RIP Jon Gibson (1940-2020): Relative Calm


Receiving this album for review the fact is I actually shed a tear when, upon opening my mail, I found the cover of this album cause my emotions to jump to regions of nostalgic memories deeply treasured.

Another fact is that, due to COVID 19, the virtual stoppage of all live concerts, and shifts in my scheduling priorities I had stopped following the career of Mr. Gibson (1940-2020) for the last few years and I wasn’t even aware that this disc had been released. I had heard that he had died in October, 2020. Gibson is a musician I first encountered, as most people had, via his omnipresence at concerts of the Philip Glass Ensemble where he was a founding member. Gibson’s performances of the saxophone solo in Glass’ “Facades”, which I first heard in 1980, are forever etched in my memory. And I caught pretty much every concert they did in or near Chicago from 1980 to perhaps 2000. So that little personal history gives you some idea as to why seeing this album was a “gut punch” of emotion to me.

Albums

I lifted this discography of Gibson’s releases from discogs.com and it does not include his work the Philip Glass Ensemble in which he was a member since 1968. It is probably not definitive but it provides some perspective on Gibson’s range of repertoire and his musical affiliations.

  • Visitations 4 versions Chatham Square Productions 1973
  • Two Solo Pieces 5 versions Chatham Square Productions1977
  • In Good Company 4 versions Point Music1992
  • S..E.M. Ensemble – Petr Kotik / Jon Gibson / David Behrman / Ben Neill – Virtuosity With Purpose. (CD, Album)Ear-Rational Records ECD 10341992
  • Criss X Cross ‎(CD, Album). Tzadik TZ 80202006
  • Phill Niblock / Jon Gibson – Darmstadt Essential Repertoire 12/4/2009 ‎(5xFile, MP3, 256)ISSUE Project Roomnone 2009
  • The Dance ‎(CD, Album) Orange Mountain Music 70072013
  • Relative Calm ‎(CD, Album)New World Records 80783-22016
  • Jon Gibson’s Visitations Otoroku2017
  • Violet Fire – An Opera About Nikola Tesla ‎(2xCD, Album) Orange Mountain Music70182019
  • Songs & Melodies, 1973-1977 ‎(2xLP, Album) Superior ViaductSV1732020
  • David Behrman with Jon Gibson & Werner Durand -Viewfinder / Hide & Seek ‎(LP, Album, Ltd)Black Truffle BT08220211

Gibson’s brand of minimalism resembles Glass’ at times but Gibson’s eclecticism, his mix of styles bear the fingerprints of a style which will be easily recognized by listeners familiar with some of his previous albums.

This is an album’s worth of music written for a performance piece with choreography by the wonderful Lucinda Childs (who choreographed Philip Glass’ “Einstein on the Beach” and commissioned Gibson in 1981 for this piece). Relative Calm (1981) is in four sections (or movements) each with its own character.

Tracklist


1. Relative Calm (Rise) (1981)
Composed By, Wind, Keyboards, Autoharp, Sounds [Field Recording] – Jon Gibson
Keyboards – Joseph Kubera
Percussion – David Van Tieghem


2. Q-Music (Race) (1981)
Composed By, Keyboards – Jon Gibson
Keyboards – Joseph Kubera

3. Extensions RC (Reach) (1981)
Sopranino Saxophone, Composed By – Jon Gibson

4. Return (Return) (1981)
Keyboards – Joseph Kubera
Percussion – David Van Tieghem
Saxophone, Composed By – Jon Gibson

Gibson’s fondness for jazz is evident here but the dominant style is the composer’s brand of minimalism. Relative Calm was commissioned and choreographed by Lucinda Childs with decor by Robert Wilson, it received its world premiere by the Lucinda Childs Dance Company at Théatre National de Strasbourg in
Strasbourg, France on November 26, 1981. It’s wonderful and it is a blessing to have this recording available.

This was released in 2016 on New World Records and is now available for streaming on Bandcamp. The excellent liner notes are by Kyle Gann and Dean Suzuki tell you pretty much all you need to know and the album sounds great. Thanks, Mr. Gibson, RIP.

Crazy Nigger, Gay Guerrilla, Precious Artist: Julius Eastman Examined


eastman

This essential collection celebrates the life and work of a composer and performer whose unique presence was nearly eroded to nothing but for the work of composer (and co-editor of this volume) Mary Jane Leach who spearheaded an effort to rescue as many scores and recordings as possible after Eastman’s death in 1990 at the age of 49.  The first evidence of this modern archaeological effort came with the release of Unjust Malaise (2005), three CDs which featured some of the recordings that were gathered in that early effort.  In addition it should be noted that Leach continues to maintain a resource page with the most up to date information on Eastman scholarship efforts.

Now, along with Renée Levine Packer (whose wonderful history of the Buffalo New Music Days, “This Life of Sounds” (2010) is not to be missed) we have a lovingly edited collection of essays which comprise a sort of biography as well as an appreciation of this very important American composer.

One look at the acknowledgements reveals the wide scope of individuals with whom Eastman came into contact and whose contributions became so essential to this volume.  The wonderful introductory essay is so very appropriately written by George E. Lewis whose figure itself continues to loom knowledgeably over late twentieth and early twenty first century music.  He takes a characteristically unflinching look at the cultural, historical and socioeconomic factors that contextualize Eastman’s work as well as his untimely demise.  Eastman’s frequent use of politically incorrect titles that challenge a smooth vocal delivery in the most seasoned of broadcasters is here made to seem quite understandable (if not comfortably palatable) within the complex forces that defined Eastman’s milieu.  Lewis embraces Eastman’s talents and makes the prospect of further study of his work tantalizing.  He provides a truly authoritative context which can serve all future work in this area.

There are nine chapters, a chronology and a select bibliography along with photographs and score examples.  The essays that comprise each chapter focus from the macro-view of Packer’s biographical sketch and Leach’s timeline to micro-analyses of some of Eastman’s works and some additional personal perspectives.  One of the most endearing qualities of this volume is the fact that many of the contributors knew and/or worked with Eastman at one time or another.  It is clear that all the contributors were deeply affected by their encounters with Eastman himself and/or with his music and all are rather uniquely suited to be in this volume.

One suspects that Packer’s biographical sketch which opens this volume will henceforth serve as a basic model for all future biographical research.  Whether one finds agreements or not the material is presented in as complete and organized a fashion as can be imagined.  It paints the picture of a prodigy who, for whatever reason, fell into disarray.  Whether there was drug use or symptoms of mental illness will be the debate which will, of course, never be satisfactorily resolved.  What shines through though are tantalizing moments and a plethora of relationships, however brief sometimes, that contribute to all we will ever really know of the enigma of the life of this precious artist.

Some of what follows has the quality of memoir and some leans more toward academic analysis.  All of these essays, timelines, bibliographies, etc. tie this book together as the first most comprehensive effort at trying to understand the man, his music, his milieu, his unusual personality.

These accounts will always be crucial in any future analysis of the enigmatic talent of Julius Eastman.  Though many will attempt to affix labels to his personality variously attributing his quirks to mental or physical illness no one will ever know him the way the people in this book did, as a precious artist whose work was rescued (as much as it could be) from obscurity by his family (both biological and artistic).  He was and is loved in perhaps the only way that he would allow, through his work and his deeds.

This book is a fascinating read which serves to put the artist back into his proper place as the genius he was.  Much remains to be written, performed, analyzed and recorded but this book will always serve as the reference point for what is to come.