September 20, 2006
Stockbridge Vermont Autumn2006
The White River flows alongside this secondary road on the other bank of the White River from
the meeting of Vermont's Rt. 107 and Rt.100. The Lamb Spring... one of a half dozen great
Vt. springs continually monitored for purity... is nestled into the hillside by Blackmer Boulevard.
............With Julie and Werner up to save the 'shack'. The concrete piers holding the 'shack'
up on our hilside since the early seventies have responded to a very wet 2006 spring/summer
by tipping downhill as our saturated hillside slumped. Our only real painting break from foundation
stabilizing or brushcutting site work was at the Lamb Spring for water or our morning moments
sitting at the breakfast table and looking out at the maple at the edge of the spring hillside across
our waving yellow meadow crown of goldenrod. [Tim brought Beau's DR Brushcutter over and
it was two days of wrestling with her bowflex on wheels and today the wildflower's meadow
overgrowth of blackberry canes has been wrestled down along with its goldenrod covering.]
Somewhere in the archives I've an early morning sunstruck watercolor of the same maple tree
from the same breakfast table at the same time. The sun shines over Little Vulture Mountain and
onto our wildflower meadow by ten in the morning this close to Autumn Solstices. The same maple
from more than 30 years ago watercolored from sapling to the above. Here it is in the original
silver and gold inlined mat from the late 80's framed painting in my 'Up to the Past' one man show.
There's an archive of paintings produced from loving this Rt. 107heart of Vermont for 40+ years.
September 08, 2006
Gourmet dinner at the 'SHACK' in Vt.
-----VIDEOSPHERE themselves, Werner and Julie prepare
a gourmet dinner for our guests Tim and Beau, Sept.7th,06
The blue Vermont afterlight beside the Lilliesville Brook is
a luminous blue when the incandescent orange light of out
great chandelier and the kitchen area work table and dinner
table hanging lamps create a warm interior. Bright yellow
rain gear outfits hang on the walls with a Charles Burchfield
print.... Beyond the stove the door is open, it's weathered
hemlock planking brought inside the 'SHACK' with the blue
afterlight oustside. The top of our woodstove and its black
stove pipe reach up into the work table lamp, a blue window
completes the background. Julie is preparing thyme for the
feast and Werner's busy with her other dinner time herbs.
It was cool enough and with a light drizzle a little a fire in
the woodstove added to the Vermont ambience. On our
kitchen worktable is the painting above at an early stage.
This brief visit was all work as Werner and I managed to
straighten the tipping cement pier under the 'SHACK'....
and a lot left to do before winter. We will, it seems, find
necessary time to be in Vermont for the foliage this year,
June 04, 2006
Patricia Adams' Ray Santisi Trio First Sunday in June 2006
..........watercolor live from the second set, into Sunday night.
Kat, Joanne and I, brunched at the bar. The 'look' is from there.
The room was loud, folks in out of chilly rain, big breakfasts,
big tables full of friends and lots of chatter and Ray's music
floated up and over, a layer of the Santisi trio and everyone
seemed to drop their forks for a sincere spread of applause
as Patricia introduced them. Then the trio's three solos were
capped by Joe Hunt's solo on drums and Patricia joined them...
below are second and third stages of this small watercolor.
early afternoon, I've filled in the ceiling and laid a darker wash
over the second set brunch crowd and here I've dropped the
brightness of the image to create an emphasis on the stage.
above are the early watercolor notes I left Ryles with right after
Ray and Patrcia's second set. I had that second guy who was
sitting at the bar leaning back and later decided to have him lean
forward and to look down the aisle at other folks at their tables.
Loved a littlest jazz listener in the stroller by the side of the table
in front of me, dad with his arm on top and mom across the table.
Wednesday afternoon, pouring in Boston, even put kitchen heat on.
I teach tonight at the MFA. Walking down to the MFA with raingear
and an umbrella with the gusting Northeaster winds was a challenge.
Felt like Zorro, quickly answering changes in directions of the wind
by turning the umbrella into shifting gusts to keep it from collapsing.
This is the eighth (as the Diva said) iteration, and I had to bring back
Ray Santisi's hair from the anonymous dark it had drifted into. It was
careful scratching with a sharp blade and then add his glorious grey.
April 28, 2006
JAZZ: John Coltrane's A Love Supreme at Trinity Church 4/27/2006
......Jack and I arrived early and I followed him down to the very front pew
well before the musicians came in. When we arrived I began my watercolor
'look' by using the music stands I could see just beyond the pink granite
entry post to the chancel. Alto player, Bill Thompson, entered and stood left
of my music stands and well off my watercolor card. Then everybody came
and moved their music stands around (so much for my compositional ideas).
