New Mexico Women in Music; 2; Bonnie Blum and Susan Patrick

Albuquerque Action Radio presents New Mexico Women in Music. You want to say something, and something else besides you wants to say something too. And they could just kind of go together and it comes out of the song. Our guest tonight on part two are Bonnie Bloom and Susan Patrick. The harpsichord is not a common instrument and you don't find in every music school male. A lot of times the players are kept apart. You can't play with a modern orchestra and you can't play a lot with modern instruments because you're simply not heard. Hello, I'm Marilyn Pittman, your host for New Mexico Women in Music. Tonight we'll hear the music and interviews of singer, songwriter, and guitarist Bonnie Bloom and harpsichordist and musicologist Susan Patrick.

Our guest on part two of New Mexico Women in Music, a three-part series on the finest women composers, instrumentalists, and singers in the land of Enjamba. Bonnie Bloom is a well-known performer in Albuquerque. She began as a solo artist several years ago and is now the leader and vocalist of Bonnie and the Boomerangs, a country rock-style band playing around town. Tonight Bonnie is performing her own tunes at a solo appearance. First, let's talk to her about her music. I mean, it's always been there. It's always been in my consciousness. It's yours. I mean, even when you were young and you were into it, you always felt like, this is it. My mother told me when I was three years old, I said, I'm going to have a band with my brothers in it when I grew up. Often, do you write a song? These days not too often because I'm working on getting them out there, I guess, because I really feel the pressure of this backlog of tons and tons of songs I've written. When you do write a song, even though it's been a while, it's been a couple months or something I can remember. What is that process about? I mean, what happens are you at an extreme low or a high or a... I don't know. Is there anything you can talk

about about it? Or is it just something that happens? Yeah. You want to say something. And something else besides you wants to say something to. And they could just kind of go together and it comes out of the song. How long do you think it... would you say it takes you to write a song? A couple of hours. Do you know when... I mean, do you have... You get that feeling. You get that feeling. It's a birth, birthing process. You know, it's from having children. There's something similar there that you can feel. You know, like, here's something that's going to be born. That's why I was saying on it's own a card. I don't think you always have that much to say about it. Because it can come through your washing dishes and you're cleaning up the diapers and stuff. And it's going to come through. You don't have to be... you know, with your head back laying on the sofa, you know, in the moon shining in the window in order to get an inspiration. It's really... I think the things click an idea of feeling a poetic kind of surging out and it just all mails together and say how it's like a living thing and that's born.

Why this distant, sweet heart moving makes me want to laugh and cry. Just beginning love is winning. It knows it's about to do or die. Number's flutter without meaning. Mathematics on vacation.

Stabilize this drifting feeling. Do me into your soul's station. Jimmy left out in a hurry after staying up all night. It reminds me that I will dance me. And in the memory, me will reflect me. If the moon is really ready, me more gon' kiss the dawn. Took my heart and lay, lay, night.

All of a thing has ways of leaving. Mystery marks and clothing ease. You're still a shot, but baby, baby, believe me. Everything's been softer since. I sing a song before love. I'm on the mast you said show. Life is loose, the weather's steaming. I've seen parts of this before.

Wonder what it's like in Frisco. See me knocking at his door. Sorry that time, not my Lucy, but feelings you and talk, feel bored. Happiness is in the changes. Happiness is in the changes. They're not strangers anymore.

Rocks and mountains seem horrible, but even they wash to the shore. Make me like a giant puddle. Thanks to you, I'm melting more. I can't say the things I'm feeling. See William Shakespeare at the corner star. Bonnie Bloom and a song called It's Only July.

Now back to our interview with Bonnie, I asked her if she found it difficult being a woman in the world of country rock music. I feel at home. I grew up with five brothers, so getting along with four members of a band is pretty easy for me. They're my parents. They don't think I know what's going on. That's not always so paranoid either. It's got to be leavened a little bit of rationality so you don't just totally freak out and dull your whole scene. But you have to say something. You have to say, hey, I'm feeling this way. My brother being the band helps because he's known me for a long time. He'll say things to me like all the men getting to you. That's nice. That's another protective feeling.

