Jessica Williams' Prepared Piano Revelations
In a recent discovery, jazz star Jessica Williams' underground album 'Prepared Piano' has been unearthed by artist Kye Potter, who stumbled upon it while browsing through a record store. The tape, which was released on her own label, Ear Art, appears to be a DIY release with photocopied notes and homemade artwork.
Potter's surprise at the discovery was palpable: "I'd never heard anything like it," he exclaimed. As a collector of American musical avant-garde after John Cage, Potter was intrigued by Williams' unconventional approach to piano playing. Despite being best known for her sparkling jazz in the straight-ahead tradition of Thelonious Monk and Errol Garner, Williams' prepared piano music seemed like an anomaly.
However, it's clear that Williams had been experimenting with prepared piano for decades, even before she released 'Prepared Piano'. In a 1997 interview with NPR's Terry Gross, she revealed her fascination with the instrument, stating: "I hit the notes, and I saw colours." Her early experiments with disassembling pianos to create new sounds were just the beginning of her innovative approach.
As Potter delved deeper into Williams' discography, he discovered a body of work that defied expectations. Her music, which blended elements of jazz, classical, and electronic music, showcased her boundless creativity and technical skill. Despite being a pioneer in the avant-garde movement, Williams' music remained accessible and captivating.
Williams' career trajectory was marked by self-sufficiency and independence. After time in the Bay Area scene, she moved to smaller cities and eventually settled in Portland and Yakima, Washington State. Her online presence allowed her to connect with fans and promote her music, even after she sold her piano to pay for spinal surgery and retired from performing publicly.
Today, Williams' legacy is being rediscovered by a new generation of musicians and fans. Potter's collaboration with artist Matt Connors on the album 'Blue Abstraction' has brought attention to Williams' prepared piano work. As Conners notes: "Music just flowed out of Jessica her whole life." Even in death, there's a sense that Williams is not quite finished, and her music continues to inspire and captivate.
Tortoise's Jeff Parker praises the album as "gorgeous, diverse, exploratory and nuanced". Jessika Kenney, a vocalist and composer who has worked with Sarah Davachi and Sunn O))), was drawn to the intensity of Williams' music after seeing her live. The connection between Williams' surreal soundscapes and the improvisational vocals of the Javanese gamelan is striking, highlighting the potential for cross-pollination between genres.
As the online jazz community begins to revive Williams' work, it's clear that her prepared piano music has been waiting in the wings, ready to be rediscovered. With Potter's discovery and Connors' album, we're being given a glimpse into a world where boundaries were pushed, and innovation was encouraged. Jessica Williams' legacy is more than just her music – it's a testament to the power of creativity and self-expression.
In a recent discovery, jazz star Jessica Williams' underground album 'Prepared Piano' has been unearthed by artist Kye Potter, who stumbled upon it while browsing through a record store. The tape, which was released on her own label, Ear Art, appears to be a DIY release with photocopied notes and homemade artwork.
Potter's surprise at the discovery was palpable: "I'd never heard anything like it," he exclaimed. As a collector of American musical avant-garde after John Cage, Potter was intrigued by Williams' unconventional approach to piano playing. Despite being best known for her sparkling jazz in the straight-ahead tradition of Thelonious Monk and Errol Garner, Williams' prepared piano music seemed like an anomaly.
However, it's clear that Williams had been experimenting with prepared piano for decades, even before she released 'Prepared Piano'. In a 1997 interview with NPR's Terry Gross, she revealed her fascination with the instrument, stating: "I hit the notes, and I saw colours." Her early experiments with disassembling pianos to create new sounds were just the beginning of her innovative approach.
As Potter delved deeper into Williams' discography, he discovered a body of work that defied expectations. Her music, which blended elements of jazz, classical, and electronic music, showcased her boundless creativity and technical skill. Despite being a pioneer in the avant-garde movement, Williams' music remained accessible and captivating.
Williams' career trajectory was marked by self-sufficiency and independence. After time in the Bay Area scene, she moved to smaller cities and eventually settled in Portland and Yakima, Washington State. Her online presence allowed her to connect with fans and promote her music, even after she sold her piano to pay for spinal surgery and retired from performing publicly.
Today, Williams' legacy is being rediscovered by a new generation of musicians and fans. Potter's collaboration with artist Matt Connors on the album 'Blue Abstraction' has brought attention to Williams' prepared piano work. As Conners notes: "Music just flowed out of Jessica her whole life." Even in death, there's a sense that Williams is not quite finished, and her music continues to inspire and captivate.
Tortoise's Jeff Parker praises the album as "gorgeous, diverse, exploratory and nuanced". Jessika Kenney, a vocalist and composer who has worked with Sarah Davachi and Sunn O))), was drawn to the intensity of Williams' music after seeing her live. The connection between Williams' surreal soundscapes and the improvisational vocals of the Javanese gamelan is striking, highlighting the potential for cross-pollination between genres.
As the online jazz community begins to revive Williams' work, it's clear that her prepared piano music has been waiting in the wings, ready to be rediscovered. With Potter's discovery and Connors' album, we're being given a glimpse into a world where boundaries were pushed, and innovation was encouraged. Jessica Williams' legacy is more than just her music – it's a testament to the power of creativity and self-expression.
! i mean, who knew she was a pioneer in the avant-garde movement? her music is like nothing i've ever heard before - it's like she's takin' all these different genres and mashin' 'em together into somethin' entirely new. I love how she didn't care about what people thought of her sound, she just kept experimentin' and pushin' boundaries 
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. anywayz, I'm hyped that this new gen of musicians is discoverin' her work and celebratin' her legacy - it's like she never even left us 
Her music sounds so different from what you'd expect from her usual jazz style, but in the best way possible - it's like a whole new world of sound. 
I love how this discovery is bringing attention to her work and inspiring new artists like Matt Connors and Jessika Kenney to explore new genres. It's amazing that Jessica Williams' legacy is still alive and kicking even after all these years 
. Can't wait to dive deeper into her discography and see what other hidden gems I can discover 
. It's crazy how she was experimenting with prepared piano even before she released it, and now we're seeing how her music has influenced so many artists today 
. I love how her career trajectory was all about self-sufficiency and independence - it's like she never needed anyone else to validate her art 
. It just goes to show that Jessica Williams' legacy is way bigger than we thought, and it's amazing to think that she might not be finished yet... maybe we'll get more surprises from beyond the grave 
I mean, think about it - this woman was experimenting with prepared piano for decades before it even became "cool" in the avant-garde scene... she wasn't trying to fit into some mold or follow trends, she just made music that felt true to her, you know? 
Music has a way of transcending time and touching lives, even after we're gone. Jessica Williams' legacy is a beautiful reminder of the impact one person can have on the world through their art. 