Descending Moonshine Dervishes Songs For The Ten Voices Of The Two Prophets

Review Terry Riley should have called his new album »Terry Riley Sings«. The trail-blazing minimalist composer and improviser introduced his singing to New York listeners during his most recent concert in Town Hall. His new album, »Songs for the Ten Voices of the Two Prophets« on the German Kuckuck label, was digitally recorded at a performance in Munich in 1982. Mr. Riley accompanies his singing and weaves some instrumental spells using his two Prophet 5 synthesizers. The music can be heard in at least two ways. Superficially, Mr. Riley's new disk sounds like the ultimate hippie album. His voice twists and curves in complicated arabesques, recalling Indian music, and especially the singing of Mr. Riley's colleague and teacher, Pandit Pran Nath, who is also associated with Mr. Riley's long-time friend LaMonte Young. The synthesizers create a hushed, meditative counterpoint of slowly unwinding melodies and cross-rhythms. Some listeners at Mr. Riley's last Town Hall concert found all this a bit much, especially those listeners who mistrust Indian gurus and to whom meditative music is usually Pablum disguised as profundity. But careful listening can reveal the artistry behind Mr. Riley's East-ward meanderings. For one thing, it takes years of study to learn to sing with the precise intonation that Mr. Riley displays on his new album. He delights the subtle effects of North Indian vocal music as practiced by singers such as the Dagar Brothers, with notes just slightly off-pitch and then sliding into unison with the synthesizers. The effect is like an aural equivalent of adjusting a scene into focus while peering through a camera's viewfinder. The Prophet 5, a polyphonic synthesizer that is capable of rich viola-like sounds, is a winning instrument for Mr. Riley's improvisations. After years of playing a Yamaha electronic organ, he has turned to the synthesizer, which theoretically offers an infinite assortment of sounds. Rather than take advantage of the instrument's ability to mimick vocal sounds and timbres, as composers like Jon Hassell and Brian Eno have done, Mr. Riley plays the synthesizer as a keyboard instrument, with a luminous sound and the ability to bend or inflect notes. Some critics argue that Mr. Riley, composer of the ingenious and widely influential minimalist composition »In C«, should not be wasting his time doodling with the materials of Indian music. This isn't doodling though; the music is carefully organized around a succession of rhythmic cycles, and the performance level is high. --The New York Times, Wednesday, February 15, 1984

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