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Re: What would loopers do without power?
I guess I would go back to the music that drew me to live looping in the
repetitive ostinato oriented music of the african and african diaspora
either on drums, string instruments, flutes, reeds, brass instruments,
sounds or voice.
My first love of repeating interlocking parts came from listening to
African music and Steve Reich (in particular, "Music for Strings,
/Terry Riley/Philip Glass and also to a lot of the trancey-er kinds of
repetive music from the
"In A Silent Way/Bitches Brew" era that Miles Davis and all of his
bandmates innovated in the early 70's and the early ECM recordings (I
'Sand Glass' by Eberhard Weber and 'Corinthian Melodies' by Art Lande
Rubisa Patrol (with a young Mark Isham on trumpet).
Seeing Jaco loop a bass harmonics part in the early 80's just turned me on
as did the innovation of angalogue sequencers and drum machines in the
and 70's because they
meant that I could make repetitive kinds of music without having to try
and harangue other musicians into playing parts in a disciplined and
I've always been a rhythmatist first (though I think of myself as almost
more of a timbralist now)
and I've always felt that the most interesting rhythms were the ones that
were powerful enough
and classic enough to bear repeting over and over.................their
minimalism gave the most
freedom, compositionally, to what was played over the top of them imho.
It's why I love to loop but also why I don't feel like I have to loop.