I received terrible news last night as I was reading The Guardian after dinner. The incomparable Harold Budd had died at the age of 84. Worse, as details filtered out this was another covid-19 related music death. Word came from the social media account of his long-term collaborator, Robin Guthrie. They had just released a new album last Friday that I wasn’t even aware of and now we’re looking at the proposition of a world without Budd adding his necessary sense of beauty.
Budd’s music is a regular feature of our household. My introduction to his music goes back to 1980 when chasinvictoria bought the “Ambient II: The Plateaux Of Mirror” album by Eno + Budd. I had heard a lot about Brian Eno but my first hearing of
Baby’s On Fire” was still another year down the road! He brought the album over and we plopped it on the turntable as we listened to it and immediately broadened our horizons. This new thing of non-Rock music that was… ambient. The furthest thing from a half naked guy screaming on stage. Okay! It’s a new thing… ambient.
I’d heard “The Plateaux Of Mirror” but didn’t notice any further Budd work until
The Pearl” was released several year afterward, but for reasons unknown, I never bought a copy even though I had liked the first Eno/Budd collaboration. The first Budd album that I came to have in my Record Cell came from the crossover with by that time, favorite band The Cocteau Twins in 1986. “The Moon + The Melodies” was not branded with the Cocteau Twins name; instead opting for the four names of the participants. Emphasizing that this was not a Cocteau Twins album. It was a collaboration of great merit that I was more than ready for.
The next Harold Budd album I bought came down the pike another six years later. I did not read about any work that Budd was releasing and in the pre-internet era, I was blithely unaware of much of anything going on with him. It remained until I was taking a trip across Eastern Canada with a video trading pal with similar tastes that we were shopping in the finest record emporiums of the Great White North. She saw “The White Arcades” and said “you have to buy this!” I looked and it was on Brian Eno’s label and there was Robin Guthrie involvement on two tracks, so yes ma’am! I bought that album and was rewarded with yet more beauty to luxuriate in courtesy of Budd’s synths. That was 1992, and the album had been out for four years already!
The next Budd wave happened when I met my wife and she took a shining to “The White Arcades” and then she began buying up all of the Harold Budd she ran across in the bins, which took a while. There has never been a surfeit of him in the stores, but we began buying [and special ordering] his albums going onward. By the new Millennium, we just always looked for any Harold Budd in every store. Then he started to make albums with John Foxx that were naturally on the fast track to my Record Cell! “Translucence/Drift Music” was down to Foxx editing and time stretching a Budd performance in the most abstract fashion possible.
Soon afterward, I read online of Budd’s “retirement” from music after a farewell concert at the Brighton Dome in the UK in 2005. The event featured: Bill Nelson, Steve Cobby, Steve Jansen, Theo Travis, Robin Guthrie, Jah Wobble, John Foxx and the Balanescu Quartet. [!] My only question, even now, is…who is Steve Cobby… because I have many albums by all of the other artists in my Record Cell! Fortunately, Budd’s retirement was short lived. Some have pointed to depression but his wife’s death by brain cancer around that time surely had some bearing on his state of mind. Within a few years he was active again.
Against all odds, we first saw him at Moogfest in 2012 with Keith Lowe. Then Budd + Lowe were scheduled for Big Ears 2015. We attended the day they played and were watching someone set up in the Knoxville Musieum of Art near midnight at what should have been Budd + Lowe’s performance only to discover that the 79 year old Budd had fallen and broken some ribs just two days prior and was in fact in his California Desert home at the time we were expecting his performance at the festival we had attended in order to see him! Fortunately, Bing + Ruth were possibly the closest thing to Harold Budd on piano, but finding out right then was a shock.
