Was TEB music truly inspired by Terry Riley?

When analyzing the musical form of a band, the question of sources of inspiration, if not actual influences, is fundamental in order to even begin to understand it.

We have often discussed the sources that inspired the music of the Third Ear Band, and this archive is proof of that. By the musicians' own admission, Indian music, Vaughan Williams' pastoral compositions (which undoubtedly inspired Dave Tomlin in the composition of “Lark's Rise”), the works of modern classic musicians as Stravinsky or Penderecki, and the aleatoric music of John Cage were undoubtedly the basis of TEB musicians.

Wim Mertens, a Belgian composer, musicologist and pianist also known as Soft Verdict, in his fine 1983 essay dedicated to American Minimalism (“American Minimal Music,” published by Kahn and Averill) adds Terry Riley to the pantheon of composers who influenced TEB. He wrote:

"Riley’s music has influenced a number of American and European avant-garde composers and many jazz and pop musicians. The Soft Machine’s Moon in June is a clear example of this — in fact, the cofounder of this group, David Allen, was a good friend of Riley’s. The English group Third Ear Band also show their debt to Riley in their use of modal patterns on the principle of periodic progression."

Do you think this assertion has any basis?

From a historiographical point of view, I don't recall any admissions in this regard by members of the group, while in Paul Minns' memoirs, which I first published in my short essay “Necromancers of the Drifting West” in 1996, the vaste references include classical modern musicians as Stravinski, Malipiero, Ives and jazz giants as Miles Davis, Dolphy, Coltrane, Pharoah Sanders, Yusef Lateef;  but, most of all, Indian players as Dr. Jog, Bismillah Khan, sitarist Vilyat Khan and sarod master Sharon Rani.

In the same essay, guitar player Mick Carter, analyzing the structure of the tunes, refers exclusively to Indian modal music and the different modes/scales that inspired the last compositions of the 1980s and 1990s. 

There is no denying that Terry Riley has been a major influence on the music scene since the second half of the 1960s, especially thanks to his wonderful works “A Rainbow In Curved Air” (1968) and “In C” (1969), but, as far as I can tell, there is no evidence that it was a conscious source of inspiration for the TEB.

It seems to me that also Riley was influenced by Indian music, which plays a decisive role in the syncretism of TEB's work.

no©2025LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

An handwritten poem by Glen Sweeney.

Written in 1979 by Glen Sweeney, this handwritten poem was included in my old "Necromancers of the Drifting West" book  published by Stampa Alternativa in 1999...
It would be cool to edit a book with all the poems, graphics and drawings by Glen! Which's your idea about it?

no©2016 Luca Ferrari (unless you intend to make a profit. In which case, ask first)         

"Necromancers" CD sold also in Japan...

"Necromancers" CD distributed also in Japan by Third Ear (!) music shop with the classic banner on the cover...

 no©2015 Luca Ferrari (unless you intend to make a profit. In which case, ask first)      

Some reviews on TEB's Necromancers CD.

After "Necromancers of the Drifting West" has been released, some reviews are surfacing from the Net...

 

"When I saw this and saw no information about it, as well as who was releasing it, I was very, very suspicious, but I am very happy to report that this is a great and very high quality release sonically for all very rare or unreleased recordings from 45 years ago. First there is 16' of the TEB's very first professional recordings, then there is a high quality outtake from the 1st album, a very interesting, electric outtake from their shelved third Harvest album, from before Macbeth, and three off-air, but quite decent sounding tracks from a BBC "In Concert" broadcast, hosted by John Peel. It additionally features informative and seemingly correct notes from uberfan and band archivist Luca Ferrari. In short - any fan of the band has to own this. Highly recommended."

