James Preiss
1941- 2014

November 3, 2013

To all members of Steve Reich and Musicians,

Its been a long time. I’ve spoken and seen a few of you at gigs of one sort or another – or visiting Jim. – First thing is that Jim is very ill as most of you know. He said, over a year ago, it was COPD. I don’t even know exactly what that is, but he definitely complained about difficulty breathing. He moved into an assisted living apt building in Flushing, Queens, NYC. He was afraid he might be alone and fall in his home and no one would help him. I saw him several times there and he walked very slowly and felt he couldn’t play the marimba any more. Then apparently he did fall, hurt his head and no one in the building staff found him until after a day. He was taken first to Flushing Hospital and a number of us saw him there in the ICU and then later in a regular room. He was barely conscious and it was hard to tell if he could recognize us or not. He couldn’t speak. Then he was moved to a nursing home, Long Island Care Center not far away in Flushing and I saw him there last week. He has a traych in his throat to breathe and he seems to recognize me and, as Garry and Liz had done, I played some of Drumming & ’18’ on my iPhone right near his ear and he seemed to listen intently and want to speak but the traych made that impossible and so he tried to mouth some words but I couldn’t read his lips. I asked a doctor there if he expected Jim to regain his ability to speak and he said he really didn’t know but that Jim had been ‘compromised’ (I guess by the COPD and the fall) before he got there so he was not too hopeful. I guess his most honest response was ‘I don’t know’. For all of us it would seem prayers or whatever form your good wishes take is the next best thing we can do, the best being, go visit him.

I should also inform those of you who don’t know, that Mort Silver passed away a few years ago from cancer. He was the first member of our ensemble to go.

As ever,
Steve

—————————————————

I don’t have a bio for Jim, but this is what I know from conversations with him.

Jim studied percussion at the Eastman School of Music with William Street. Jim told me that Mr. Street was not a didactic teacher, but taught through example, emphasizing sound production and musicianship. Jim was an experienced mallet player when he arrived at Eastman and Mr. Street encouraged him to hone those skills while teaching Jim “to play from the heart.” Upon graduation from Eastman, Jim joined the United States Marine Band as timpanist and xylophone soloist. After his discharge from the band, Jim moved to New York City and entered the master’s degree program at the Manhattan School of Music where Paul Price was the head of the percussion department. While a student there, Jim began a series of lessons outside the school with Fred D.Hinger, who at that time was timpanist in the Metropolitan Opera Orchestra. Jim says these lessons transformed his concept of playing. Mr. Hinger’s ideas about touch and stroke influenced Jim to develop his graceful style of playing with full tone and picture perfect upstrokes.

After receiving his degree from the Manhattan School, Jim joined the faculty there as one of the percussion teachers. When Steve Reich called Paul Price in early summer of 1971 to ask about percussionists who might be interested in attending rehearsals for Drumming, Mr. Price recommended Jim. At that time, I was the only schooled percussionist in the ensemble other than Steve Reich himself. So Jim and I became the first two core percussionists in Steve Reich and Musicians. Jim and I played in the premieres of Drumming in December of that year beginning a musical association and personal friendship with Steve and the other musicians in the ensemble that has continued throughout our lives.

Jim brought many of his percussion students into Steve Reich and Musicians over the years, including Gary Schall, Glen Velez, Thad Wheeler, Bill Ruyle, Kory Grossman, Richard Schwarz, and Bill Trigg. Jim and I are responsible for bringing to Steve’s attention the possibility that Piano Phase could be played on two marimbas. At a break in a rehearsal one day, Jim and I began noodling around with the Piano Phase patterns on a couple of marimbas, realized we could play the piece, and thought it sounded good on marimbas. We played it for Steve who liked our version, and now it is standard repertoire for percussionists around the world. Jim formed the Manhattan Marimba Quartet with his students, Bill Trigg, Bill Ruyle, and Kory Grossman. It was Jim’s suggestion to Steve that Six Pianos could be played on six marimbas, thus creating another great work for percussion.