I can’t forget how long we looked for the highly desirable “Budd Box” that Opal Records released in 2015! It featured seven albums [many of which had never been on CD from the 80s wilderness period, and it was our obsession for the better part of that year! Not a single store my wife always asked the clerks for had one, until I was in out shopping in the Amoeba Records in Hollywood for the first time when I ran across a copy! And my friend Ron Kane would not hear of me buying a copy; he used his excess of store credit to buy it for my wife after learning how much we had looked for it.
In 2018, he was having a performance in Toledo, Ohio at the Toledo Museum Of Art and we surely would have gone there if it was not already at the same time as the Simple Minds concert that we had V.I.P. admission for in Atlanta. We inquired to his website about any other future performances and his son Terrence must have broken his NDA to reveal that they were looking towards another Big Ears Festival appearance, and within a few months it was apparent that he was not speaking out of turn!
In March of 2019 he had a residency at the Big Ears Festival with three performances in three days. What a luxury that was. First a perfomance with nief-norf and Mary Lattimore. Then a performance with ACME Strings. And the festival was capped off with a 90 minute performance of his “For As Long As I Can Hold My Breath.” Which was disc two of his allegedly ultimate “Avalon Sutras” album. What an incredible weekend for fans of this music!
Such a lyrically beautiful performer; and how was it that he collaborated with so many of my other favorite artists? There are recordings with John Foxx, Bill Nelson, Brian Eno, Cocteau Twins/Robin Guthrie, Andy Partridge. The album with the latter was more far more enjoyable than the last decade of XTC albums for me.
At first, information on Budd’s death was not forthcoming, but the Rolling Stone obituary last night cited covid-19 as the factor in his death. When I told my wife about this [she had asked up front if that had been the issue before I could confirm] she got very angry at how elite Republican pond scum flout safety rules, conspire against the public, and get the latest experimental drugs so they can resume their wrecking ball on society status, and this man who made the world more beautiful for his lifespan had to die like that! I wondered if he had played any other shows after Big Ears in March 2019 and there was a Kitchen concert scheduled in NYC for July of that year on his website, but that had been cancelled. So in an entirely appropriate gesture, his last live performance was a 90 minute version of “For As Long As I Can Hold My Breath” where he left the song in his son Terrence’s hands after the first 20 minutes and departed from the stage. You can’t get any more metaphorical than that!! That we were there to experience it was down to divine providence.
“Perhaps” was one of my favorite Budd albums and we got the CD when it came out 7 years ago. [It was originally a DL only at David Sylvian’s webstore] It’s an amazing album of an improvisatory concert in memoriam of his friend, composer James Tenet, who died in 2006. Only the pauses have been edited out of the improv, which is astonishing, considering it’s over 72 minutes of moving music recorded on December 8th, 2006. Fourteen years to the day that Budd himself, died. Our thoughts go out to his family, especially Terrence who was so considerate to us. Now play some Harold Budd right now.
This hit me hard, The Oak of the Golden Dreams is one of the greatest pieces of music ever, full stop. Rest in power.
dhrichards – Another one new to me and he was playing a Buchla on that one! Incredible! I had no idea he used modular units!
very early (probably late 60s) – before his first retirement from music, I think.
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Oh my. So sad. Harold Budd was/is so special. Thank you for your as usual wonderful words. What makes it worse is he passed away on my birthday. It seems I am collecting many higher souls of such incredibly talented people on my birth date.
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Karen Swan – I know how that feels! We lost Mr. Robert Palmer on my birthday seventeen years ago. Where did the time go? I still miss that guy. But Mr. Budd was on a different level entirely. My wife has asked me “who is the new Harold Budd” and I don’t have a clue at this point.
Harold left us with an inspirational catalogue of music that I will never forget. I followed the Monk path more or less in the same way. I seem to remember discovering Harold around 1980 and been with him since. His keyboards had a way of coming to the fore or sinking into the background depending on song ,mood and collaborations. Some of it was not my taste. Some of it was a bit of a repeat. But always Budd. Thank you for the music.
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jordan – I think Mr. Budd said it best.
That was from Echoes, who will have a show dedicated to Budd today.
