Windham Hill fans will know Emil Richards from his work with Shadowfax on their early albums on the label, especially the self-titled label debut Shadowfax and the follow up Shadowdance. But Richards’ work has contributed to many of the classic film scores and albums coming out of Los Angeles for the last 50 plus years.
Shadowfax guitarist GE Stinson remembered him in a Facebook post, “Emil Richards brought a magical universe of percussion and sounds to the first album Shadowfax recorded for Windham Hill. We were blessed to have Emil play on many of our recordings. His performances were master classes in how to play in an ensemble setting adding a singular voice while serving the music.”
Richards expansive careers covers everything from the finger snaps of The Addams Family theme and xylophone on The Simpson’s intro through an expansive array of film music and, both solo and as part of The Wrecking Crew, much of the best music to come out of LA. In his obituary, The Hollywood Reporter summarizes a portion of his work “There are warm recollections of the great film composers, including Henry Mancini, Alex North, Jerry Goldsmith and John Williams, who all collaborated at finding a unique sound at Richards’ warehouse before composing. Salad bowls used in “Planet Of The Apes,” gongs lowered into fluid for space movies and many other unusual sonic effects will flash readers back to decades of favorite movies.”
Emil Richards published an autobiography Wonderful World of Percussion: My Life Behind Bars There are warm recollections of the great film composers, including Henry Mancini, Alex North, Jerry Goldsmith and John Williams, who all collaborated at finding a unique sound at Richards’ warehouse before composing. Salad bowls used in “Planet Of The Apes,” gongs lowered into fluid for space movies and many other unusual sonic effects will flash readers back to decades of favorite movies.
In her book “A Pause in the Rain,” Joy Greenberg recounts the making of the song Shadowdance, “Emil Richards had filled up the whole room at Group IV Sound with his esoteric collection of instruments from around the world, and the result was astounding. “Shadowdance” became a consistently sought tune by filmmakers, TV and radio shows for background music. After more than a decade, it is still being used by the Monterey Bay Aquarium for what I call its “dancing plankton” exhibit.
While the name Windham Hill may no longer be active, the heart and soul behind the label certainly are. Will Ackerman founded Windham Hill in 1976, and over 40 years later still produces music for fans new and old.
Some things have changed: Windham Hill was a music label issuing music, handling marketing and distribution. Imaginary Road Studios is a production house where Ackerman, along with engineer/performer/producer/artist Tom Eaton work with artists who then market and distribute themselves, reflecting the tectonic shifts in today’s music industry.
What hasn’t changed? A focus on the music. Mainly instrumental, mainly acoustic, always gorgeous and melodic, never cloying or saccharine.
If you’ve missed the first two, you’re in for a treat. Learn about them, and look for a pre-order link on their Facebook page: https://www.facebook.com/TheGatheringCD/
JILL HALEY Sipapu Emergence (3:15)
From her album MESA VERDE SOUNDSCAPES
Jill Haley oboe & English horn, Graham Cullen cello, Risa Cullen viola
Ⓟ2014 Coranglais BMI
Sipapu is a small hole in a kiva, a ceremonial chamber in the cliff dwellings of Mesa Verde National Park. The ancestral Puebloans believe man emerged onto the face of the earth from this hole. www.jillhaley.com
A tour de force of finger-picking guitar, and in many ways the album that would set de Grassi’s direction for years, Southern Exposure is an understated delight.
Technically impressive, and hewing to a fast-paced solo guitar sound, Southern Exposure nonetheless shows many moods. From the ringing rhythms of Overland, to the final notes of the humming Subway, De Grassi provides an album that rewards close listening, yet maintains a cheerful veneer of joy. Where Turning: Turning Back was more pensive, and Clockwork played on group dynamics developing in rhythm and melody, Southern Exposure sets a style that De Grassi is still exploring today.
Shadowdance confidently strides into the Windham Hill catalog with the showstopping New Electric India, electric guitar and thundering bass resounding. This is a slightly different approach than the bands eponymous label debut which was specifically composed to work within Windham Hill’s established acoustic sound. After the success of the first, the band was clearly given a little more freedom to follow their live sound than they dared on their original Windham Hill release. While Shadowfax has incredible depth texture and flow, Shadowdance brings dynamics and drive to the band’s gorgeous melodic sensibility.