Jim was always a great marimba player, and in 2007 recorded three of the unaccompanied J. S. Bach cello suites on BMP Records. In the liner notes for the CD, Jim says,

“My deep and abiding interest in the music of J. S. Bach began during my undergraduate days at the Eastman School of Music when my teacher, William Street, encouraged me to go to the Sibley Music Library to find suitable materials for practicing to help develop my reading skills on marimba and the other keyboard percussion instruments. My idea was to start with the first book on the shelf and see how far I could get. The first category turned out to be “Music for Violin Solo Unaccompanied” shelved alphabetically. There weren’t many volumes under “A” and soon I began the B’s. BACH turned up very quickly and I observed that there were many volumes of a work entitled “Sonatas and Partitas for Solo Violin.” I checked out one of these editions, took it up to my practice studio, and began playing the first page, the Adagio from the G Minor Sonata. I was amazed. I had never heard music quite like this before. I soon abandoned my (shelf-) reading project in order to devote more time to these remarkable masterpieces. I also became aware of the collection of suites for Solo Cello, and these two volumes have been my constant musical companions ever since.”

Jim played with many groups and orchestras in New York City. He was principal percussionist of the Brooklyn Philharmonic, the American Composers Orchestra, the Westchester Philharmonic, and the Riverside Symphony. He performed regularly with the Orchestra of St. Luke’s and the American Symphony Orchestra, and was a founding member of the Parnassus Contemporary Chamber Ensemble. He taught at the Manhattan School of Music and later the Mannes College of Music.

Whatever music Jim played was done with the highest standard of performance and musical integrity.

Russell Hartenberger – January 2014
—————————————————

Slipped Disc
Norman Lebrecht on shifting sound worlds

Steve Reich’s percussionist, RIP
January 23, 2014 by Norman Lebrecht

We’ve been notified of the death of James Preiss, who worked with the composer all the way back to the premiere of Drumming.

————————————————–

Hi Steve and Garry,

I just returned from NYC to attend Jim’s funeral. It was a simple service in keeping with Jim’s approach to many things. The church was not much more than a two-room store front on Roosevelt Avenue in Queens with an elevated subway track running overhead. One of the rooms was a small chapel where the service was held. The pastor was a young man who said Jim had attended that church for about 5 or 6 years. He said Jim often brought timpani and other percussion instruments to play at the church.

Several musicians from the ensemble were there: Liz Lim, Gary Schall, Frank Cassara, Ed Niemann, Dave Van Tieghem, and Todd Reynolds. Unfortunately, Nurit came down with the flu last night and was unable to attend. It’s a shame since she seemed to be the one who tended to Jim the most in his last weeks.
Other percussionists from New York were there and I was told that many other percussionists came to the wake yesterday. Jim’s sons, Chris and Jeff were there, of course, as were his two brothers from Minnesota. The two brothers looked a lot like Jim and had many of Jim’s mannerisms. It was kind of surreal to see them. One of them even dressed like Jim did. When I went over to talk with him he was sitting on a couch eating cheerios out of a big plastic bag.

Jim’s coffin was open at first, then closed for the service. It was draped with a U. S. flag in honor of his military service. I’m not sure how they arranged to get the flag, but it was just like the kind you see on the coffins of servicemen who have been killed in battle and buried at Arlington National Cemetery.

The service was simple with some bible verses, a couple of hymns, and a short talk by the pastor. He mentioned the three things Jim loved in life:
religion, music, and food. We then caravanned to the cemetery in Kew Gardens for the internment. The pastor read some more bible verses, then the flag was folded, military style and handed to Chris and Jeff. Jim’s gravesite is a pleasant spot under a large tree in a relatively quiet part of the cemetery. The weather was very cold and there was a lot of snow on the ground, so we didn’t stay very long at the gravesite.

After the internment we drove back to the church for a light lunch and some conversation. It was great to see the folks from the ensemble. We’re all looking forward to playing again in September.

Just thought you both would like to know about the funeral.

