TERRY RILEY AND GYAN RILEY

VENUE union chaPeL, London

DATE 16/04/2019

Crikey, this is a treat. normally seen in much larger venues (this writer last caught riley sr at the Barbican), the composer and his son have chosen the 900-capacity Union chapel as the London date on their european tour, playing selections from terry’s vast catalogue as well as their 2018 recording as – modestly – the rileys, way out Yonder.

and with the news that notre dame was in flames the night before, some here – including terry, as he’ll admit to Prog after the show – must be mindful of that beautiful building as the chapel’s gorgeous stained-glass rose window backgrounds the duo when they begin the 20-minute opener out Yonder. terry initially uses his grand piano as a giant stand for playing an iPad, picking out busy, burbly synthy swirls with swishes of his fingers. then Gyan joins in with a huge note bend on his guitar, and they eventually lock horns for some fast-paced jazzy interplay with Gyan tapping, sliding and slapping strings after terry moves to the piano for some insistent and nimble repeat phrasing that loops in some familiar eastern themes. often grinning and holding each other’s gaze, the connection is musical, ancestral, magical – and very playful.

By the end, the crowd have enjoyed the chase as much as the players.

the way out Yonder record is a natural focus for the evening – and it’s pretty much the only thing on sale at the chapel’s rather sparse merch table – its tracks comprised of live improvisations from gigs in canada, america and Japan. But tonight’s set also includes the effervescing energy of riley sr’s shri camel/the Lake, the fabulous psychedelic Bach-style of G-song (preluded by riley lounge-singing some very droll lyrics roleplaying an observer bemoaning the music’s lack of vocal, and its electronic noodling), and the thrilling Y Bolanzero, where raga meets spanish dance and Gyan’s fingerstyle flashes dramatically. in agility stakes, the apple hasn’t fallen far from the tree; anything Gyan plays, terry can complement with pure intonation presto runs and grace note elegance

(“i do at least four hours of playing each day,” he tells us later).

But it’s not all about what his dad can do; Gyan has long been an in-demand virtuoso and his own work has depth and complexity, such as the moodier, more melancholy Melismantra. here terry takes out a melodica for a gentle whirl around Gyan’s heavier syncopations, finishing on stately piano notes and a wistful outro.

and then there’s riley sr’s voice. he crooned over G-song, and later captivates with Gha ten in darbari. a long, compelling traditional raga improv, riley sr’s years of early-morning practice/worship of the form are apparent in each soulful breath, note, tone – and the quality ain’t too shoddy for a chap of 83. in sanskrit, raga means colour. tonight the rileys brought us their rainbow.