From the opening note of New Electric India through the closing hum of the track Shadowdance, every note carries you through a churning river of sound depositing you at the end both thrilled and relaxed. Indeed, maybe the water analogy comes easily because Shadowdance has been used at the plankton exhibit at the Monterey Bay Aquarium for the last 20 years.
Side Two carries the torch with the Don Cherry-penned track Brown Rice – a standout from the live performances, and closes with the more conventional fusion track A Song for My Brother, a fan favorite.
The sound quality is again extraordinary. Ackerman once again looked to Mobile Fidelity for the mastering and RTI for the pressings. Playing the album on my current vinyl rig was a shocker: the recording is so dynamic and detailed. I’m sure that in part that’s because this album is seared into my memory from countless plays on a Maxell cassette. In 1984-85, I was an exchange student to Yugoslavia, specifically Serbia, and due to space restrictions I could only bring 10 cassettes for my year there. Shadowfax/Shadowdance was the one Windham Hill tape I brought. Truly, for me, this was a “Desert Island Disk.”
Unfortunately, Stuart Nevitt, Chuck Greenberg and Bruce Malament have all passed away.
You can find Joy’s site, and samples from her book here: http://www.joyhornergreenberg.com/jghome.htm She shares fascinating anecdotes and details about the band, as well as personal remembrances, in an easy engaging style; I highly recommend it for any Shadowfax fan.
Joy has generously permitted the reprint of an excerpt here:
Excerpt from the Chuck Greenberg biography “A Pause in the Rain” by Joy Greenberg
The success of Shadowfax enabled the band to go into production on a second album. For material, they didn’t have to look too far. Intuitive businessman that he was, Chuck began thinking about all those old Watercourse Way masters over at Passport Records.
Although Watercourse Way had been out for eight years, the band had never received a dime in royalties. Chuck knew that there were many copies in print, however, and that the demand for them would increase with the release of the new Shadowfax. He also believed that if Shadowfax turned out to be a hit, there might be a renewed interest in the band’s first album, Watercourse Way. However, he wasn’t willing for Passport to be the beneficiary of any newfound success, particularly since he felt that Passport had burned the band for nonpayment of royalties. So, Chuck and the band’s attorney Steven Lowy devised a scheme to buy back all the old master tapes. Chuck knew he’d have to move quickly—before the release of Shadowfax. Once Passport suspected it might be able to gain more mileage out of Watercourse Way, the price for the masters would go up.
It worked—Chuck made them an offer and Passport was only too happy to rid themselves of what they perceived to be a “dead horse.” On the very day that the Billboard review hit the stands raving about Shadowfax, Chuck was collecting the master tapes from the Passport warehouse and blithely walking out the door with them.
Gaining the rights to Watercourse Way turned out to be more significant than even Chuck imagined at the time. In addition to re- releasing it en toto, Windham Hill selected one of its cuts, a lilting Chuck/G.E. duet called “Petite Aubade,” to be on the first of their Winter Solstice series, which went on to achieve Gold Record status. It also made it possible to “borrow” those tunes which the band felt were basically worthy but which had not succeeded as well on Watercourse Way as they had expected. For this reason, the title song from Watercourse Way, along with G.E.’s “Song for My Brother” were selected to be rerecorded for the second Windham Hill Shadowfax album, Shadowdance.
As with Shadowfax, Chuck and G.E. shared song writing duties on Shadowdance, with the exception of a piece by Don Cherry which was a medley of two tunes, “Brown Rice/Karmapa Chenno.” G.E., Phil, and Chuck were big fans of Cherry’s music and had been performing “Brown Rice” live, traditionally as the closing number of their set. It was the only non-Shadowfax composition they ever recorded or performed, and likewise one of the few with lyrics. Nonetheless, it was a testament to the band’s arranging skills. A consistent and perennial show-stopper, “Brown Rice” featured rap-like (before it was in style) nursery rhyme lyrics growled out by G.E. and backed by his searing guitar, with Chuck screaming on tenor sax, building to a crescendo then switching to a wailing lyricon—all pushed forcefully by Phil and Stu’s rhythm section.
Shadowdance became another showcase for Chuck’s burgeoning production genius. Although it cost slightly more than Shadowfax to create, he brought it in on time and under budget. In addition to the seven touring band members, he enlisted Emil Richards in the studio again, with Michael Spiro and Mickey Lehockey to beef up the percussion. The title tune from Shadowdance went on to become a featured number live, often receiving the greatest recognition and applause whenever they performed it and deservedly so. “Shadowdance” combined all the best qualities of Shadowfax: a catchy melody, rhythmic beat and interesting assortment of instruments.
