Jessica Williams' Prepared Piano Revelations Found in Forgotten Tapes
When artist Kye Potter stumbled upon an old tape by American pianist and composer Jessica Williams while browsing a local record store, he was struck by its DIY aesthetic. The label had long since come off the tape, revealing photocopied notes and artwork highlighted with a bright yellow highlighter. Released on Williams' own label, Ear Art, it was clear that this was no ordinary recording.
As a collector and occasional producer, Potter's interest in Williams was piqued, given his enthusiasm for American musical avant-garde and his connections to John Cage. However, the jazz scene had long regarded Williams as an enigma - her public persona seemed at odds with the expectations of the genre she helped shape.
Williams' own story is one of determination and perseverance. Born in 1949, she began studying classical piano at the Peabody Conservatory before discovering jazz through Dave Brubeck's Take Five. Her early years as a performer were marked by disillusionment with the industry, but her commitment to creating music outside of conventional norms kept her going.
Fast-forwarding several decades, Williams' approach to the piano evolved into something entirely new: prepared piano. By placing objects between the strings, she transformed her instrument into an experimental vessel for sound.
While some in the online jazz community may have overlooked her passing, there is now a growing recognition of her artistic value. Tortoise's Jeff Parker and vocalist/composer Jessika Kenney both acknowledge Williams' bold approach to music-making, praising her innovative spirit and commitment to self-expression.
Williams' relationship with technology also merits attention. From early experimentation with synthesizers in the late 1990s, she continued to create music that blended electronic sounds with her trademark jazz sensibilities. Her online presence allowed her to connect directly with fans, and she used these platforms to promote her work and share her perspectives on the music industry.
Today, Williams' prepared piano recordings are being rediscovered, providing a glimpse into an uncharted chapter of her artistic journey. As Potter reflects on their collaborations, it is clear that this enigmatic musician left behind a legacy that continues to inspire musicians and music enthusiasts alike.
When artist Kye Potter stumbled upon an old tape by American pianist and composer Jessica Williams while browsing a local record store, he was struck by its DIY aesthetic. The label had long since come off the tape, revealing photocopied notes and artwork highlighted with a bright yellow highlighter. Released on Williams' own label, Ear Art, it was clear that this was no ordinary recording.
As a collector and occasional producer, Potter's interest in Williams was piqued, given his enthusiasm for American musical avant-garde and his connections to John Cage. However, the jazz scene had long regarded Williams as an enigma - her public persona seemed at odds with the expectations of the genre she helped shape.
Williams' own story is one of determination and perseverance. Born in 1949, she began studying classical piano at the Peabody Conservatory before discovering jazz through Dave Brubeck's Take Five. Her early years as a performer were marked by disillusionment with the industry, but her commitment to creating music outside of conventional norms kept her going.
Fast-forwarding several decades, Williams' approach to the piano evolved into something entirely new: prepared piano. By placing objects between the strings, she transformed her instrument into an experimental vessel for sound.
While some in the online jazz community may have overlooked her passing, there is now a growing recognition of her artistic value. Tortoise's Jeff Parker and vocalist/composer Jessika Kenney both acknowledge Williams' bold approach to music-making, praising her innovative spirit and commitment to self-expression.
Williams' relationship with technology also merits attention. From early experimentation with synthesizers in the late 1990s, she continued to create music that blended electronic sounds with her trademark jazz sensibilities. Her online presence allowed her to connect directly with fans, and she used these platforms to promote her work and share her perspectives on the music industry.
Today, Williams' prepared piano recordings are being rediscovered, providing a glimpse into an uncharted chapter of her artistic journey. As Potter reflects on their collaborations, it is clear that this enigmatic musician left behind a legacy that continues to inspire musicians and music enthusiasts alike.
! jessica williams was like the ultimate rebel in the jazz world - her DIY approach to music-making and experimentation with prepared piano is so inspiring 
she's proof that you can challenge the norms and still create something amazing. and it's crazy that people were overlooking her passing, but now her art is getting the recognition it deserves 
i love how she used technology to connect with fans and share her vision - that's some forward-thinking stuff 
. The fact that Tortoise's Jeff Parker and Jessika Kenney are repping her now is totally justified - her innovative spirit and commitment to self-expression are still giving us life today 
. I'm loving this renewed interest in her legacy, and I hope it keeps inspiring new generations of musicians and music lovers alike 
.
i mean i can see why some people might think that, but come on, she was basically a pioneer of experimental piano. and her online presence? that was way ahead of its time 
she's not some dusty old relic who needs to be "rediscovered" like she's some kind of 90s indie rock throwback 
anyway, it's cool that tortoise's jeff parker is giving her some love now 
. Like, think about it - she was basically a pioneer in the prepared piano thing, but nobody really remembers her right now? 
It's like the powers that be are trying to keep this underground movement under wraps... I mean, what if some big label or corporation got wind of her DIY ethos and wanted to claim ownership of her music? 
That would explain why it took so long for her tapes to resurface. And have you noticed how quickly Jessika Kenney and Jeff Parker are singing her praises now? 
It's like they're trying to create a new narrative around her legacy... I'm not buying it 
. Something fishy is definitely going on here! 
just found out about jessica williams' prepared piano stuff and i'm low-key obsessed 
Just stumbled upon these old tapes from Jessica Williams, and I'm totally fascinated by her prepared piano approach 