My brother is going to take care of me and he will. I'm under a six foot. In the songs to country songs, country music has a lot of crazy lyrics. We try to pick things that aren't going to turn us off too much in terms of like there's some real sexist type lyrics in country music. To me, I can be dinner. We're just good old boys and stuff like that. If I sleep with my best friend's wife, it's okay. We're just good old boys. In one sense, it's hilarious. You know, it's like you know guys like that. They're real people. It's a song about real people. You can't put it down. Let's hear about something a little bit higher. The music is so powerful. Yeah, it is. We work hard trying to pick stuff. Or if it's got something, those kind of lyrics, it's like at least it's a classic song that has some kind of beauty in it.

Something that's going to elevate you a little bit. How do you manage being a mother and having this career? I just saw that co-mitter's daughter movie. I helped my head so much. She had four little babies at home. And while she's trying to do her trip and I thought, God, I have nothing to complain about. Of course she had a good man stand. He was kind of up. I don't think I would have put up with him, but he stuck by her. Apparently in the movie anyway. Anyway, she had four kids. Kids are very difficult to deal with. That's just my life. I can't get too real heavy into it. I wish it was another way because this is me. So that's in the music too. It's all part of it. Do you have one child? I can't for your old and an 11-year-old. And how do they feel? They're pretty used to the whole life. They're used to it. You're being gone on gigs and all stuff like that. You just get babysitters. I'm friends and things like that.

Friends, yeah. Try to keep it so that it's all. They always know what's going on. It's not too weird. If I imagine if I'd gone the road for extended period of time, I could imagine taking them with me. It might be a little hairy, but I have to think about things like that. I don't want to be a stranger to them. But yeah, I think they can handle separation. Whatever kind of separation is necessary. Bring them up to be independent. Yeah, I have to. Sex and drugs and rock and roll. That's real. We already know about that. That is real. How do you keep yourself healthy? How do you keep your body okay from all of it? I mean, just in terms of the decibel level of the rooms and the sound systems here in the drugs. And staying up late. How do you keep the body going? More sex and drugs and rock and roll. More sex and drugs and rock and roll. Well, how far do we feel? My beauty's taking it zero. Oh, I guess. I don't know. Just feeling good and keeping some kind of discipline. You know, taking your vitamins and your kids. My kids are going to help me. You sure because you need to do some things for them.

That makes you do them for yourself. You can go food. Oh, food. Right. You know, the kid wants some food. And then you remember you have to eat. And then you take your vitamins. And then you go up for your little walk to go to the started by the diapers. And you got your exercise. So you see, I think it's for me. It works out real well to have kids probably because it keeps me together. I'm going away. Everything inside is blown away. By your love. Your strange, strange, strange love. But I'm here to stay. Yes, I'm here to stay. Even though it's totally blown away.

By your love. The honey, your strange, strange, strange love. Your strange, strange, strange love. Oh, your love. Your love. Oh, your love. We were on his side looking down at the city. Talking about the people and having so much pity. Now I'm on my knees asking you for mercy. Have mercy, mercy, mercy, mercy, please. All blown away. So blown away. Everything inside is blown away.

Oh, your strange, strange, strange love. Oh, your love. Oh, your love. Oh, your love. Oh, your love. Let us sometimes hide. Sometime that ain't so pretty. Maybe it's my mind that just can't face the nitty-gritty. Who would you love now?

You know it's gonna be a pity. So have mercy, mercy, mercy, mercy on me. Oh, blown away. So blown away. Everything inside is blown away. By your love. Your strange, strange, strange, strange love. Oh, your love. Oh, your love. Oh, your love. A song entitled blown away from our guest, Bonnie Bloom. So what's Bonnie doing now, I wondered? Trying to remember who I am. No, really, I'm serious about that. I've been looking through my old portfolios.