Virtuoso percussionist Emil Richards had filled up the whole room at Group IV Sound with his esoteric collection of instruments from around the world, and the result was astounding. “Shadowdance” became a consistently sought tune by filmmakers, TV and radio shows for background music. After more than a decade, it is still being used by the Monterey Bay Aquarium for what I call its “dancing plankton” exhibit.
The band was also now able to afford a better recording studio when they set out to do Shadowdance, finding in Group IV the perfect place financially, personally, and technologically. A few years earlier, Chuck had performed on a movie soundtrack at Group IV and managed to cut a deal for himself through the owners to use the place at night—traditionally “dead” time––at a bargain rate. Without Angel Ballestier and the rest at Group IV, it would have been impossible to cut such high quality records for the price. So began an illustrious multi-record liaison between band and studio.
Shadowfax members are active on the web, catch up with them on Facebook and MySpace.
A Song for My Brother
Side One: 20:51
New Electric India 5:12, Stinson Ξ
Watercourse Way 5:06, Greenberg-Stinson Ο Ξ
Ghost Bird 5:04, Stinson Ξ
Shadowdance 5:20, Greenberg Ο
Side Two 17:14
Brown Rice/Karmapa Chenno 4:18, D. Cherry ◊
Distant Voice 3:46, Stinson-Greenberg Ξ Ο
A Song for my Brother 9:04, Stinson Ξ
Ξ Selections Greenshadow Music (BMI)
Ο Selections Dream Wheel Music (BMI)
All Selections Administered by Windham Hill Music (BMI)
Emil Richards: Paiste gamelon gongs, bass flapamba, metal and bamboo angklung, wood block marimba, marimba on Shadowdance; Chinese water cymbals, kanjgeera on New Electric India. The percussion ensemble on Shadowdance was conducted by Emil Richards.
Michael Spiro: conga, chekere, guiro on Brown Rice; hand percussion on Watercourse Way, Brown Rice.
This recording was made on Studer 24-track recorders and Trident consoltes with Ampex 456 tape at 30 inches per second. It was mixed to a Studer Mark III half-inch two-track recorder. No noise reduction, compression or limiting was used.
Thanks to Jilll and Don Stegman, Bruce Howard, World Percussion Inc. Phil Manor, Mike Flynn, Christ Andronis, Steven Lowy, Denni Sands and all at Group IV, and Charles Horton at TEAC.
Special thanks to Will Ackerman and Anne Ackerman Robinson for having the faith to make this album possible.
With 1983’s Past Light, Will Ackerman expands on the collaborations that he began to explore in earnest on 1981’s Passage, for an album that melds Ackerman’s meditative style with a larger vision of dynamic group performances.
Past Light is Ackerman’s fifth solo album, and twenty-eighth Windham Hill release. He must have been in the thick of the Windham Hill explosion, and it shows in a number of ways: the incredible stable of artists with whom he collaborates (Mark Isham, Michael Hedges, Darol Anger, Stein/Walder, Greenberg and Szmadzinski from Shadowfax, even Bay Area neighbors Kronos Quartet); the continued development of an aesthetic for group performances of Windham Hill artists, first seen on albums like Alex De Grassi’s Clockwork; and a confidence to keep pushing his vision farther, while hewing to his unique style, born out of Fahey and Kottke, but by now all his own.
While it still has poignant moments, there’s less mournfulness on Past Light than was present on Passage. There is less Erik Satie contemplation and more Robbie Basho exuberance in emotion, though stylistically Ackerman is wholly his own man.
The album opens with “Visiting” which varies enough in pacing and dynamics so that listeners are engaged and relaxed, taken on a journey with many uplifting moments. Where George Winston and Alex De Grassi write songs that are evocative of specific places at a certain time (a stream in January, a trip to Philadelphia) and Michael Hedges songs are paeans to rhythms, harmonics and dynamics, Ackerman’s work always strikes me as being about mood in and of itself. Each piece seems to be about that feeling you get when… (fill in your own very personal blank here.) Less intense and immediate than Passage, but profoundly evocative.
