Dusted celebrates the life and mourns the passing of Phill Niblock. He was a trusted photographer of jazz musicians, a creator and facilitator of avant-garde infrastructures, a documenter of hard labor, a celebrant of good times, and a crafter of undiluted minimal music that was made to be played at maximum volume. He died on January 8, 2024.
02.02.24 Tribute to legendary NYC composer Phill Niblock at Hunter College in NYC, organized by Hans Tammen. With Lucie Vitkova, Marcia Bassett, Teerapat Parmongkol, Alex Zhu, Luke Dubois, Emad Jamal, Monica Rocha, Shoko Nagai, Crystal Penalosa, Chuck Bettis, Kamran Sadeghi, Michael Schumacher, David Galbraith, Daniel Neumann, David First, Abby Davis, David Rothenberg, Daniel Neumann, Ben Manley, Miguel Frasconi, Andrew Neumann, Laura Feathers & Hans Tammen. Visuals by Katherine Liberovskaya.
The composer Phill Niblock in 1991. Though he had no formal musical training, he came to be hailed as a leading light in the world of experimental music / Jack Vartoogian/Getty Images
Phill Niblock, an influential New York composer and film and video artist who opened new sonic terrain with hauntingly minimalist works incorporating drones, microtones and instruments as diverse as bagpipes and hurdy-gurdies, often accompanied by his equally minimalist moving images.
Noah Jenkins — Without Persistent Environments (Sawyer Editions)
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A few weeks ago, on January 5, Chicago-based composer Noah Jenkins released his first ever album, titled Without Persistent Environments, on Sawyer Editions. Just a few days later, on January 8, composer Phill Niblock passed away. It’s difficult to overlook the synchronicity of the two events. Not only was Niblock a clear influence on Jenkins’ work, but Niblock’s own first ever release — 1982’s humbly titled Nothin' to Look at Just a Record — also consisted of two extended trombone pieces. More than anything, Without Persistent Environments demonstrates the fruits of Niblock’s work in encouraging new generations of adventurous composers, and that there’s still plenty of opportunities for new work to be done utilizing the long tones and microtonal compositions he helped pioneer.
The pieces on Noah Jenkins’ new album, performed on trombone by Riley Leitch, take after Niblock, in the sense that they are longform, drone-centric pieces that make subtle, yet dynamic shifts throughout their duration. However, these pieces are distinguished from Niblock’s in how they present these dynamics. The first thing many people think about when they consider Niblock’s work is the sheer heaviness of it all. Niblock famously demanded his music be played as loud as possible, and his pieces are so densely layered that they feel as though they’re burying the listener in sound. Jenkins’ compositions are no less dense, and at moments certainly approach that degree of heaviness. On the whole, however, these pieces feel somewhat more reserved and contemplative, and there are elements of Wandelweiser-esque spaciousness lingering alongside the droning long tones.
An additional interesting aspect of this record is its usage of fixed media. Jenkins’ performance notes state “the performer should attempt to articulate exactly with the fixed media part at the beginning of each section and when indicated below the staff. Otherwise, they should play with long, breath-length tones spaced in such a way as to match the pacing of the tones in the fixed media part, but without attempting to align with them.” Thus, the performer isn’t in conflict with the fixed media portion of the piece, but rather working in dialogue with it, in effect blurring the lines of composition, performer and performance both in the literal and figurative sense. This imbues the compositions with an extra degree of vitality, and one could call it Niblock by way of Alvin Lucier’s I Am Sitting in a Room.
Leitch’s trombone parts were recorded in different places around Chicago, and the sonic elements of these different spaces are crucial in shaping the end result of these pieces. The first piece, titled Without persistent environments, the sense of confusion and flux might only worsen begins with the trombone augmented by the sounds of flowing water, sounding almost like a foghorn. Then, the water cuts off abruptly, and the trombone takes on a new sense of warmth and clarity in its tone. On the second piece, Rotations Placement : Providence Everywhere, the outside sounds and tonal shifts are gone, and the psychoacoustic elements of the composition are front and center. Listening to the album all the way through, one can certainly feel the absence, as it feels as though the trombone has completely taken over the landscape that the first piece provided. There’s a narrative element to the record as whole, evoking both the sounds one might hear on a morning stroll and the way in which those sounds echo in the mind as the day further progresses. As a whole, this is a singular and evocative work of contemporary composition, and it will be exciting to hear what Jenkins has to offer in the future.
01.08.24 Very sad to hear of the passing of Phill Niblock. A great, influential composer whose work, and his Experimental Intermedia space on Centre St, had a huge cultural impact on the music community, in NYC and beyond. A kind and generous man. RIP.