Jeritree’s House of Many Colours

Coming Soon! A vinyl repress and digitized re-release of the LP

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cover photo: Elena Sheehan / Sound engineer: Marilyn Ries

The sounds, words, music here express a large range of moods, colours, textures, sensibilities in the construction of imagery within a dramatic sequence for the particular intent of giving shape to my experiences and visions. [1978 Sea Wave Records]

From “Sea Wave”:

From the Review by Peter Harkawik in Listen To This (September, 2018):

Hilderley’s vocals are shimmering specters that emerge from the stereo and linger in space long after the record has stopped spinning…. For me, the true delight here is the final piece, “Through Your Blue Veil,” a stirring devotional tune in which Hilderley somberly returns her lover’s assorted virtues, somewhat tarnished (“I give you back your perfect mouth/Less perfect since I have known you”). Its emotional power is shocking, disarming, and without comparison.”


The power of House of Many Colours is in many ways demonstrative, and it more closely resembles a kind of praxis than a display of artistic talent or ambition. Its politics operate on a broad formal level, without slogans or entreaties to identify or exclude. I am reminded happily of the experiments of Brazilian artist Lygia Clark, who by 1970 had given up plastic art for individualized psychotherapeutic encounters, or what she called “ritual without myth.” I can think of no better way to describe Hilderley’s stunning achievement. Read More


From the Review by Kay Gardner in Paid my Dues, (Summer, 1978):

It took time to approach Jeritree’s House of Many Colours. Its uniqueness was scary. I wasn’t accustomed to listening in the way this album demanded I listen. The music is avant-garde, improvisational as well as compositional – meaning, as she writes on the liner notes, “direct improvisational expression integrated with carefully worked out structures and conceptualizations.” One might call it “classical.” Another might call it “jazz.” It could be either or both, but I think it defies classification.

Jeritree in recording studio by Rena Hansen (1978)

Jeritree (Jeriann Hilderley), the LP’s creator, is a renaissance woman singing her poetry while playing marimba, percussion, cello, guitar, and wood flutes in various combinations. The studio technique of overdubbing – allowing a musician to play duets, trios, etc. with herself – is utilized tastefully to create an accompanying ensemble of instrumental sounds all made by Jeritree. (Marilyn Ries, engineer, must be given special mention here for making it work so well.) The only thing missing might be the special interchange between various musicians that makes for added musical excitement.

Those who listen with preconceived notions about singing, open your ears! A visual artists friend of mine, on listening to the album, compared Jeritree’s voice to that of Piaf in its strangeness, its rapid vibrato, its emotional depth. It is a voice that knows pain and joy and feels it to her very gut, a voice indescribable in its otherworldliness – not trained, not stylized, not cultured. She chants, wails, touching places in us where deep feelings hide. It is an intense voice.  READ MORE

The original vinyl sells for $350 (but wait for our new re-release!):

“JERITREE- House Of Many Colours- (New-Age Lesbian free-jazz folk w/ Jeriann Hilderley. Post-Coltrane marimba abetted by cello & afghan drum w/ long crescendos & willowy ‘outsider’ vocals ala Leon Thomas. Produced by avant-lesbian sound engineer Marilyn Ries….)” – Groovytunesday

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