The fact that the moods here are varied, and often include the golden sunshine of Chuck Greenberg’s Lyricon just makes Past Light appealing to a wider audience, and a friendlier play for stalwart fans. Overall, it feels like Will was in a really good spot. Emotionally, the album it feels most like is Ackerman’s 2011 New England Roads (my current favorite of all of his albums, dare I even say it, over In Search of the Turtle’s Navel, and available exclusively at Target).
“One always goes to great lengths at times like these to thank a phalanx of individuals for their contributions to the project as a whole. This will be no exception. Often the musicians who joined me on Past Light were given little more than a basic form in which to work, and it is no false modesty to to say that many of the compositions represented in these recordings are pure collaborations on the part of these friends and myself. To them I am sincerely grateful. I must also thank my co-producer, Steve Miller, for having the talent and vision that enabled me to try new ideas.”
This recording was made on a Studer 24 track recorder at thirty inches per second. No noise reduction or compression was employed. The recordings were mixed digitally on a Sony PCM 1600 system, Kef speakers were used for audio monitoring and referencing on this recording.
Thanks to Harn Soper for loaning “Rain to River” back to me to record and to Dan Snow for the dream that inspired “Night Slip”. Thanks to Ervin Somogyi for the construction of my newest six-string and to Adamas strings.
Vapor Drawings is the first album by Mark Isham, the 27th Windham Hill release, and the first electronic release on the label.
“Vapor Drawings was my first solo recording, my first adventure into a large-scale electronic music record. I played almost all the instruments on it — in fact everything except the drums. It was a big challenge and took a lot of hard work. I see it as the first of a series of records that experimented with this genre (whatever that genre might be considered – somewhere between New Age and Fusion) the second of which was Tibet, the third of which was Castalia.”
While it is possible to hear the echoes of Tangerine Dream and Vangelis in Vapor Drawings, it stands on its own as a clear new vision of what could be done with electronic music. Humor, pathos, and inspiration are all heard throughout the album, all with lucid orchestral colors.
There is so much to say about Mark Isham that I’ve held off on this review for a long time. Mark has gone on to become one of the most effective and most prolific film score composers in history, while continuing to make beautiful music across genres. I love jazz, I love new age (at least as defined by Windham Hill); I love English art rock (David Sylvian, Brian Eno, Dead Can Dance). I can think of only one person who has crossed all of these boundaries: Mark Isham. In the end, I must send you on your own journey of the man’s work. http://www.isham.com can keep you busy all day long.
Regardless, Windhaming is intended to document the works of Windham Hill on their own merit. Fortunately, Vapor Drawings is as much of a masterpiece as a standalone album as it is the opening album in Mark Isham’s oevre. The music percolates, hums, and marches toward majestic peaks. Coming so early in Isham’s career, one could imagine that he was simply trying new styles in electronic music. But the effect is that the listener is rewarded by a walk through many possibilities.
It probably helps to like electronic music to truly love Vapor Drawings, but the classical underpinnings, organic drums, and emotional appeal give the album a draw much broader than “electronic” would imply. Also, the synthesizers used continue to sound fresh – include any of these tracks on an “ambient” sampler and you would be hard pressed to detect that they are 30 years old.
By the time Vapor Drawings came out, Ackerman had built such a trust level in his taste with Windham Hill, that I bought the album based solely on label and instrumentation. While the later “Interior” albums felt like synthesizer works, “Vapor Drawings” simply felt like music.
The wonderful “Many Chinas” was originally recorded by Isham on the 1976 Rubisa Patrol album (ECM 1081) with Art Lande, Bill Douglass and Glenn Cronkhite. Mark’s influence and horn playing is felt throughout that release, and anyone interested in his early work should seek it out. One of the joys of the Windhaming project is meeting people and learning more about artists I love. It was Record Store Day 2013 that I walked into Grooveyard Records in Oakland CA, and mentioned the Windhaming project to Rick Ballard. Turns out he was the original ECM importer before ECM had a major label partner in the US. A quick run through his bins yielded the Rubisa Patrol gem.
Many Chinas 4:05
Sympathy and Acknowledgement 8:17
On the Threshold of Liberty 7:27
When Things Dream 2:43
Raffles in Rio 4:38
Something Nice for My Dog 2:49
Men Before the Mirror 6:07
Mr. Moto’s Penguin (who’d be an Eskimo’s wife?) 3:18
On the Threshold of Liberty is named after the Rene Magritte painting:
It’s a pleasure to see that portions of Vapor Drawings were recorded in the same studio as Thomas Dolby’s “The Golden Age of Wireless.”
