Terry Jennings phantasmic presence runs quietly throughout the early history of minimalism—a whispered name with previously only a meager handful of bootlegs and collaborations to his credit. Piece for Cello and Saxophone corrects that at long last as the first proper document of Jennings as a composer, a resurrected score as monumental in the minimalism’s development as La Monte Young’s “The Well-Tuned Piano” or Terry Riley’s “In C.” It’s a work to be experienced—90 minutes of sustained tones in a glacial chorale, shifting between shades of light and dark, harmony and dissonance, peace . . .
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