|
Music For Airports | 
 enlarge | Creators: Robert Black, Gregory Hesselink, Mark Stewart, Matt Goeke, Maya Beiser, Evan Ziporyn, Brian Eno, Bang On A Can, David Fedele, Liz Mann, Chris Komer, Steve Schick, Lisa Moore, Christopher Washburne, Julie Josephson, Tom Hoyt, Wayne J. Du Maine, Todd Reynolds, Alexandra Montano, Katie Geissinger
Label: Philips
Buy New: $14.98
New (26) Used (23) from $4.45
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 536847
UPC: 731453684720
EAN: 0073145368472
| |
| Tracks:
|
| Editorial Reviews:
Amazon.com
An avant-garde ensemble playing the 1978 Brian Eno piece which put ambient music on the map. Eno's idea was to make a series of tape loops into tightly composed Muzak. He wanted a sonic backdrop for bland public spaces that would reward close listening. Bang on a Can, playing acoustic and electric instruments, breathe life into it, making the music's neutrality seem coldly beautiful. The piece is divided into four parts, each consisting of a few gentle, minimal figures, calmly repeated and shifted. Rhythm is eliminated and time seems to stretch. What is revealed is the sensuousness possible in a single note. Music has never been the same. This is the best place to hear where it changed. --Steve Tignor
|
| Customer Reviews: Read 19 more reviews...
 If you like Eno, you will like this. January 16, 2009
Snarky music-head (Charleston, WV United States)
People that ask why they did this, haven't listened. They remind me of the classical snobs who turn their nose up at anything new. Popular music snobs are the same. Any slight variation on a recording and they rush to condemn it.
This is wonderful and makes Eno's work fuller and yet retains that sheer wonder of a world that runs silent, quiet and still.
You will be seduced. You can thank me later.
 Apollo Is Enough March 23, 2008
J. Pour
0 out of 1 found this review helpful
The ambient genre seems seems an endless exercise in psuedo etherealism, to coin a phrase, that extends from musical exercise to musical excerise and from disk to disk, simply employing diverse, layered instrumentation. Is seems perpetually repetitious without a lot of contrast. Much as P Glass repeats from measure to measure in much of his work. I like Bang On A Can, but the material ............... I also own "Brian Eno: Apollo" (a soundtrack) which, if you want/need ambience is probably the only disk of the ambient type that you'll require. At least there is inspiration behind the creativity instead of being simply another ambient exercise.
Thank you Bang On A Can and Celebrate Brooklyn! March 11, 2008
Gilbert Kirk (Virginia Beach, VA)
Having seen this performance in 1998, I was awed. Just as the music was starting (Mecca Bodega performed in the first half of the concert that night), a jet passed overhead!
I have always been a huge fan of Eno's and had been given the Music for Airports LP by my brother (I still have it.). What a treat it was to see and hear this music performed on stage. The audience maintained a respectful silence throughout the performance and it was SO beautiful!
One of the most amazing concerts I've ever experienced. Thanks to my sister for taking me and thank you for bringing out this recording, BOAC All-Stars, you're truly amazing!
Gilbert Kirk
Virginia Beach, VA
 stupid and not Eno. Zero stars. December 28, 2006
Pantucci (Westport, CT USA)
3 out of 24 found this review helpful
Its not an Eno album, but its credited to him.
Yes, I know, its "bang on a can", but it lists him as primary regardless. It should not.
The compositional process for the original is Algorithmic. treating it like a reproduceable composition is like trying to repaint Pollack's "Blue Poles". You could, but why?
As a lifetime fan of Eno, I find this product absurd and misleading.
Airports is a masterpiece.
This is a piece of something else.
Eno gone wild September 26, 2005
Gregory Mills (Berkeley)
3 out of 4 found this review helpful
Bang On A Can's version of "Music for Airports" adds a jangly depth to Eno's more compressed version. They've managed to use the studio to create space in an already swiss cheese like piece. But the key difference here is the space is much more stark than Eno, thanks to the startling presence of their instruments, which rattle and drone and twitter expressively. The quiet becomes the space for anticipation of the instruments. so rather than the steady rolling pulse of Eno's, you get more up and down with BOAC's version.
It doesn't improve on Eno's piece. I think in some way, it vindicates Eno's abilities as a composer.
|
|
|
Powered by Associate-O-Matic
| |
top