(Wayside Music - http://www.waysidemusic.com/Music-Products/Third-Ear-Band-Necromancers-Of-The-Drifting-West__25-USD-CD-HST311CD.aspx) 

"Third Ear Band were a British psychedelic folk band that evolved within the London alternative and free-music scene of the mid-1960s. Members came from The Giant Sun Trolley and The People Band to create an improvised music drawing on Eastern raga forms, European folk, experimental and medieval influences. They recorded their first session in 1968 for Ron Geesin which was released under the pseudonym of The National Balkan Ensemble on one side of a Standard Music Library disc. Their first actual album, Alchemy, was released on the EMI Harvest label in 1969, (featuring John Peel playing jaw harp on one track), followed by Air, Earth, Fire, Water (aka Elements) in 1970. They recorded two soundtracks, the first in 1970 for an animated film by Herbert Fuchs of Abelard and Heloise (which first saw release as part of Luca Ferrari's Necromancers of the Drifting West Sonic Book in 1997) Luca writes: On 1996, when I decided to write a book on the Third Ear Band, I collaborated with of all the members of the group, except Richard Coff (apparently no one knew where he was) and Ursula Smith. The first time the title was intended for the book, it was called "Tickling the Third Ear" and the idea was to make an historical, chronological reconstruction of the TEB's story to free the band from that aura of mystery surrounding his story. But just at the end of the writing, when I completed the essay for the introduction, I decided for "Necromancers of the Drifting West": for myself, in fact, the Band has advanced the so-called World Music and the multicultural/intercultural dimension of the relation between West and the rest of the world. At the same time, in my opinion, their music was a sort of sign, a monition of musical (and cultural) decline of the old Europe (for that reason the image of 'necromancers'). A group strongly political, I think, because "silence", acoustic (as natural) sounds (no words), minimalism aesthetic, are really 'political' today, in this age of excess of experiences."

(Downtown Music Gallery Newsletter, July 2015 - http://www.downtownmusicgallery.com/Main/news/Newsletter-2015-07-17.html)

"Le label Gonzo Multimedia s'apprête à sortir deux CD d'archives du mythique groupe acid-ethno-experimentalo-médiévalo-folko-psychedelico-etc. THIRD EAR BAND.
Le premier, Necromancers of the Drifting West (du titre de l'ouvrage de Luca Ferrari, grand porte-parole de la légende du groupe), contient huit morceaux enregistrés entre 1968 et 1971 et restés officiellement inédits jusqu'à aujourd'hui. On y trouvera ainsi des pièces du National Balkan Ensemble (pré-THIRD EAR BAND), un inédit issu des sessions du premier album, Alchemy, un inédit provenant d'une session pour un disque qui n'a jamais vu le jour et une session BBC de 1971.
Necromancers of the Drifting West sortira le 25 mai prochain, et devrait être suivi de la publication d'un concert du groupe (dans sa configuration des années 1980-90) qui n'était sorti qu'en K7. Restez à l'écoute..."

(Traverses magazine, May 2015 - www.rythmes-croises.org/traversesmag/modules/news/article.php?storyid=584) 

no©2015 Luca Ferrari (unless you intend to make a profit. In which case, ask first) 

First of the two new Third Ear Band's CDs available for pre-order!

The first one of the two new TEB's CDs titled "Necromacers of the Drifting West" is now available for pre-order at the Gonzo Multimedia Web site at http://www.gonzomultimedia.co.uk/product_details/15830/Third_Ear_Band-Necromancers_of_the_Drifting_West.html

It will be realised on May 25th, 2015.

Edited by Luca Ferrari, the CD includes the National Balkan Ensemble's (pre-Third Ear Band) tracks published by Standard Music Library in 1970 (at last here in a official edition!), the wonderful unrealised "Raga in D" (from the very first "Alchemy" studio session) and "Raga n. 1" (from the Februry 1971 session for the never realised "The Dragon Wakes"); and "Water", "Eternity in D" and "Druid (one)" from a BBC "Sounds of '70's" radio broadcast (February 17th, 1971)...
Well-known tracks to every serious TEB's fan, sure, but for the first time now in a great sound quality version!

no©2015 Luca Ferrari (unless you intend to make a profit. In which case, ask first)   

"Necromancers of the drifting West". A 1996 essay on the Third Ear Band by Luca Ferrari. (part 1)

On 1996, when I decided to write a book on the Third Ear Band, I got the kind collaboration of all the members of the group, except Richard Coff (apparently none knew where he was) and Ursula Smith (I forgot to insist with Glen for having her address).