As ever,
Russell

January 28, 2014

Edmund Niemann
1945 – 2016

I first met Ed Niemann back in 1978 when he joined our ensemble. From then on he was with us on almost every tour and recording we made straight through to 2006 when the ensemble became inactive. He performed on the last two recordings we made for ECM and all our Nonesuch recordings. Ed was originally recommended by the late James Preiss, an extraordinary percussionist and one of the first members of the ensemble. Ed had done his undergraduate and graduate piano studies at the Manhattan School of Music. Jim Preiss was on the percussion faculty there. Jim heard Ed and knew he was first rate in every respect. One good musician led to another. The first recording Ed played on included Octet (later Eight Lines) where he was playing one piano and Nurit Tilles was playing the other – two very challenging piano parts as Nurit can confirm. Their interlocking combination provided the bed rock upon which the entire piece rested. Their continuing performances together eventually led to their forming their own two piano team, Double Edge. You can hear them on recording and on line and they are definitely worth hearing. For me, their recording and many performances of Piano Phase are definitive. My feelings about Ed are admiration for his musicianship and respect for his personal integrity. He was also just a pleasure to hang out with after our concerts. In later years when I was writing for other ensembles where the piano parts were challenging, I would send them first to Ed to play through and give me any feedback. Usually all was ok, but when he gave me advice, I took it.

When Ed Niemann passed away a number of musicians e mailed in their memories and feelings. Here are some of them.

“I first of all remembered vividly his laugh interestingly enough, (and the look on his face when he laughed), plus his gentle nature, and of course, his piano playing….these memories go back a long time for me.” – Virgil Blackwell

“How terribly sad. Ed was a fabulous person, pianist and all round mensch. – Much Love, Lisa (Moore)”

In my experience, Ed was a soft-spoken, sweet soul who always did a great job, without any fuss. He was a real rock in the ensemble. – Micaela Haslam

He was someone I always looked forward to seeing and working with. As they said, “a real mensch.” – Les Scott

I’ll never forget his laugh. Nurit, you two were such a team, solid like a rock. It was always such a delight to be playing with you both. – Todd Reynolds

I will miss him very much but will remember the genuine musician and sweet individual that Ed was. – Jeanne LeBlanc

Ed was a wonderful pianist and a wonderful human being. – Brad Lubman

For me Ed was a man who said little and did much. I will always remember him. – Steve Reich

————————————————–

EDMUND NIEMANN OBITUARY

Edmund Niemann, distinguished concert pianist and dedicated teacher and lecturer, passed away August 13, 2016 in New York. Born December 25, 1945, he grew up in Bayside, Queens and earned his B.Mus and M. Mus degrees at the Manhattan School of Music. His teachers included Artur Balsam, Robert Goldsand and Arminda Canteros. Of his 1984 Merkin Hall debut, Tim Page (New York Times) wrote, “Mr.. Niemann elegantly and enthusiastically plagued both houses [Minimalism and Modernism]… Throughout the evening his playing was technically dazzling, his musicality unquestionable, and he gave each composition its stylistic due.” Equally at home with the “uptown” and “downtown” schools of new music, in the course of his 50-year career Mr. Niemann performed and recorded the music of a staggering number of composers.

In 1978 he joined Steve Reich & Musicians, and for 30 years toured the United States, Canada, Europe, Japan and Australia and made numerous recordings with the group. The ensemble won a Grammy in 1998. In those years he joined forces with pianist Nurit Tilles to form the duo-piano team Double Edge. They made their debut at Town Hall in 1987, and toured and recorded extensively. John Rockewell (New York Times) praised “…their superb feeling for each other’s playing. They really make two pianos sound like one taut, hugely sonorous instrument.” Kyle Gann (Village Voice) called them “one of the century’s best piano duos. Their sonority is big, their ensemble perfect, their repertoire wild.” New pieces were written for Double Edge by John Cage, “Blue” Gene Tyranny, David Borden, Meredith Monk, David Lang, Kevin Volans, Tom Pierson, and Guy Klucevsek, among others. Works by Mozart, Stravinksy, Satie, Feldman, Reich, Tenney, Poulenc and Messiaen were a treasured part of their repertoire as well.