On Photographer Larry Bell’s work, which was used for the cover art:
Two large bodies of work on paper, Bell’s “vapor drawings” and the more recent “mirage works”, are also the products of Bell’s use of thin film deposition technology. The vapor drawings are created by using PET film to mask paper sheets, which are then coated. Bell describes the advantages of this process and medium:
Masking the paper with thin PET film strips to expose areas related to the shape of the page plane enabled me to generate images spontaneously. This work gave me a conscious glimpse of the inherent power of spontaneity and improvisation. The work happened intuitively…In a short amount of time I created a number of interesting pieces. I liked this way of working. It was different from tediously coping with the weight and risk of glass. In my mind, I was investigating improbable visuals using improbable means.
The mirage pieces, on the other hand, are collages constructed out of pieces of coated materials that are then arranged and laminated. As Bell says, “I colored sheets of various paper materials, strips of PET film, and laminate film. Then I fused them to canvases and stretched them. Tapestries of woven light differentials resulted.” 
WH-1026 An Evening with Windham Hill Live featuring George Winston, Alex deGrassi, William Ackerman, Michael Hedges, Liz Story, Scott Cossu, Darol Anger, Chuck Greenberg
Truly one of the great Windham Hill albums of all time, “An Evening with Windham Hill” features the classic Windham Hill artists at artistic peak of the label. While Ackerman, Winston, de Grassi continue to perform and record, often with even greater artistry than here, this album represents a clarity of vision and cohesion of styles that places it at the pinnacle of Windham Hill’s output.
Relaxed but uplifting, complex but with clarity, An Evening with Windham Hill is a required recording for any fan of the label.
Most telling about the label overall is Alex de Grassi’s introduction to Turning: Turning Back where he recounts how people tell him that they play the music at weddings and births – but “it’s really just about a trip Philadelphia.” de Grassi was writing about everyday places and moods – but touched a special chord with his fans.
Side One 19:59
Rickover’s Dream 4:30
Michael Hedges – Guitar
Composed by Michael Hedges
Michael Hedges Music (BMI)
Turning: Turning Back 9:00
Alex deGrassi – Guitar
Composed by Alex deGrassi
Alex deGrassi – Guitar
Chuck Greenberg – Lyricon
Darol Anger – Violin
Michael Manring – Bass
Michael Spiro – Percussion
Composed by Alex deGrassi
Tropo Music (BMI)
Side Two 22:01
Spare Change 5:29
Michael Hedges – Guitar
Liz Story – Piano
Michael Manring – Bass
Composed by Michael Hedges
Michael Hedges Music (BMI)
Will Ackerman – Guitar
Chuck Greenberg – Lyricon
Michael Manring – Bass
Composed by Will Ackerman
Hawk Circle 5:10
Will Ackerman – Guitar
George Winston – Piano
Michael Hedges – Guitar
Composed by Will Ackerman
Reflections/Lotus Feet 6:25
George Winston – Piano
Reflections Composed by George Winston
Windham Hill Music (BMI)
Lotus Feet Composed by John McLaughlin
Warner Tamerlane Publishing Corp. and Chinmoy Music Inc. (BMI)
Liner Notes and Credits
Produced by William Ackerman
On October 9th, 1982, a group of ten Windham Hill musicians gathered for two shows at the Berklee Performance Center, Boston, Massachusetts. It was during those two shows that these recordings were made. The success of the Berklee Performance Center shows made it inevitable that other Windham Hill Evenings would follow, including Carnegie Hall, Davies Symphony Hall in San Francisco, the Wax Museum in Washington, DC, and Symphony Hall in Boston to date.
Chief Executive Officer
Windham Hill Productions Inc.
Engineered and Mixed by Steven Miller
Recorded by the Fedco Audio Labs Remote Truck
Remote Recording Crew – Bill Straus (Crew Chief), Nick Gutfreund and Bob Dickson.
Mixed at Different Fur Studios, San Francisco
Assistant Engineer – Don Mack
Original half-speed mastering by Bernie Grundman, A&M
Matrix and Pressings by The Pressing Plant, Irvine, CA
Cover photo by Jerry Lukowicz
Design by Anne Ackerman Robinson
All selections published by Windham Hill Music (BMI) except where noted. KEF speakers were used for audio monitoring and referencing on this recording.
