Arthur Russell, much like his contemporary Julius Eastman, defied categorization. He straddled the worlds of composer and pop artist, mingling introspection with disco revelry, and hailing from Iowa while rubbing shoulders with luminaries like Allen Ginsberg. Yet, despite our efforts to grasp his essence, Russell remains elusive, his music radiating a serene enigma that defies definition.
Tom Lee, Russell’s partner, offers perhaps the most intimate glimpse into the artist’s world, shaping our perception of him through his meticulous curation of Russell’s vast archive. Despite Russell’s connections and talent, he only released one studio album in his lifetime—1986’s “World of Echo.” After his death from AIDS in 1992, Lee took on the monumental task of sifting through Russell’s extensive tape collection, collaborating with Steve Knutson of Audika Records to bring Russell’s music to light.
Audika’s releases, including acclaimed albums like “Calling Out Of Context,” “Love Is Overtaking Me,” and “Iowa Dream,” represent a meticulous preservation of Russell’s legacy. Each album feels like a piece of a larger puzzle, meticulously pieced together to offer a glimpse into Russell’s creative process. Despite his tendency to flit between projects, Lee and Knutson have curated a cohesive catalog that serves as a map of Russell’s artistic journey.
The recent release of “Picture of Bunny Rabbit” is a testament to Audika’s dedication to Russell’s legacy. The nine pieces on this album evoke the haunting ambiance of “World of Echo,” with Russell’s ethereal voice and cello casting lonely echoes into a sea of reverb. Listening to “Picture of Bunny Rabbit” feels like stumbling upon a hidden treasure—a chance to experience more of Russell’s timeless work in its purest form.
There’s a transcendent quality to hearing Russell in this ethereal realm once again—the dust motes dancing in the light, his voice and cello weaving murmured prayers into the fabric of sound. While his words may be indistinct, certain phrases pierce through with crystalline clarity, drawing listeners into Russell’s enigmatic world.
Many of the works on “Picture of Bunny Rabbit” bear the mark of Knutson and Lee’s collaboration, seamlessly blending with Russell’s original compositions. Pieces like “In the Light of a Miracle” stand out as sublime creations, edited and shaped by Knutson to reveal moments of pure revelation within Russell’s improvisations. For Russell, “World of Echo” was just one facet of his multifaceted musical expression. Whether crafting dance anthems or composed works, his music emanated a transcendent longing, all pointing towards the same elusive light on the horizon—a luminous beacon that only Russell could perceive.