Mr. Niemann was also a founding member of the contemporary ensemble Parnassus. He performed with Speculum Musicae, New York New Music Ensemble, Da Capo Players, New Music Consort, Group for Contemporary Music, and the Mother Mallard Band. With Parnassus and other groups he recorded works by Stefan Wolpe, Milton Babbit, Charles Wuorinen, Mario Davidovsky, Ursula Mamlok and Chester Biscardi, among others. He also appeared with Brooklyn Philharmonic, Riverside Symphony and American Symphony, and worked with choreographers Anne Teresa de Keersmaeker, Laura Dean and Annabelle Gamson. He recorded for Nonesuch, ECM, New World, CRI, New Albion, Koch, Tzadik and Lovely Music.

Mr. Niemann taught at Princeton University, Sarah Lawrence College, Pace University, Hoff-Barthelson Music School and Third Street Music School Settlement.

A man of broad tastes and knowledge, Mr. Niemann was a voracious reader, an avid golfer and tennis player, a wine connoisseur, and an aficionado of all art forms.

He is survived by his loving wife, Donna, and his daughter, choreographer Ani Taj. Mr. Niemann was loved and respected by all who knew him. This is an understatement, in keeping with his very modest nature.

Published on NYTimes.com from Oct. 10 to Oct. 11, 2016
Written by Nurit Tilles

Pamela Wood
1944-2018

It was about 1974 or ‘75 and I was in Boston to hear Michael Tilson Thomas conduct Music for Mallet Instruments Voices and Organ on a special concert of the BSO. During rehearsals I heard an extraordinary soprano singing the resulting patterns generated by the marimbas. She sang effortlessly, accurately and idiomatically. She completely understood the music. Her name was Pamela Wood. After rehearsal I introduced myself and asked her if she would be willing to come down to New York for rehearsals of a new piece, Music for 18 Musicians. We discussed details, she agreed and she became a regular member of my ensemble well into the 1980s and beyond.

In 1981 she premiered, toured and recorded (for ECM) the high soprano part in Tehillim and established herself as an absolutely spellbinding voice. At that time we were touring Europe all together by train. I gave Pam a cassette of the freshly completed recording for her to hear on headphones on the train. About a half hour later she came over to my seat very animated and in an extremely enthusiastic voice said, “That’s a hallelujah piece Steve Reich!” I remember that now, almost 40 years later and I always will.

Steve Reich

————————————————–

Pamela was a treasured member of Steve Reich and Musicians for several years in the 1970s. Her lovely singing of the high long tones in Music for Mallet Instruments, Voices, and Organ helped make the piece one of my favorite compositions of Steve’s. Pam’s unflappable character and calm demeanor were a wonderful foil to the antics of some of the rest of us on many tours in Europe and North America. However, Pam also enjoyed partying and had a great time laughing while showing some of the percussionists in the Reich ensemble how to do the hand jive. I can only imagine that Pam was a wonderful teacher at MIT and elsewhere. She always carried herself with dignity and I am sure she passed on this sense of respect to her students. We will all miss her beautiful spirit.

Russell Hartenberger

————————————————–

I have stopped trying to write down memories of things that involve dates, places and even things colleagues have done and said in the past. Not because I don’t have great memories from my career, but I’m almost always informed later that my recollection is in error about something, and often wildly so. I will say this about Pam, and that is my reaction to her voice in the fourth movement of Tehillim, in any rehearsal and on every concert we did together, was chills running up and down my spine. I may not remember many things with clarity, but I’ll never forget her high C#s.

Bob Becker

Mort Silver
1945 – 2011

Mort Silver began playing woodwinds in our ensemble in 1976 and continued until his illness progressed starting in 2003. Mort was one of those remarkable musicians who could play a number of woodwinds well: clarinet, flute, saxophone and even oboe. He was one of the most highly respected musicians working on Broadway. When we toured, besides playing in Music for 18 Musicians, Octet (later Eight Lines) and Tehillim he also played New York Counterpoint as clarinet soloist with tape. He always got the essence of the music. No coaching or discussion needed.

