their respective outsets, onto a higher plane. In the third, the destabilization of an emphatically beautifully conceived melody is driven forwards; the fourth returns to the serene peace of the bell motif from the beginning of the work.
-Dr. Reinhard Schulz
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As with lots of my classical posts, I will type up a portion of the liner notes, because they describe the music better than I can. I like this a lot. That's about as good as I get.
Concerto No. 1 for Violin and Orchestra
Schnittke' s Concerto No. 1 for Violin and Orchestra (1957, revised 1963) is rich in ideas and explores a wide range of emotions. Great inventiveness is shown in the treatment of the solo instrument, but the composer's attention is centered not on the virtuoso aspect but on violin cantilena. The wealth and unique beauty of its melodies are among the most attractive qualities of the concerto.
The principal subject of the first movement (in sonata form) begins with a flowing melody from the solo violin. The unusually complicated melodic outlines of the principal theme in combination with the complex rhythmic pattern suggest concentrated searchings, painful deliberation. The initial motives from this theme become interwoven with almost all the themes in the other movements, playing røle of leading motives. The subsidiary subject of the first movement, with a characteristic augmented second, also acquires an important place in the dramatic development.
The second movement is a rushing scherzo based on the alternation and development of three themes, all of which are related to one other. They are unified by a poignant nervous rhythm, angular melodic contours and "sharp" bowing. The concerto's leading motive is easily distinguished in the melody of the first theme.
The third movement opens with a tranquil and songful themes, also containing the leading motive. The middle section, wholly based on thematic material from the first movement, comes as a startling contrast to the calm and lucid song. After the statement of an agitated - yet flowing - theme by the solo instrument (this theme is close to the subsidiary theme for the first movement), contrapuntal development begins in the orchestra. This episode, where the evenly-paced counter-subject recalls the outlines of the leading motive, leads to a tensely dramatic climax.
The leading motive undergoes transformation in the resolute and resilient principal subject on the fourth movement (in sonata form); its melodic outlines become simpler and more definite, its rhythm clear-cut and precise. The Finale's playful and whimsical second theme resembles the subsidiary theme of the first movement. The closeness of the two themes becomes still more apparent when, after the statement of this second theme, the subsidiary subject from the first movement itself makes and appearance. A brief development section is followed by a recapitulation and an extended concluding section which presents, one after another, the two themes from the first movement and the themes of the Finale in reverse order.
The concerto was first performed over the air on 26th November 1963 by Mark Lubotsky and the Moscow Radio Symphony Orchestra under the baton of Gennady Rozhdestvensky.
-M. Yakubov
In autumn 1956, while still a student at the Moscow Conservatory, I began this violin concerto. I called it my Opus 1 - the last opus number I have hitherto assigned. The concerto was not reworked until 1963, and then to an apparent continuation with the quite different Violin Sonata No. 1 - but everything written until then was wrong, and has remained so.
Above all, I see a desperate striving to find myself in the work of this concerto. This quest as very rarely successful, indeed only on occasions - the unison theme at the beginning, the climax in the third movement, the final coda. It was a sound world of Tchaikovsky and Rachmaninov, overshadowed by Shostakovich and adorned with the orchestral conventions of the day. But there was also a tiny breath of everything that was to come later, and for this reason it should remain, with all the faults of a first violin concerto...
-Alfred Schnittke
Concerto No. 2 for Violin and Chamber Orchestra
The solo violin begins with a broad rhythmically expressive cadenza in which a central function, akin to that of a pedal point, is assigned to the note G.
At the sound of a bell a string cluster joins in, and immediately afterwards brief sound structures from the wind, piano or percussion interrupt the separate solo violin episodes. The solo violin starts a new espressivo, and like shadows the accompanying violins follow (with different bowing techniques); gradually they resolve themselves towards ever stronger independence. The thickening string sonority is ordered and driven on y impulses from the percussion (bongos and tom-tom). Then, however, the strings, which had been splayed out into total dodecaphony, unite with the soloist for a unison passage overlaid by the percussion. A double bass solo (against piano glissandi and comments from the percussion) leads to a long improvisation from all the accompanying instruments. This is followed by a very delicate sequence of non vibrato chords from the strings, with which the virtuosic soloist joins in. A further improvisatorial section from the orchestra is followed by a surprising change of scene: a brief solo cadenza introduces an episode rather like a slow foxtrot, played by the soloist accompanies by piano and percussion.
