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| Reich: Drumming, Six Pianos, Music for Mallet Instruments | 
 enlarge | Artist: Steve Reich
Label: Polygram Records
Category: Music
Buy New: $455.45
Buy New/Used from $13.93
Avg. Customer Rating:  (16 reviews)
Sales Rank: 349134
Media: Audio CD
Discs: 2
UPC: 028942742826
EAN: 0028942742826
ASIN: B000026D3A
Release Date: July 21, 1989
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Drumming, Pt. 1 - Bob Becker, Russ Hartenberger, James Preiss | | • | Drumming, Pt. 2 - Bob Becker, , , Tim Ferchen, Ben Harms, Russ Hartenberger, Martin Laba, Steve Reich, Glen Velez |
Disc 2
| • | Drumming, Pt. 3 - Bob Becker, Russ Hartenberger, James Preiss, Steve Reich, Leslie Scott, Glen Velez | | • | Drumming, Pt. 4 - Bob Becker, , , Tim Ferchen, Ben Harms, Russ Hartenberger, James Preiss, Steve Reich, Glen Velez |
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| Customer Reviews: Read 11 more reviews...
 Repetition in a truly fascinating way.... May 17, 2007
4 out of 4 found this review helpful
Originally released in 1973, this version is the re-released updated version of the seminal work of composer and minimalist "Steve Reich". Taking the central theme and idea of drumming and using rhythmic arrangements that owe a heavy debt to minimalist" or "trance" music at its best; rhythmic and melodic, using a variety of performers and percussionists, to bring these compositions to life, it's like a lengthy composition that ebbs and flows, and hits with tightly woven passages of sound, with subtle variations, which fall perfectly into line, and then gradually begin to fall out of synch, but done in such a slight and streamlined way, that you tend not to notice of the first few listens, and it's only subsequent gradual listens, that begin to unearth the intricacy of the music.
It's a sound that is minimal in its aesthetic...yet the deceptive almost trance-like nature of the sound, revel an undulating undercurrent to the music, that given the right conditions to truly appreciate the music, can be as intense and powerful as that of dynamic rock music. It strangely boundless, and unconcerned with similarly derived music, yet it can on occasion feel warm and organic, this is partly due to Reich's brilliance as a composer...which revels him to be determined, and single-minded in his approach, and seemingly able to give his arrangement a transitional sound, which gives way to an almost muscular and propulsive sound.
It's repetition, defined in the best possibly sense, and arguably those not familiar with Reich's work, may well find this tough going, as there are no vocal accompaniments to latch onto.....or any dramatic shifts in approach to change the mood, or even any real surprising U-turns to prepare for. Instead what you get is a subtly shifting music, heavy in texture and surprisingly thick in complexity, whereby melodies are challenging, with everything taking on a more Cerebral and hypnotic, near-clinical arrangement. It's epic listening, with no patience for people that like their music which is short and easily digestible. And instead these are long passages of resonating music, harmonically repeated and spread out over great lengths, allowing the listener to submerge themselves in the music, which will eventually mutate into fluid, linear songs.
I'll admit straight away, that I'm no Reich expert, I love his work...and I have several of his albums, which I enjoy greatly, but I'm a novice as far as his work is concerned (although I'm willing to learn), and for a casual listeners standpoint, I'd have to say that this is not only one of my favourite Reich pieces (along with "Music for 18 Musicians"), but possibly one of his more accessible pieces. It's a remarkable piece of work, and so long as your prepared to try and truly appreciate, what's going here....this is truly sublime stuff, and a whole hearted recommendation, for those unsure of where to start with Reich's work. Tremendous!!!
Quite enjoyable January 11, 2007
0 out of 1 found this review helpful
The music brings back memories of West African drumming but is more familiar to the American ear.
Back to Basics January 10, 2007
2 out of 2 found this review helpful
Back in the mid-80s when Reich, Glass, Adams, Riley, and Nyman moved from fringe to big time, they all got commissions from larger ensembles. I thought Reich's work was best of all. The thrill of Reich's propulsive beat under long serene (or ominous) tones was enormous. I must admit, though, that he seemed to hit a wall sometime soon after THE DESERT MUSIC and VERMONT COUNTERPOINT. Several "counterpoint" pieces for other instruments followed the same template. Ditto, new pieces echoed DESERT MUSIC, beginning even with the same chord.
This new recording of DRUMMING (the only one I've heard) reminds me why I loved Reich in the first place. At first, it's audaciously simple to the point that a casual listener would call idiotic. Very gradually, with incredible precision and patience, the ensemble gradually shifts out of synch, then starts filling in spaces. Eventually (but not for a long time!) Reich brings in variety with tones and different timbres.
It's dry and clean, it's virtuosic and athletic (what stamina and concentration they must have!), and it's fun.
A philosophical work February 19, 2006
12 out of 12 found this review helpful
I first heard "Drumming" on my car radio (of all places, of course it was probably WBAI-FM in New York) when it first came out in the early seventies. I pulled over to the side of the road to listen, so hypnotic was its rhythm. I have the original three-LP Deutch Grammophone version (the third disk contains two other pieces), which I put on tonight for the first time in many years, and came here to Amazon in hopes of finding a DVD-based version that would play straight through without interruption. (I guess that's still in the future.)
What "Drumming" has always conjured up for me are images from fractal geometry, chaos theory, and evolution - it asserts that the human being is the product of inevitable processes of differentiation and elaboration, as subtle phase shifts produce beat frequencies and harmonics, starting with a simple syncopated drumbeat, and calling forth the existence of marimbas, flutes, glockenspeils, and eventually the human voice, in order to reach its final expression.
I'm not usually a fan of classical music - jazz is my thing, since it expresses human individuality and group cooperation with a blues-based scale that's a *harmonic* syncopation - but "Drumming" transcends musical categories. As Duke Ellington always said, there are only two kinds of music: good music and bad music.
Amazing, absolutely amazing December 19, 2005
5 out of 7 found this review helpful
I could blather on about this album for a good while and since the other reviewers take you into a more in depth analysis of such an extraordinary album I'll just say this venture into minimalism is incredibly relaxing. While listening to it subconciously you seem to pick out tunes even when it sounds to be incredibly cluttered. Gradually if you're still listening by the time you pop the second CD, it becomes less aggressive, less cluttered and more peaceful, calming, tranquil and then picks the pace up yet again but still sound somewhat slightly different all the time. It's a sheer masterclass of beauty. I hate using words like that normally because it usually makes you sound like a pompous fool but this however deserves the term. It's quite simply astonishing and if you feel overly frustrated or exhausted with your life, this could prove to be the perfect tonic for those with an open mind towards music. It's a pure aural pleasure. Surrender subconsciously and the rewards are great!
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