I had gotten wind of Eno’s first forays into the phrase he coined — “ambient” music, meaning music that did not have to be actively listened to but instead was part of the atmosphere of a space — with Music for Airports which I somehow heard a portion of on some NPR show or other. When Plateaux came out with a similar cover, I picked it up more as an Eno record — I’d not heard of Budd at this point.
My first listen to it was truly transformational: I had my window open, and birds started to gather and chirp in a kind of accompaniment (this had never happened outside my window before!). The aim of the record was to put your mind in a different, tranquil place, to make the reality you were sitting in different, and it did those things as well. As the Monk says, it really opened our minds to non-rock type music in ways that classical and jazz had, to that point, failed to do to that level.
I’ve enjoyed many a Budd album since, and the influence of painters on his sonic landscapes became ever more apparent. As noted above, he collaborated with a number of people we both consider to be artists worthy of exceptional attention — which made Budd all the more remarkable in our eyes. While I think Eno and Guthrie are probably tied for “best foil” for Budd, working with John Foxx was especially thrilling for us as this was the trifecta of “ambient” music in our view, and Foxx has since described his relationship with Budd as “Harold’s apprentice.” Foxx’s Mirrorball album with Guthrie completes the circuit, but I am eager to hear Budd’s final album with Guthrie in the near future.
In the meantime, John Foxx posted (via The Vinyl Factor and Mixcloud) a lovely 40-minute tribute to Harold that includes portions of the work they did together: https://thevinylfactory.com/features/vf-mix-107-harold-budd-john-foxx/
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chasinvictoria – I just read Bill Nelson’s moving tribute to Mr. Budd just now and amended the posting from last night with a big quote out link so that it gets noticed by readers better than a mention in the comments. Bill explains a lot about Mr. Budd’s life and death. It seems that he had a stroke last month and was in rehabilitation when he was infected with covid-19 there. A sad fate on top of surviving a stroke; which is challenge enough. Nelson also mentioned how Budd’s fall of 2015 [where we missed him at Big Ears the first time] took the toll on his health that we could see last year. He did seem to be entirely more frail than from when we had last seen him in 2014.
I first learned of Harold Budd through the Cocteau Twins collaboration but personally I was rather underwhelmed. Though as a committed Twins collector I bought his ‘Lovely Thunder’ album for the 7.15min outtake from the Moon & Her Melodies album, Flowered Knife Shadows. But I was completely blown away when I listened to the rest of the album which still contains some of my most favourite ambient pieces ever. The Gunfighter is so evocative and Gypsy Violin is so deep you can almost swim in it but for me the pièce de résistance is Ice Flows In Eden which still sends shivers down my spine every time I listen to it. When I started out as a teacher I used this piece with my class as a stimulus to create their own artwork and the results were amazing, showing that it really is a landscape in sound. So sad to hear of his passing and so gutted that it was due to Covid-19. Yet another creative genius taken away too early, while other self obsessed rock stars, etc complain its all made up or argue that more people die in traffic accidents so just let the Covid victims die so they can start racking in the cash again. This is a crazy world we live in but thank God we still have Harold Budd’s music to transport us away from it.
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Richard Anvil – Wow, so “Lovely Thunder” had outtakes from the “Moon + The Melodies” sessions? I had no idea. Actually, I had not even heard of the “Lovely Thunder” album at the time at all, so I was clueless. With Budd in the 80s, he tended to fly very much below the radar even as I was aware of him from 1980. I can’t recall ever seeing the music in the bins very much.
“Lovely Thunder” was my first Budd purchase,at the time it was his latest release.
It is a magnificent work.Years later when I bought the CD I found another beautiful,additional track had been added.
Such a terrible loss.By far the most played artist in our home.
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Gavin – I know what you mean. A weekend where Budd isn’t played at some time time in our home is unusual. But I’d wager we only have a third of his releases at this point. There’s more to hear for certain.