Once more the solo violin reaches the fundamental note G; as if in a reprise we hear the wind entries from the opening. A bell marks the soloist's last interlude, followed by a percussion intermezzo; then string clusters lead to the final phase of the piece. In steady rhythm, the solo instrument reaches out from his "note of departure" to fixed intervals. From individual glissando and pizzicato comments from the strings there gradually proceeds an orchestral climax of which the timpani take over the soloist's hammering motif. After this outburts, the soloist continues this motivic work - which is inexorable with its motoric drive - until, above gentle clusters from the strings and wind, the ostinato note G slips away into its opposite pole, F sharp, which had been expected throughout the piece.
-Jurgen Kochel
The Concerto No. 2 for Violin and Chamber Orchestra was written in 1966 at the behest of Mark Lubotsky, who also gave the first performanec on the occasion of the Jyvaskyla Festival in Finaland that year, conducted by Friedrich Cerha.
The concept which lies behind the work comes from a certain drama of tone colours: the soloist and the strings are treated in a linear, thematic manner whilst the wind and percussion are aggressively punctual and aleatoric. The double bass has the special role of a caricatured "anti-soloist". The sequence of several contrasting episodes shows clear signs of traditional formal structures: solo cadenza at the outset, exposition of the two sound spheres, Adagio episode, development climax, recapitulation, coda-finale.
A chromatic twelve-tone row serves as the thematic foundation, but there is nevertheless a center of melodic gravity, the constantly returning note G, which sometimes leads to an illusion of tonality, especially at the beginning and the end of the work.
-Alfred Schnittke.
Enjoy!
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This is for the comments in the previous post. Great record anyway. Was thinking about posting Don Ellis' soundtracks to the French Connection movies sometime soon, so the post actually works. Outstanding album (double album!) from crazy ass Don Ellis. Haven't actually listened to this for awhile, so I'm gonna bow out to an AMG review:
Recorded in 1971, Tears of Joy is a Don Ellis classic. The sheer musical strength of this ensemble is pretty much unparalleled in his career. The trumpeter/leader had backed off -- a bit -- from some of his outlandish and beautifully excessive use of strange and unconventional time signatures, though there is no lack of pioneering experimentalism in tone, color, arrangement, or style. This double LP/CD features a string quartet, a brass octet (four trumpets, tuba, bass trombone, trombone, and French horn), four winds, and a rhythm section boasting two drummers, a percussionist, a bassist, and the Bulgarian jazz piano wizard Milcho Leviev. This is a sprawling album. Disc one is made up of short- to mid-length pieces, the most notable of which are the intense adrenaline surge of "5/4 Getaway" (with a killer string arrangement by Hank Levy, one of three arrangers on this set) and the blazing Eastern European klezmer meets Bulgarian wedding music meets hard bop blues of "Bulgarian Bulge." Leviev's solo on the latter comes right out of the knotty, full-on bore of the tune's melody (written by Ellis, who scored all but three selections), and cites everyone from Wynton Kelly to Scott Joplin to Mal Waldron. Elsewhere, such as on "Quiet Longing," the strings are utilized as the base and texture of color. One can hear Gil Evans' influence here, and in the restrained tenderness of this short work one can also hear Ellis' profound lyricism in his flügelhorn solo. The second disc's first moment, "How's This for Openers?," is a knotty composition that touches on bolero, Aaron Copland, and operatic overture. Levy's "Samba Bajada" is a swinging opus that uses tropes from early Deodato in his bossa years, Sergio Mendes, and Jobim, and weaves them through with an elegant, punchy sense of hard bop and the American theater. On the 17-plus minute "Strawberry Soup" (with a vocal quartet in the background), Ellis gets to show what his band is capable of in its different formations. Full of both subtle and garish colors, timbral grace and vulgarity, elegant and roughly hewn textures, and a controlled yet wildly divergent set of dynamics, this tune is one of the most adventurous and most brilliantly composed, arranged, and executed works to come out of the modern big band literature. It is virtually a big-band concerto. Ultimately, Tears of Joy stands as a singular achievement in a career full of them by a musical auteur whose creativity seemingly knew few if any bounds.
-Thom Jurek (as always, christ)
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This album is a fucking monster.
You know Eddie Hazel as the guitarist from P-Funk. The dude responsible for the killer shredding on "Maggot Brain" that basically revolutionized music from being "good" to a whole different playing field. This is his only legitimately good solo release, and it just shreds. Imagine Hendrix with less feedback, and the funkiness turned up. Imagine alien soul sisters singing floating around a studio singing backup. Imagine plenty amounts of coke and LSD and whatever else is available, only being available for short increments of time due to rapid ingestion.
