STEVE REICH DRUMMING RARE ORIG '72 JOHN GIBSON+MULTIPLES PRIVATE 2-LP SET NM

$

126

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·       STEVE REICH - DRUMMING – INSANELY RARE ORIGINAL 1971 PRIVATE PRESSING ON JOHN GIBSON+MULTIPLES LABEL - JOHN GIBSON+MULTIPLES STEREO 2-LP SET (DOUBLE ALBUM); NO NUMBER.

·       ORIGINAL U.S. PRESSING

·       A PRIMITIVE-MODERNA, MINIMALIST STONE CLASSIC AND ABSOLUTE MASTERPIECE OF THE GENRE, IF NOT ITS VERY PROGENITOR.

·       ORIGINAL SIMPLE, GENERIC WHITE JOHN GIBSON+MULTIPLES PRIVATE PRESSING LABEL

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL GATEFOLD COVER, MADE OF THICK CARDBOARD (AMERICAN STYLE)

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

(?PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)

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Drumming is a piece by minimalist composer Steve Reich, dating from 1970–1971. Reich began composition of the work after a short visit to Africa and observing music and musical ensembles there, especially under the Anlo Ewe master drummer Gideon Alorwoyie in Ghana. His visit was cut short after contracting malaria. K. Robert Schwarz describes the work as "minimalism's first masterpiece."

Phasing

The piece employs Reich's trademark technique of phasing. Phasing is achieved when two players, or one player and a recording, are playing a single repeated pattern in unison, usually on the same kind of instrument. One player changes tempo slightly, while the other remains constant, and eventually the two players are one or several beats out of sync with each other. They may either stay there, or phase further, depending on the piece.

Other techniques

K. Robert Schwarz characterized Drumming as a "transitional" piece between Reich's early, more austere compositions and his later works that use less strict forms and structure. Schwarz has also noted that Reich made use of three new techniques, for him, in this work:

(1) "the process of gradually substituting beats for rests (or rests for beats) within a constantly repeating rhythmic cycle", or "rhythmic construction" and "rhythmic reduction"

(2) combination of instruments of different timbres at the same time

(3) incorporation of human voices in imitation of the sounds of the percussion instruments in the ensemble, including whistling effects

Instrumentation and form

In total, the work requires 9 percussionists. With the additional players, the piece can be performed by 12 or 13 players.

The work falls into four parts, with the following instrumentation used in each:

Part One: 4 pairs of tuned bongo drums, played with double-ended wooden sticks

Part Two: 3 marimbas, 2 or 3 female voices

Part Three: 3 glockenspiels, whistler, and piccolo

Part Four: complete ensemble

The length of the piece can vary widely, as the number of repeats taken on any given measure is up to the performers. Recordings of the piece span between 55 and 84 minutes.

The entire piece is structured around a single repeated rhythm, one measure of 12/8 long. This rhythm is built up note by note, in the "substitution of beats for rests" technique found in other of Reich's works such as Music for Pieces of Wood, Octet, Music for 18 Musicians, and others. After the rhythm is completely built up, two of the players phase to where they are playing the same pattern one quarter-note apart from each other, and the other bongo players play resulting patterns that can be heard as a result of the combination of the phased patterns.

The rest of the piece continues to use the techniques of beat/rest substitution, phasing, and resultant patterns through its four movements. The transitions consist as follows:

Movement 2 begins by three marimba players playing exactly the same repeated pattern as the bongo players, fading in while the bongo players fade out.

Movement 3 begins similarly; three glockenspiel players begin doubling the marimbas (which by now are playing in their upper ranges), fading in while the marimbas fade out.

Movement 4 begins after movement 3 reduces its texture to one glockenspiel player, playing a single repeated note from the original pattern. Marimba and bongo players join, and build the pattern up again, note by note, until all nine percussionists are playing. The piece ends abruptly, on cue.

Collaborations

Choreographers such as Laura Dean, Anne Teresa De Keersmaeker, and Ginette Laurin have collaborated on dance performances with Reich on Drumming.

Recordings

1971 - Gary Burke, Steve Chambers, Ben Harms, Russ Hartenberger, Frank Maefsky, Art Murphy, James Ogden, James Preiss (percussion); Jon Gibson (percussion, piccolo); Steve Reich (percussion, voice, whistling); Jay Clayton, Joan LaBarbara, Judy Sherman (voice) (John Gibson + Multiples 72-750125; a limited edition of 500 signed and numbered copies, released in 1972). Recorded live at The Town Hall, New York.

1974 - Bob Becker, Cornelius Cardew, Steve Chambers, Tim Ferchen, Ben Harms, Russ Hartenberger, James Preiss, Glen Velez (percussion); Steve Reich (percussion, whistling); Leslie Scott (piccolo); Jay Clayton, Joan LaBarbara (voice) (Deutsche Grammophon/Universal Classics; reissued as part of the 20/21 Echo Series in 2003). Duration 1:24:29.

1987 - Steve Reich and Musicians (Nonesuch/Elektra 79170; also included on Steve Reich: Works 1965-1995). Duration 56:42.

2002 - Ictus Ensemble (Cypres CYP5608). Duration 54:49.

2005 - So Percussion; Eric Lesser (piccolo); Rebecca Armstrong, Jay Clayton (voice) (Cantaloupe Music CA21026). Duration 1:14:02.

(EXCERPT FROM AN ONLINE REVIEW IN WIKIPEDIA.ORG)

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·       CONDITION:

·       THE RECORDS

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG NEAR MINT. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

(b)          The records come in their poly-lined inner sleeves, which has - apparently with success - shielded the vinyl from the harmful impact of elements over many years!

(c)           The records are pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-        Cover has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 3

-        Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record), probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.

-        Cover shows some light yellowing on both sides, apparently from aging (nothing significant)

-        Cover has a few tiny wrinkles along the spine. (nothing significant)

-        Minor shelf wear noted on the top seam (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE COVER

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(1) The year indicated in the title bar is the year of the original release, NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7) All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner; please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever; Thank You & Good Night!

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