Mort was a pleasure to tour with. He had a rare combination of patience and humor that made the inevitable delays and tech problems in rehearsals easy to get through. After his illness gradually stopped him from playing we would have lunches together where he always wanted to know what was going on musically and personally. He was a realist in terms of his illness. He accepted his life and was fortunate to be constantly helped by his wife Brenda and their two sons.

Mort was a mensch. I miss him.

Steve Reich
March 2015

————————————————–

Let me start off by saying, right off the bat, that Mort was the very best of colleagues. Let me also say that he was a consummate musician. He could move from any style, i.e. category of music with ease, and with an enviable expertise. We both studied at Juilliard at the same time with the same teacher- Joe Allard, in fact, we entered the school at the same time and graduated together. We didn’t know each other that well at school, but later when I started doing some work on Broadway (he was doing that kind of work long before me) our paths crossed more frequently. But we really got to know each other and became close friends during the time we were both members of Steve Reich and Musicians from 1976-86. Here are a few moments that come to mind that will give you an idea of the kind of person he was. During the recording session of “Octet”, it’s titled “Eight Lines” now, I had a flute part to play at the end of the piece that was way beyond me…Mort, without hesitation or fanfare or criticism aimed at me, covered the part for me….and expertly I might add…..and he never mentioned after the date how he had saved me. Another time we were in Stuttgart for a recording session of “Tehillim” and in the middle of the session I came down with food poisoning and a fever. Somehow I made it through the session and as soon as we got back to the hotel he came to my room and gave me some medication that put me on the road to a fast recovery. There were other times that he took care of me on the road, but those two examples stick out in my mind. During the last years of his life we saw each other sporadically, but since I was living in New Rochelle, a short distance from his house in White Plains, we still had some time together….and I am glad we did.

Virgil Blackwell
May 14, 2014

Gary Schall
1955 – 2022

Gary was a student of Jim Preiss and became part of our ensemble that way. He proved to be a solid percussionist and his speciality was the very demanding maraca part in the first movement of Tehillim. He held the entire ensemble together with no other rhythmic support through that long section. As a person, Gary was always a pleasure to be with. My memory of him is of a very positive good hearted person.

Steve Reich – December 2022

—————————————————

Gary began playing with Steve Reich and Musicians in the mid-1970s as we were rehearsing Music for 18 Musicians. With his personal warmth, humility, and wonderful musicianship, he immediately became an integral part of the ensemble and a friend to everyone. Gary masterminded the daunting maraca part of Music for 18, and he said he practiced maracas “an hour at a time, several times a week” in preparation for concerts. Gary approached everything in his life with this kind of dedication. He was devoted to his family and friends, and his life inspired all who were fortunate to know him.

Russell Hartenberger – November – 2022

—————————————————

I always remember his warmth and humor, and a great positive energy in the music (and in everything).

Bob Becker – November – 2022

—————————————————

Gary is a good spirit and was a rock-solid musician. No one could play maracas as well as he could ! His endurance was legendary on any instrument. Not only was he an important member of the group, but he was a wonderful person to be with.

Garry Kvistad = November – 2022

Jay Clayton
1941 – 2023

Jay had a lovely, natural voice that she developed over years of jazz singing. She was in the great Ella Fitzgerald tradition of jazz singers who could sing the song or improvise on it – wordlessly. As a result, in our first rehearsals of Drumming Part Two, after I explained that I wanted to bring out patterns that resulted from the three interlocking marimbas, she instantly began to accurately imitate the patterns she heard. Her pitch was right on and her jazz feel was perfect for the piece. Jay brought that idea about patterns resulting from multiple marimbas ‘rising to the surface’, to life.

A few years later in 1973 she was able to do the same thing in the more harmonically and instrumentally enriched context of Music for Mallet Instruments, Voice and Organ and then in 1976 she sang both pulses and longer melodies, doubling the clarinets in Music for 18 Musicians. Jay could blend so well with either the marimbas or clarinets that someone once remarked to me, while listening to our recording, “I don’t hear the voice”. I replied , “You’d say, ‘somethings missing’ if she wasn’t there!”,
Our record producer, Judith Sherman, called what I was looking for and Jay realized, ‘a voicestrament’.