Ok so I basically just described every good P-Funk album. But with the focus primarily on the guitar on this record (and guys, Eddie Hazel rips), it is P-Funk in a different light. Opening track is "California Dreamin" which apparently seems to maintain it's quality no matter who is covering it. Hazel gives the record a real soulful vibe and his guitar is evident throughout. A real jam in the vein of the Baby Huey cover, but where that one was drenched in heart-wrenching soul, Hazel kicks up the psychedelics. Another obvious highlight is his cover of the Beatles "I Want You (She's So Heavy)" which is a monster of a track in the first place. Hazel takes it and makes it his own. Adding about 2 minute of guitar freakouts (this is a 9 and a half minute song) and it just kills.
Listen, I'm gushing, the album is killer. California Dreamin' is reprised at the end of the album to really tie the actual album tracks together, cementing the idea that this album is one for southern California road trips.
After that, included in the zip, there are like 5 bonus tracks. And while none of them are essential, they all feature killer guitar work. If you really wanna jam for the afternoon, listen to all 12 tracks, if you just want to hear an awesome psychedelic funk album, you can just stick to the first 7 tracks.
You'll probably want to listen a few times more after that.
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Two Steve Reich compositions on this disc. The first three tracks belong to "Different Trains" and are performed by the Kronos Quartet, whereas the latter 3 constitute "Electric Counterpoint" and is primarily performed by jazz guitarist Pat Metheny.
Different Trains
(1988) For string quartet and tape begins a new way of composing that has its roots in my early taped speech pieces It's Gonna Rain (1965) and Come Out (1966). The basic idea is that speech recordings generate the musical material for musical instruments.
The concept for the piece comes from my childhood. When I was one year old, my parents separated. My mother moved to Los Angeles and my father stayed in New York. Since they arranged divine custody, I traveled back and forth by train frequently between New York and Los Angeles from 1939 to 1945 accompanied by my governess. While these trips were exciting and romantic at the time, I now look back and think that, if I had been in Europe durin this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation. In order to prepare the tape, I had to do the following:
1 - Record my governess Virginia, now in her seventies, reminiscing about our train trips together.
2 - Record a retired Pullman porter, Lawrence Davis, now in his eighties, who used to ride lines between New York and Los Angeles, reminiscing about his life.
3 - Collect recordings of Holocaust survivors Rachella, Paul and Rachel - all about my age and now living in America - speaking of their experiences.
4 - Collected recorded American and European train sounds of the 1930s and 40s.
In order to combine the taped speech with the string instruments I selected small speech samples that are more or less clearly pitched and then notated them as accurately as possible in musical notation.
The strings then literally imitate that speech melody. The speech samples as well as the train sounds were transferred to tape with the use of sampling keyboards and a computer. Kronos then made four separate string quartet recordings which were combined with the speech and train sounds to create the finished work.
Different Trains is in three movements, though that term is stretched here since tempos change frequently in each movement. They are: America-Before the war, Europe-During the war, After the war.
The piece thus presents both a documentary and a musical reality, and begins a new musical direction. It is a direction that I expect will lead to a new kind of documentary music video theater in the not too distant future.
-Steve Reich, August 1988.
Electric Counterpoint
The soloist pre-records as many as ten guitars and two electric bass parts and then plays the 11th guitar part live against the tape. I would like to thank Pat Metheny for showing me how to improve the piece by making it more idiomatic for the guitar.
Electric Counterpoint is in three movements - fast, slow, fast - played one after the other without pause. The first movement, after and introductory pulsing section where the harmonies of the movement are stated uses a theme derived fro Central African horn music that I became aware of through ethnomusicologist Simha Arom. That theme builds to an eight-voice canon; while the remaining two guitars and bass play pulsing harmonies, the soloist plays melodic patterns that result from the contrapuntal interlocking of those eight pre-recorded guitars.
The second movement cuts the tempo in half, changes key and introduces a new thee which is then slowly built up to nine guitars in canon. Once again, two other guitars and bass supply harmony while the soloist brings out melodic patterns that result from the overall contrapuntal web.
The third movement returns to the original tempo and key and introduces a new pattern in triple meter. After the establishment of a four-guitar canon, two bass guitars enter suddenly to further stress the triple meter. The soloist then introduces a new series of strummed chords that are then built up in three-guitar canon. When these are complete, the soloist returns to melodic patterns that result from the overall counterpoint. Suddenly the bases begin to change both key and meter back and forth between E minor and C minor and between 3/2 and 12/8 so that one hears the first three groups of four eighth-notes and then four groups of three eighth-notes. These rhythmic and tonal changes occur more and more rapidly until, at the end, the basses slowly fade out and the ambiguities are finally resolved in 12/8 and E minor.
-Steve Reich, September 1987
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