Bill Pierce is on tenor, and over his left shoulder you can see Cecil McBee and
his bass scroll, then Leonard Brown on sax with John Lockwood seen through
Leonard Brown's left shoulder. Bill Lowe appears by virtue of his tuba's bell
and many positions of his bass trombone slide while Lawrence McClellan on
trombone with glasses reaches for a low note behind the pink granite post.
The others, Sa David, percussionist, was only able to be seen when he threw
his head back, raised his left elbow and lifted his right hand high up and over
the communion rail . Though we were only a few feet from the front line of
players I never saw pianist, George W. Russell, Jr.or Terry Lynne Carrington on
drums. Here are the musicians I noted in watercolor during the performance.
......Leonard Brown playing tenor and later soloing on soprano sax,
Cecil McBee's fingers stroke his upright bass and Billy Pierce solos on tenor.
Bill Thompson on alto and Sa Davis over the communion rail
Back in the studio, Coltrane's music still in mind, I watercolored into another start
on one of my TJ Lyons cards. This is still early in development but I had wanted
to get something from the night on this blog for folks just behind us in the pews.
They said they had enjoyed watching me watercoloring during the performance.
Cecil McBee and John Lockwood, bowing, improvised a great duet on Coltrane's
A Love Supreme melodic motif. I wanted to frame them with Trinity's deep green and
gold leaf wall under a deep red stripe of railing running up from behind Lockwood's
bass scroll and off the card above Cecil's. There more left to do in all the watercolors.
This is a Word page explaining the concert's
evening of watercoloring. From a list of players I was able to see and sketch to
later at home and studio where I painted into the bass duet and fixed my first 'look'.
October 13, 2005
Heart of Vermont
.....The "look" into White River Valley below from high above Cobble House Inn,
over our favorite swimming hole locals call "the glades", to Hunger Mountain's
north slopes ablaze in autumn's color. "Heart of Vermont " has two lane Rt107
beside a mostly northeastward tumbling of the White River. Its zigzag valley
begins at Rt100 in Stockbridge near where the Tweed flowing north from the
Killington mass joins the White and ends at Eaton's Pancake House at Rt14.
17 miles, after collecting the First and Second Branches of the White River,
the flow turns a southerly right and widened, drifts along between Rt14 and
where USA89 crosses high above the White River into Sharon, Vermont.
The angler wading the shallows, drifting a fly into the deep pool below and
this "look" upstream towards the "gladesare both off water-worn granite outcroppings
that remember a dam, woolen, then later button factories on these rocks.
This is the "look' upriver to "the glades from Gaysville. A great swimming hole
with locals and summer folk's called "Twin Bridges". Its granite ledge
leaning over the pool's been named "Lion Head". Diving from the lion's nose is only
less challenging than the run and leap needed to clear it from the lion's brow.
Atop of Lion's Head, I'd use drips from my suit after dives as water for my "looks"
left and right
I'd climb back up using hand and toe holds in the left hand "look". Sit myself
where I had left my watercolors on what would be the brow of the lion and
catch the light dancing in the great deep eddy to the left and right below.
August 16, 2005
JAZZ: Ray Santisi, Rakalam Bob Moses and Marshall Adams trio CD
Here's our package: A plastic envelope with my favorite Ray Santisi watercolor from
the Sunday Morning Jazz Brunch at RYLES, over Stu Vandermark's review in the August
issue of Cadence Magazine. Turned over we've got the wide watercolor from the bar
and several more watercolors of Patricia, Ray again, Nick Joyce who recorded the gig,
Marshall, Rakalam Bob Moses, and one of Frank Wilkins. All wrapped with what Kat
insists (because she finds editing them impossible) are my poesies in red printing.
We slip the trio CD into the lower right corner where you can read a bit more BUZZ.
An appreciative cadre of Ray Santisi listeners admiring where Ray and Patricia Adams visit.... So
last first Sunday's Ryles JAZZ Brunch for both sets I'm on only Ray Santisi's piano moves and I've
wanted sometime to get Ray at the piano. Catch little moves... leans and shift surprises on chords...
his left hand move... rolling it out 'n over palm up and down-stroking with his left hand's fifth the liittle
finger's flat sharply hit a just right and unexpected bass key. Laterfelt I lost him under some clumsy
late Sunday weary watercoloring. I let Ray rest four days then found this there by Friday evening.
August 15, 2005
Newport Jazz Festival, Sunday, August 15, 2005
Jack, Kat and I spent Sunday at the NEWPORT JAZZ FESTIVAL
Here are the watercolor notes painted or drawn during the day.
We caught the Cannonball Adderly Legacy band first and just to warm up I began
with a pen sketch. The crowds are always so much a part of the Festival ambience
and this tent held a great collection. We were seated just outside the tent and
just beyond the festival's folding chairs. On the bottom left you can see one guy
in the day's favorite style of folding chair with the cup holder on the right arm.