I've written lots and lots of songs in my life. And they're really good songs. And I wished that somehow I would have had it together. Or somebody around me would have had it together to put these songs on tapes or albums or something. Because they're like stories about my life. And the music of the time is in threaded in there. And it's of that time. The songs I wrote in the 60s sound like the 60s, etc. And it's great. It's just beautiful. It doesn't matter if it makes money or anything. It's just really a beautiful thing to be recorded. So I'm working on that. My little brain's going around that way. That means a lot to me. And it's been forced from being in the band and being so group-oriented almost non-individual oriented where you have to, each man has to give a little bit in order for the whole to happen. Right. That it's a nice balance to come back to myself and find out what I'm really trying to say. I'm sure you have a powerful influence. It being called the group being called Bonnie and the Boomerangs in your Bonnie. And I can't say that you told me I do.

Are you just the stage name? How does that work? Yeah, that's been a big controversy about that. And lately I've decided I have to be really have to be Bonnie and we really have to be Bonnie and the Boomerangs because for your own personal artistic satisfaction. Yeah. And for the good of the group, too, because it's just... I don't know how to put this quite, but it's like... Leadership is a good thing to have, even in terms of this very democratic group that we have going together here. But he has to put the pressure on, and I guess it's me. And that's what I've been doing. Like this is... You know, we've got to make the sets tight. We've got to, you know, whatever. You need somebody to make it the cohesive thing. Yeah. You don't have anyone like that right now or it's too... No, it's really been a very... Yeah. It's been very democratic to the point of where it's like been flaking out. So lately we've had this... We've had to kind of regroup, kind of reorient ourself mentally and put a lot more positive thinking into it. And that's been one of the things is work. Where's the focus, you know?

So I'm going to start singing more songs. I'm going to do more material of my own. And just come to the... To the former. So I'm not just, you know, Bonnie and Bloomerang's in name only. I mean, it's not because it's a power trip, I mean, I'm not interested in that. It's just so the whole thing works. They're very strong personalities, but I think as far as a stage personality, I've probably come across the strongest. Also, people come to see Bonnie. Yeah. And the Bloomerang. Yeah, yeah. And the fact that there is... I'm female in there. Yeah, they like to see women at age. They like to see people do, yeah. I like to do. Sure. You know? And... I have fun with that feeling. There's a... I'm going through a whole thing now where I'm learning how to... What to say in front of an audience when you stand in front of the microphone and you're supposed to say little things like, you know, here's our lead player. Right, or this song was... The song was written by which I've been really choked up in that area. So the same pressure that's been put on the other people. That's been put on me to force me to get to say that. So you're beginning to develop verbal personalities as well as verbal?

Yeah, yeah. So I'm not just the chick, the dumb chick stand enough. They're going, gee boys, what are we going to do next, you know? Yeah. Which is a horrible feeling. It might be... It sounds funny, but it's a horrible feeling to be up there and be totally powerless and yet everyone's looking at you. And especially since you were so a performer in an outstanding one, without boomerangs or another band, just on your own. How did you... I mean, how did you make... Or there are a lot of compromises you had to go through and what were those? From solo to a group. I mean, what drove you to that? I like being with other people. I like that feeling of working with other people. I get off... Getting off on each other's juices. Plus, just not playing bars by myself. Right. Is a little creepy. I could do it now probably a lot easier. It's just... I really enjoy playing with other musicians and that's where it's at. Has this experience with Bonnie and the Boomerangs given you more confidence? Yeah. Definitely. Definitely. Yeah. And the reason I can't do both in terms of like commercially, like play, happy hours and stuff is because I'd have to develop a whole repertoire in that area

and polish my act that way, whereas it takes away from the band thing. So right now... Without having two lovers. You're doing gigs in Albuquerque now with Bonnie and the Boomerangs. Is there a next step that you can visibly see in your mind? Yeah. What is that? Going on a state or going farther away, going away from Albuquerque. At least for periods of time to play music and making a record. It wouldn't be like the record of Bonnie and the Boomerangs. No. It's going to be a promotional record just to start passing it around as people. And... It's a problem here for people performing artists' musicians especially here in New Mexico because if you do really good music, there's really no way it's going to get much airplay except here at KU&M and then maybe on the enchantment albums or something like that. But you have... There's always wealth of talent and great ability and yet there's no channel to get it out because the radio stations choose to play the stuff that's shipped to them from L.A.

