![]() At the time, she was working on a piece called “Detective Writer Daughter,” soon to become the seed for the EOTH forest. ![]() Haines, we know from Bley’s own account, sent her a poem in early 1967. Given the slipstream nature of what any new listener poised over the PLAY button is ill-prepared to expect, Speeth’s neologism bears the brunt of describing these goings on. Referred to by Bley, and the increasingly massive crew required to produce it, as an “opera” for shorthand, it is officially billed as a “chronotransduction.” The term comes from the mind of Sheridan (“Sherry”) Speeth, a scientist befriended by EOTH’s librettist, Paul Haines. And while the pianist, composer, and arranger went on to have a flourishing career in all of those capacities, there’s something to be said for EOTH’s cult status in the annals of jazz (and her own) history. ![]() Production and coordination: Michael MantlerĮscalator Over The Hill is widely considered to be the magnum opus of Carla Bley. ![]() Mixing: Carla Bley, Michael Mantler, Karl Sjodahl, and Ray Hall Recorded November 1968 at RCA Recording Studios, New York (engineer: Paul Goodman), November 1970-June 1971 at RCA Recording Studios, New York (engineers: Ray Hill, Jim Crotty, Pat Martin, Dick Baxter, Gus Mossler, and Tom Brown), March 1971 at Empirical Sound, at the Cinematheque, New York (courtesy Jonas Mekas and Richard Foreman engineer: Dave Jones), and June 1971 at Butterfly Mobile Sound Van, at the Public Theatre, New York (courtesy Joseph Papp and Bernard Gersten engineers: Karl Sjodahl, Bob Fries, Nelson Weber, and Wes Wickemeyer) Don Cherry, Michael Mantler, Enrico Rava trumpets ![]()
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