Thanks to Steve Backer, Fred Taylor, Bill Strauss, Sue Auclair, Eric Jackson, Ron Della Chiesa and Al Goldman.
Many of the best Windham Hill releases were pressed at the justly famous RTI plant in lovely Camarillo, California (not far from my Aunt Selma’s house.) Michael Fremer visits the RTI plant (as well as Pallas in Europe) on his vinyl video “It’s A Vinyl World After All.”
Until “How It’s Made” or “Modern Marvels” take on the glories of the vinyl pressing process, this will stand as a terrific document of the work done at RTI.
Michael Fremer’s DVD is available for purchase at most audiophile websites like Acoustic Sounds, Music Direct, Elusive Disc and Amazon, and for loan at Netflix. Enjoy
Frozen branches overhead, snowy drives in the evening, and the quiet of a snow covered landscape. Winston invokes all of these on his landmark album December. While Winston named his compositions after moments in time – months or seasons, he was really playing music about places – creeks, and trees, passes and roads in Montana and the high-plains and prairies.
The music holds up year-round thanks to its simplicity and beauty. Even the carols are stripped down enough that they can be enjoyed even as we endure the heat of a July afternoon. In his discography, December stands as a crowd-pleaser – neither as resonant and redolent as Autumn, nor as cold and brittle as the first side of Winter Into Spring. December is an album that inspired a million insipid imitators, yet always maintains a beautiful and thoughtful poise; relaxed, yet energetic.
December is often incorrectly identified as the album that made Windham Hill Records a crossover success. That honor goes to George Winston’s Autumn, which sold millions of copies and was the breakthrough success for the label. That being said, December was another high-tide mark for the label, and laid the groundwork for the extraordinarily popular Winter Solstice series.
It is curious that with all of the detailed credits, there is no listing of which brand of piano is played by by George Winston. According to engineer Harn Soper, Winston used a Yamaha grand for Autumn. Based on the sound, I would imagine it was another Yamaha for this recording. It should also be noted that in the recoding of Autumn, Winston would indeed drop and pickup in mid-song, only to be edited together later. This saves an enormous amount of time during the recording section, and I certainly can’t hear it in the recordings, which is remarkable given that Winston will often hold the sustain pedal down throughout an entire song, and the reverberations must undoubtably be different as he plays through a track different times.
Side One: 20:56
Jesus, Jesus, Rest Your Head 2:40 – An Appalachain carol of the late Eighteen Hundreds, Collected by the eminent folklorist John Jacob Niles.
Carol of the Bells – A Nineteenth Century Ukranian carol.
— Part One: Snow 1:51
— Part Two: Midnight 1:56
— Part Three: Minstrels 2:00
Minstrels was inspired by St. Basil’s Hymn, a traditional Greek Children’s New Years’s Carol based upon a rendition by Malcolm Dalglish.
Side Two: 18:18
Variations on the Kanon by Johann Pachelbel 5:21 – Composed circa 1699, the Kanon was originally an organ piece.
The Holly and the Ivy 4:52 – An Eighteenth Century English carol based upon an earlier French carol.
Some Children See Him 3:43 – Composed in 1951 by jazz trumpeter Alfred S. Burt (1921-1954), Some Children See Him was one of fifteen carols written as gifts for friends. The piece was originally a song with lyrics by Wilha Hutson expressing the universal love of children.
All other compositions are traditional and in the public domain.
Special Thanks to Steven Miller and Cathy Econom for their valuable contributions in production.
This recording was mande direct to two-track using a Studer A 80 VU MK III half-inch recorder at thirty inches per second. No noise reductin was employed. KEF speakers were used for audio monitoring and referencing on this recording.
There is a great wealth of traditional and contemporary music to draw from in doing an album for the winter season. These four albums have been most inspirational to me in conceiving of this album and in doing albums for the seasons.
Thanks to Doc Bochenek, Larry Boden, Mario Cassetta, Janea Chadwick, Megan Corwin, John Creger, George Cromarty, Jane Crosier, Alex de Grassi, Melissa Dufffy, Sylvan Grey, Howard Johnston, Gail Kennedy, Jerrol Kimmel, Silvia Kohan, Marin Moon, Steve Reich, Bola Sete, Sari Spieler, Liz Story, Marie Winchester