Writings about Music
Minimalism in America began with a sound. A sound of distilled essence. This sound was sonically austere yet rhythmically vibrant with limitless complexity. This sound was alto saxophonist Lee Konitz, who changed his name from Leon, probably finding that too romantic.
La Monte Young idolized Konitz, and spent his life pursuing that sonic ideal, even searching India for an explanation.
Gerry Mulligan heard that sound, causing him to dispense with the piano. And the piano-less quartet sound is what engendered the laser, pristine textures of The Doors.
John Coltrane did the piano-less quartet one better by dispensing with chords, while reinstating the actual instrument.
Coltrane is what rocked Steve Reich, sending him exploring Africa and Indonesia.
Myself, I never took kindly to the word minimalism. But when a radio host considering my own music found a welcoming umbrella for my shanta rasa (tranquil) compositions, using related terms, I reluctantly accepted the designation, if momentarily.
I had one great, three-hour plus phone conversation with La Monte. Steve mentored me by postal communication.
I was deeply moved by Steve’s music. It was Sunset Pass in the Canadian Rockies, a place to begin to explore.
Taking up the trail, I wished to add more melodic and rhythmic complexity, following golden forests of Indian musical thought, but always in the context of American jazz. Rock and Bob Dylan are so deeply ingrained they are subconsciously driven.
- Michael Robinson, January 2016, Over the Pacific Ocean
© 2016 Michael Robinson All rights reserved
Michael Robinson is a Los Angeles-based composer and writer (musicologist)