In a first time the title intended for the book was "Tickling the Third Ear" and the idea was to make an historical cronological reconstruction of the TEB's story to free the band from that aura of mystery surrounding his story. But just at the end of writing, when I completed the essay for the introduction, I decided for "Necromancers of the drifting West": for myself, infact, the Band has advanced the so-called World Music and the multicultural/intercultural dimension of the relation between West and the rest of the world. At the same time, in my opinion, their music was a sort of sign, a monition of musical (and cultural) decline of the old Europe (for that reason the image of 'necromancers'). A group strongly political, I think, because "silence", acoustic (as natural) sounds (no words), minimalism aesthetic, are really 'political' today, in this age of excess of experiences.

I confess I've been very imprudent to write an interpretation of the TEB's music and probably, read today, this essay is quite outdated or at least arguable (also it's a sort of funny paradox in having set up an archive like this - so full of words! - to tell and document a music that didn't need to have words...).
I remember I asked Glen and Paul to excuse me for my hazard. They was so kind and indulgent to excuse me...

Anyway here I am with this old text. So please, excuse me you too...

(Note: the English adaptation was by Piera Testi)

MUSIC FOR THE THIRD EAR

FOR A CONSCIOUS LISTENING
I'm not persuaded that the sound  of a certain historical period - in acertain society - forecast the times and the social models to come (J. Attali).
The immersion of sounds/noises we are submitted in  these years seems to reflect  the times (of triviality, superficiality, esteriority...) we live in, and it seems to describe  them perfectly, evidencing  the socio-cultural deep crisis in which West countries are and the negative impact  of the Record Industry and the technology on the music creation  and use.
The anonymous non-places (M. Augè), where music is  absently used, acting as simple sound upholstery which brings and keeps company  to the consumption, suggest the idea that the re-producing of sounds, and the hidden possibility to listen to music everywhere, have made the listening experience less the  result of an active, conscious process and more the result of a passive unconscious behaviour.The advertising makers have understood this  process with a great advance and as a matter of fact they use music to persuade people "in a pleasant way" to buy, thus showing our (just presumed) needs.
The music, which goes deep into our daily life, has turned in a non-place, deprived of any identity, history and relation with the time and the place of living, is a sort of undefined and virtual phenomenon.

Sweeney live on  September 1970 (courtesy Facebook TEB's fans page)

The music surround us, and the chaos it determines (just try to tune on any 'free' radio station...) that melting pot of articles which remind us of something "already heard", the consumed symbolic appeals it evokes, the image aggression it goes with, reveals the shy hope of a creative, stimulating"transparent society" which is positively going on, which had seduced and deceived us on the threshold of postmodernity (G. Vattimo).
To oppose the silence to the chaos, as we hear from time to time, seems anyway a quick and candid utopia as it proposes  a runaway (or happy island, or pure oasis, or ivory tower) where, on the contrary, some kinds of "creative resistance" (alternative voyages through personal, choerent inner routes) should be equipped (suggestive is a small book, as a renet example, by Chambers and Gilroy on Jimi Hendix, hip-hop and the evolution of thinking, published in Italy in 1995) to escape the risk to be dazed and submerged.

Bridges live on  September 1970 (courtesy Facebook TEB's fans page)

There are solutions, but they are hard to get and they are placed in a prompt reasearch of a recent and perfect past of the popular music and in an analysis of the present, in spite of some difficulties which are inside  any cultural outgoing phenomenon.
They are inside the variables of the popular music, since its origin inside the delicate balance  freedom-conditioning: the relation between Record Industry and creation (product/goods-product/art), as first; the incidence of technology on the creative process: how 'releasing' is effectively the technological innovation, the usage of the more and more sophisticated sound-machines?; the relation between space and time of listening; the presumed authenticity of the produced musics and its consequent effect on the common imagination.
These criteria may favour a detached approach to music we are exposed to and inevitably immersed in every day. We could, at least, accept as a unique rule (not less right than the others, of course) the casual listening, as a simple daily background".

(end of part one - to be continued)

no©2011 Luca Ferrari (unless you intend to make a profit. In which case, ask first)