Mm-hmm. Yeah. It's a problem. One has to be really aware of that working in this business because... So you don't get real depressed and so also you can have a realistic approach to what you're doing. I think eventually there's going to have to open up these clubs. You're just going to have to open up because there's more and more people of creative statue or professionals, people who've been wearing... I talk to people all the time in the music business who are tired of playing stuff they don't like or doing something that isn't really coming from their heart. We intend to keep playing our original stuff along with the top 40. Whatever we do. So I'm a little person that came to me after our gig at... Oh, he's the other night said, you guys are different. He said it's going to be hard at first but in the long run that's going to be... That's what's going to help. That's good. I bet that made you feel great. Yeah. Because that's what you know in your heart. Yeah. You hope that's true. That's to have that strength, that confidence, to do what you feel, to do what you know in your heart. So it's...you know, it's real exciting because you know you're doing something different.

And there's no other way we can do it. There's no other way I can be, but different. What do you fear? I'm losing it. Losing your mind. Oh, your mind. Losing control. It's like someday saying, I can't handle it. It's too much for me. Yeah. Life in general. It's a very awesome event. And I guess being a creative person is one way of kind of getting a hold on of it and saying, Hi there. What are you doing to me? What's happening? What's going on? You know, because it forces some kind of meaning to come through. Yeah. The creative process. Do you think that helps? God, yes. The madness. Oh, yeah. Does it help the madness? Or is it the same? Yeah, they're both the same, of course. It's the end and the end. It's not the direct it. Yeah.

Maybe. I mean, that's no lie when they say artists live on the edge of insanity. It's very true. Do you think artists have to suffer more than everybody else? I think they just do. I think they just do. It's just because they're more sensitive to things. I mean, not that, see, I have non-artist friends. They're very offended at this kind of who are also very sensitive people. There's no way to express this thing. Life hurts for everybody, I think. And I think the artist just has a way of talking about it or singing about it or maybe that other people don't. And I would say that everyone is an artist in some way. Even if he's just building a house, if he builds a house and makes it look beautiful, he's expressing that same thing of overcoming the darkness kind of thing and making something of form. What do you do when you feel at your most mad? I scream. So sound is a relief. So that's right. I just start screaming and swearing like a truck driver or worse. You know, throw a few things around and I feel better. You never could suspect, oh, women and night time, they go together well.

Who could do it out then? Who could do so away? Do, do, do, do, do, do... The sound of distant traffic, the barking of a dog, the faraway music of ships inside a fog, the last dim lights shining on the lake, the jumping of a night, fishing the

chances that it takes away even in the night, go together will, both our dark and mystical youth can be the spring. Do-do-do-do-do-do-do Do do-do-do-do-do Passenating tales of lovers long-lost Of castles by the sea

Of summer and frost Of promises made And hopes to be fulfilled Of marriages and births and love lastings still Oh, when in the night time they go together well Both know in the kiss both the wind and the tail The moon's shown so sadly over two of nights The dark clouds moving against the moonlight The mountain sleeps so silently, the desert ever still

Oh, put your arms around me, please say you will Oh, women in the night time, the gentle pulsing spell Oh, women in the night time, oh, I do love the will Do do, do do do do do Da da da Da da da da da da da da Women in the night time, women in the night time Bonnie Bloom, singer, songwriter, guitarist, and leader of Bonnie in the Boomerangs.

