See you at the BPC tomorrow for Elizabeth Robinson and Robert Kelly.
More adventures in the Rhodes-o-sphere.

Pyramid: Lee Konitz, Paul Bley, Bill Conners, 1977, Improvising Artists

Track 2: Out There (Lee Konitz)

Bley plays a Rhodes on the first half of this track, mostly doing a one-note tremolo sustain. The thing about a tremolo sustain on a Rhodes is that the instrument fights it- partly because of the action, which is stiffer than a piano, and partly because the attack shape of the tone is long, so a quick tremolo roll cuts off before the full attack is done. But the rhythmic effect created don't sound like a _hampered momentum_ as you might expect -- it sounds like any situation where you have to maintain persistence in a resistant environment or in the face of some natural disadvantage. It sounds like energy which is about to exert itself. Coming into the solo, Bley slows the tremolo down to open up the full tone a little, and does a very brief interlude where he foregrounds the lush bass tones of the instrument.


Saw Kevin and Dodie at their packed show at White Columns gallery -- art related to Mirage magazine. Fran Herndon painting, signed poster for a Kenneth Anger film (which I coveted) , a photo of Tim Davis w/ hair, an Emilie Clark piece, and several other things related to the autograph theme of the Mirage covers. Regretted not being able to make their reading the next day.

Sat afternoon I was able to make it to Gary Sullivan's reading at the BPC, which was the best reading I've heard him give -- absolutely hilarious and totally committed to his performance. Ran into Kit Robinson and Marianne Shaneen, among many others.


See you at Gary's reading Sat.


The Miseducation of Lauryn Hill was too ubiquitous for me to listen to much at the time, but now that I go back to it I have to say the arrangements really are fantastic. Particularly interesting to me are the harp parts courtesy of Elisabeth Valletti. Also: the perfectly placed timpani on Ex Factor. Harp and timpani are both instruments that sound particularly good represented via speakers -- they blend well with paper and magnets.

As much as I dislike between song skits and flat vocal quavering, this is a great album. You can hear a lot of people working together here, and that they're contributing and involved creatively, not banging out pro parts. The vision is really focused by Hill as an arranger.