MEMETERIA by Thomas May

Almost a year ago, the New York-based composer Michael Vincent Waller told me about a new album he had in the works. The topic came up when I interviewed him for Musical America, which featured Waller as January’s new artist of the month.

The album, titled Moments, came out just last month on the Unseen Worlds label and offers a wonderful entrée into Waller’s musical world. His third album to date, it comprises 18 miniatures, 13 of them for solo piano, the other 5 for vibraphone.

Waller continues his collaboration with R. Andrew Lee, whose sensitive performances at the keyboard were featured on his preceding album, Trajectories (along with the phenomenal cellist Seth Parker Woods). The percussionist William Winant, a well-known personality in avant-garde circles, plays the pieces for vibraphone.

“One thing I’m trying to explore as an artist is the organic, intuitive sense we have about experiences — the human subtext to what is happening in the music, in its colors, harmonies, and melodies,” the composer explained during our talk last year. In Moments, he has distilled a range of experiences with an open-hearted, intimate honesty that resonates long after the ebb and flow of his compositions’ physical sounds.

It’s not necessary to know any of the autobiographical stories or family relationships and loved ones Waller memorializes here to be moved by the emotions they elicit. On another level, Moments pays gentle tribute to musical figures who are part of a generally known cultural repertoire. “For Pauline,” for example, referring to the late Pauline Oliveros, was prompted by her death in November 2016. Its bell-like chords in alternating registers concentrate the attention on the taken-for-granted miracle that is harmony, effecting an experience of “new sound.”

Similarly, the sounds of the piano itself begin to reassemble into something not-quite-familiar. This lays the ground for the wonderful effect of the vibraphone’s first entrance well into the album (in a kind of mini-suite comprising four of the miniatures and titled “Love”).

In the spirit of Oliveros and the philosophy of what she called “deep listening,” Waller composes with a deceptive simplicity. His aesthetic relies on — and expands from — a generous patience familiar from practices of meditation and mindfulness. These “moments” radiate a fullness that belies their duration — most of the pieces are between just two and three minutes long.

La Monte Young was a formative influence who opened Waller up to new ways of perceiving the materials of a composition — indeed, the phenomenon of sonority itself. Erik Satie and Morton Feldman are some of the other musical spirits evoked by various Moments. The final piece, “Bounding,” even alludes to a mainstay of Western music history, the descending “lamento” chord progression that has taken countless forms, from flamenco to the opening of Philip Glass’s Satyagraha).

But none of these are derivative or reduced to cliches. Waller’s use of the most elemental materials and gestures combines reflective process with an unironic, unconditional sharing of self and soul that I find deeply moving.

Waller again turns to the photographer Phill Niblock — as he does on his previous two albums — for the striking cover image of Moments. An LP edition is also available, and the record includes insightful commentary by Tim Rutherford-Johnson and liner notes by “Blue” Gene Tyranny.

Filed under: Michael Vincent Waller, new music, piano, review