By the late 60s, California-born composer Terry Riley (b. 1935) was celebrated in experimental musical circles. Since 1964, he had become a cult figure on the West Coast scene because November 1964 saw the first performance of In C, still Riley's most famous work, and heralded as the first masterpiece of minimalism and the work that ushered in a new musical era. In C inspired Philip Glass and Steve Reich, new young composers at the time. The Piece is the great grand- daddy of much considered modern in today’s musical world: not only minimalism, but also post-rock, ambient techo, new age, trip-hop, and nu jazz.

The style is improvised in the manner of Miles Davis and John Coltrane, made from 53 musical modules, fragments of musical material and melodies (not all in the key of C. As the piece progresses, it cycles through waves of pitch-centers and modalities.) The players move through the fragments, but can omit them as well, and the modules can be played faster or slower than they're written, accompanied by an ever-present chiming octave C in a piano or mallet instrument.

Here, Maya Beiser provides cello and vocals; Shane Shanahan, drums; and Milt Kilmer, drums. The electronic effect plays on minimalist repetitions and pedal tones, sometimes throbbing, sometimes more rhythmic in Indian raga style. No. 3 utilizes high harmonics to creates a sense of chant. The No. 4 brings non-verbal breathing and sighs into the mix. No. 5 is heavily rhythmic and thickly textured. Nos 6 and 7 exploit high cello registers and suggest a lament. No. 7 returns to the active, Indian sonority, percussive and repetitious. No. 9 presents a lyrical song, almost as Irish in sound as it is Indian. No. 10 has a more varied texture, tinny and bassy, then more legato, in a bristling sonority.