I forget who said that perfection is not when there's nothing left to add, but nothing left to take away. Art is as much subtractive as it is additive: you spend at least as much time figuring out the frame of things, where things begin and end, as much as you do determining what to fill that frame with. There may only be twelve notes — at least in Western music — but look what we've been able to get out of them so far.
Every time I come across an embodiment of this sort of thing in music, I instinctively cherish it. It happened with Brian Eno's Music for Films and The Pearl, with Philip Glass's Qatsi soundtracks, with Miles Davis's Kind of Blue, and it absolutely happened with Aphex Twin's Selected Ambient Works 85-92, which I came to only after I had all the rest of those under my belt. And it was only out of sheer ignorance that things came to pass in that way: to me, Aphex Twin was one of the many bands I just pre-emptively brushed away, like so many crumbs off a table, because I didn't think they had anything to offer me. It was nice to be wrong.Read more
This is the first time I’ve ever written an album review twice, but I have a good reason: this was a mutilated album, restored to its proper form. When I reviewed Keith Jarrett’s Spheres in its original CD edition, it was half the album it was meant to be. The original double LP released in 1976 was cut down to a single four-track CD when it was reissued in 1985, with no clear indication of whether Jarrett himself or his label, ECM, had approved the selections within. Worse, some of the best material on the album — especially the astonishing 3rd movement, as featured in the film Sorcerer — had not made the cut, and one had to ferret out vinyl copies of the album to hear it.
All this was rectified earlier this year, when ECM finally saw fit to release the album in its full original incarnation, spread out across 2 CDs and digitally remastered. What’s striking is how the more complete version of the album is also the more problematic version. On the one hand, it means listeners can finally discern for themselves what went missing. On the other hand, it means the album now has that much more dross.Read more