Exhibition Playlist
This playlist is an intuitive evolution of string works. It begins appropriately with an early recording of Moses Williams's interpretation of “Sitting on Top of the World” played on his one-string instrument. His story is one of ingenuity and necessity. An inventive instrument maker who shared his craft with those who could not afford guitars. His counterpart, Louis Dotson, referred to his wall-harp as "one strand on the wall." There are few recordings of Dotson outside of his vocal work.
The playlist quickly moves into the world of Black experimental composers—all of whom I deeply admire and take every opportunity to share: Alvin Singleton, the incomparable George E. Lewis, and Wendell Logan. Later on, the younger composer Jeffrey Mumford appears on two tracks, including the aptly titled “Expanding Distance.”
The following section is grounded in improvisation, featuring two contemporary virtuosos, cellist Tomeka Reid and bassist Luke Stewart, both of whom performed on the sculptures in Ensemble. (Excerpts of this performance can be seen here.) More adjacent to the art world, the early works of La Monte Young and Zeena Parkins both embody a sparseness and precision that is highly conceptual—a sensibility to which I feel connected.
The playlist concludes with a meditative stretch, unafraid of beauty, expanse, and repetition. JJJJJerome Ellis’s piano work is the only one of its kind here—technically a hammered string, resonating with an intelligent and profound grace, particularly in “Movement I.” Nala Sinephro, a young musician based in the UK, plays the pedal harp and modular synthesizer. The final offering consists of two tracks by Laraaji on zither—a master of persistence, time, and transcendental repetition.
The bonus track is off the album Wind Songs, featuring the recorded sound of Aeolian harps.
— Jennie C. Jones