Then in 1981 we rehearsed Tehillim and Jay was there. It was a completely different musical situation. In place of short melodic patterns there were long melodies with the original Hebrew words of the Psalms. In place of a constant meter there were meter changes in almost every bar. Jay just took the vocal part home and really went over it. When we started rehearsing the really complicated four part canons in the first movement, there was Jay, right on it and sounding clear as a bell in the new musical context. But don ’t take my word for it – take a listen to her on the ECM recording.

Besides her remarkable musical abilities Jay was a pleasure to be with on tour whether in Europe, Japan or Australia. She was warm and had a great sense of humor. – She will be missed.

Steve Reich
January 2024

—————————————————

Jay was one of the first people I met when I showed up at Steve’s loft for my first rehearsal of Drumming in the early spring of 1971. She welcomed me into the group with her characteristic warmth, and we quickly became close friends. On our many European tours, Jay was the social coordinator and organized dinners and outings with all of us; she was the heart and soul of the ensemble. Jay’s approach to Steve’s music was a joyful one. During performances of Drumming or Music for Mallet Instruments, Voices, and Organ I often looked over at Jay from my marimba while she was singing resultant patterns. She glanced back with a subtle smile that let me know we were on this wonderful musical journey together. I felt both comforted and energized at the same time.

Jay spent many years in the Reich ensemble and was an expert in the performance of Steve’s early music. While writing my book on performance practices in Steve’s music, I interviewed Jay about her approach to the vocal parts in Music for 18 Musicians. Jay said that the job of the singers was “to be a part of the whole and not stick out.” She continued, “Even now when I listen to the recordings, I don’t hear the vocal parts individually, I hear them as part of the overall sound of the ensemble.”

Jay brought a jazz sensibility to the vocal parts, and in describing her approach to the rhythmic patterns, she said “swing in jazz has specifically to do with a style of singing or playing the eighth notes. Swinging in Music for 18 Musicians was an overall group feel of forward motion. It is similar to groove in jazz, but not exactly the same.” Since some of the vocalists in Music for 18 Musicians were classical singers and others were jazz singers, the vocal blend became an important issue. Jay said, “We each tried to fit in and blend. We had different vocal timbres, but we tried to achieve the same vocal sound.” Jay explained that the control of her sound and interpretation of the rhythmic figures were more intuitive than interpretive. She described her approach this way: “All my musical decisions while rehearsing and performing Music for 18 Musicians were intuitive. I didn’t necessarily try to do certain things, but I used my intuitive sense that I developed in jazz to blend and fit in appropriately.”

For Jay, the satisfaction of a performance of Music for 18 Musicians was the connection with other musicians. She said the best times for her were coming off stage and feeling like “that was a swinging performance.” Each performance with Jay was indeed a swinging, joyful one and I will miss her tremendously.

Russell Hartenberger
January 2024

—————————————————

Jay was one of those exceptional musicians that could, with impeccable skill, cross lines of divergent musical styles. She brought to each style, refreshing and exciting sounds that only a few could emulate. I was so fortunate to able to perform, record and tour with Jay with the Steve Reich and Musicians ensemble. Her dry humor and contagious smile was always uplifting. I visited Jay a few months before her passing. I was able to spend time talking to her and holding her hand. When I walked into the room, she sang, in a whispered voice, “It Had To Be You”. If there is a good place, she’s there.

Garry Kvistad
January 2024

—————————————————

It was a sad day when I received news from Garry about Jay’s passing. Although we hadn’t met up in quite a while, she had often been singing in my home by way of the wonderful CD,s she gave me the last time we met in Helsinki.

Her voice was unmistakable, with a beautiful warm quality that simultaneously always had a sense of coolness in it. Whenever her voice was combined with an instrument, that instrument took on a new life, almost becoming human.

She was also the great lady of the ensemble. If Jay was on a tour, you knew it was going to be fun. She had a wonderful sense of humour, something you needed with the group of guys that were playing along side her. She was sharp and witty, and always willing to listen. Such a loss. She will be missed.

Tim Ferchen
January 2024