By the time Gary Burton set up I had a chance to break out the watercolors.
I love blue ball mallet's ends dancing over vibes, I tucked others around him.
The small image to the right is the live watercolor note made during the performance.
Today, Tueday August 16th, I worked into the notes at the dentist and in the studio.
We all moved over to the big stage and got this look from the walkway of Brubeck's Quartet
Chris Lydon and Jon Hammond practically tripped on us so they got CD's by Ray Santisi.
and moved even further back to get Roy Haynes on stage and on the big video screen.
Just a sort of watercolor shorthand, I'll paint into these starts and post'em later.
May 30, 2005
Logos: May 2005-->Sept 2006 selections
This Winter Solstice LOGO was on the front cover
of my update mailer. I snail-mailed an epson inkjet
of this off to a round of archived addresses.
I've taken to scanning most recent images and a
few of much older LOGOS with a deep rich black
background and since the winter solstice there been
at least a dozen of newer LOGOS variations.
If you post your U.S.Postal address and there's a
signed inkjet print on its way. Do it with your Email
addresses and I'll learn how to answer them soon.
was painted on May 17th, 2006, the fifth year anniversary of Kitty's death,
though I was, as usual, marginally concious of the actual calendar date.
It began Tuesday
evening and then more on Wednesday morning. Tuesday all day was filled with
the painting classes I teach at the MFA, Wednesday evening and Thursday
morning are also teaching obligations at the MFA. It was the weekend before
the anniversary was given its thoughtfull moments and this second stage (above)
and a third painting into were done. Perhaps even more painting into will come.
following week this different LOGOS VARIATION was started and as of today
Memorial Day taking these moments to 'blog' this is where they're painted up to.
From the Hawthorne Street Show and Sale this 5"square logos survived.
The five inch TJLyons handmade paper squares were a favorite during
the time my son Liam was dancing. LogosV's on these squares would date
from the late seventies.
The Hawthorne St. Show and Sale was the impetus of Vivian Taylor
and Tim Meiers in the studio urging me to bring watercolors to Market.
Vivian picked up a particularily intricate painting of a Harvard University
snow covered wrought-iron Stadium Gate image that must have had at
least one hundred and twelve hours into it and said,
"Bill I'd give you a hundred dollars for this"
and before I could respond with how prepostorous it would be Tim had already
picked up from a scrap pile a study for Yankee Magazine's Maine Guide Stroke.
He held a piece with a few quick gestural strokes done while I sketched
with brush and watercolors my wonderful Maine Guide Stroke model paddling
his tevlar canoe on a blustery spring day. One of several quick studies
it had been set down still damp, suddenly blown off the table, into the pond,
Julie retrieved it, put it back onto the table and put a rock on top of it.
Studying it thoughtfully while holding it upside down Tim said,
"This is beautiful,"
I'm sure he thought it night have been one of my orchid studies, the canoeist
was wearing a red violet windbreaker and his raised paddle over the light tan
canoe shape had combined with the puddling from going into the pond and some
odd speckling from the rock that stopped from being blown away again were easily
an OOPS-WOW* delight from my watercolor class instruction vocabulary.
"I'll Give you a hundred dollars for this wonderful painting"
101 Paintings for $101 each named the show.
Vivian, Tim, Bob and John very special friends picked at least thirty images apiece
out of the Studio. Any ones they chose. I could 'save' The Harvard Stadium
gate among many others but had to leave at least twenty five from each of
their thirty-five plus selections. We sold a third of them during a weekend show.
LOGOS:VARIATIONS / QUEST OR A SPIRITUAL RORSHARCH
After years of watching the paintings, inventing thousands* of variations of these
circular and triangular energies surge or shrink in world of wonderful watercolors,
Moods, or manoeuvers... clashes of values or darkening sweeps, simultaneous
contrasts or analagous schemes I was able to match patterns and life's moments.
*the essential motif first appeared in the late sixties
at the same time as the Titian Europa narrative
March 21, 2005
Logos: After Easter 2004
Kat's Eyes Easter Dinner 2004 brought Kathryn into my home the first time.
A series of small logos variations followed quickly after our very first meeting.
The energy in this trio happened in the next day's painting.
All four of these logos are on small Lyons hand-made cards. [3 3/16ths by 4 1/8th inches each]
There's a quality of the energy in our meeting moments and I'm sure it's there in each
of the variations. The more I inventory the year's Logos paintings the more I believe
they capture the spiritual aspects of myself and of my community as they're created.
March 12, 2005
The SMALL PRAYERS series most likely created during the late sixties and well into
the early seventies. Other logos paintings cluster color palettes, rythmn sequences,
or a typical confrontation or agreement of shapes and continue for some while.