Jon Gibson (b. 1940)

Visitations (1973)

Visitations Part 1
Visitations Part 2

Flute [Wooden], Bells, Cymbal [Cymbals], Claves, Voice, Synthesizer, Performer [Brook], Effects [Special Effects] – Jon Gibson (2)
Maracas – Tina Girouard
Mixed By [Final Mixdown] – Jon Gibson (2), Kurt Munkacsi
Percussion [Woodblock] – Richard Peck
Tape [Bird Call] – Cornell Laboratory Of Ornithology
Tape [Ocean Recording], Performer [Ratchet], Technician [Technical Assistance] – John Fullerman
Wood Block – Richard Peck
Final Mixdown by Jon Gibson and Kurt Munkacsi, 15 March 1973, Butterfly Studio, NYC

Since the mid-1960s, Jon Gibson has played a key role in the development of American avant-garde music. No other artist has performed in the world premieres of Terry Riley's "In C," Steve Reich's "Drumming," and Philip Glass' "Einstein on the Beach," three major works that changed the course of musical history. While his expertise on woodwind instruments made Gibson a go-to collaborator in Reich's, Glass', and La Monte Young's ensembles, less known are his remarkable contributions as a composer and visual artist.

Visitations, Gibson's first release under his own name, originally appeared on the Chatham Square imprint in 1973. Inspired by the books of Carlos Castaneda, Gibson departs from the structured repetition of his minimalist peers and takes the listener on an aural journey – spanning organic field recordings, ambient flutes and synthesizers, and free-flowing textures. Visitations' two side-long tracks are at once solemn and unsettling, making this an astonishing debut that firmly establishes Gibson as a pioneer in his own right.

Criss x Cross by Jon Gibson (February 25, 1980)

Jon Gibson performs three movements from his five movement, 1979, composition, “Criss x Cross,” after which he discusses the piece with program host, Charles Amirkhanian. This somewhat aleatoric work apparently follows a score in which the notes are indicated without any rhythmic instructions, and much of the phrasing and duration of the notes is improvised. The work is influenced by Gibson’s interest in bagpipe music and the pibrochs of the Scottish Highlands, although one can also see parallels to the minimal music style made popular by Philip Glass, and others. Although it is uncertain, it seems likely that this particular performance features a solo soprano saxophone, or some sort of flute. (KPFA)

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