In the second half of our program, New Mexico Women in Music, we're talking with Susan Patrick, harpsichordist and musicologist. She's been an assistant professor at UNM's Department of Music since 1974. We'll be hearing Susan play two pieces on the harpsichord tonight, but first let's talk about the instrument. Have you ever seen a harpsichord? Looks like a small piano, but it has two levels of keys and quite a different sound as you'll hear. Here's Susan Patrick to tell you more. The first ones that we find, either pictures of or direct comments about, come from about the 14th century. And the instruments are all really different, but the strings are plucked on them. They're not struck. And one of the main things that say a pianist who plays a modern piano and has to learn is that when you play a harpsichord key, you don't hit it, and you don't play to the

bottom of the key. You have to learn how to very sensitively feel where the thing that plucks the string, which is called a plectrum, where that meets the string, and where it's going to pluck it. And then you can control it. It's an instrument that's right under your fingers. And like, for example, a piano, which has all kinds of levers and just so many different things before you ever get to the string, that you don't actually feel it in your finger. Anyway, all harpsichords are like that. The first big body of literature you get is in the 17th and 18th centuries. And that's sometimes called the golden age of harpsichord literature, as well as organ literature, too. And there's a lot of solo literature from all different countries, and there's also quite a bit of ensemble literature. Where's the harpsichord come from originally? Nobody knows that I know of. The first instruments and the first music come from Italy.

You like performing? Yeah, I do. I suppose I like it for two reasons, and one of them is the normal, ecotistical, you know, musician, performer type reason, and the other one is just forgetting the music out there in front of the people, which I think deserves. And of course, since there's no harpsichordists on the faculty, or in fact, there aren't very many in all of New Mexico, the music isn't going to get done unless I do it. And it's really so wonderful. And it's also almost all of it is infinitely better on the harpsichord than it is on the piano. And so having a pianist play it just doesn't work as well. And I think it's, let's popular now for people to broaden their appreciation of music back into Baroque Renaissance Medieval times. And so maybe I'm just part of that trend.

I like to play, I do play mostly Baroque music just because that's what they mostly is. And I like putting that in front of the people. And I have to admit that I like doing the more the styles that aren't heard as much to educate and also to just do something different. Well, I suppose you might, maybe we could call it titillate as opposed to educate. What about contemporary harpsichord music? What's written? Well, there was a harpsichord revival that began right around the turn of the century. And actually the beginning of the revival was, of course, the revival of Baroque music. I didn't even know anything about Renaissance music at that point. A few, not a lot, but a few modern composers became interested in writing for the harpsichord and for other old instruments too, like the recorder or the viola da gamba. At any rate, they didn't know much about old harpsichords. They were building harpsichords at that time which were monstrous things with great big fat sound boards that were made more like pianos than actually harpsichords.

And so that's what the composers wrote for. They wrote for these hemongus instruments with these great big sounds. And a lot of the music simply doesn't work on, for example, the harpsichord that I have. You need, well, my harpsichord just doesn't sound good with four obos playing along with them. I mean, you can't even hear it. In fact, with one obo, it's difficult, you know, a modern instrument. Composers nowadays, a lot of them, certainly not all, but a lot of them are interested in the harpsichord simply because it has sort of a neat sound, a little bit different, perhaps a little bit exotic sound. And most of those composers, quite frankly, just don't write well for the instrument. I see from looking at it that it has, it does not have pedals that give it that dynamic like a piano would, right? No, some modern harpsichords have pedals, but they're not for dynamics. They're just for changing the registers, changing which strings you're plucking. Do you compose music?

It would be embarrassing. I tried, you know, when I was an undergraduate, everybody does. All music majors do that. Probably a lot of people who aren't too, you get interested in the theory and how you can put notes together and all this fantastic stuff. But then you find out that very few of us are meant to do that and that there are others of us who are meant to what you might call recreate, maybe instead of create. Well, what are you feeling when you're playing this? What is that emotion about? Oh my, you know, any performer will tell you something different. I'm not going to say that you don't feel emotions when you play, but I don't like the equation very much of music, different types of music with emotions. I prefer to think about it just as music. And when I'm playing, we don't have a really good vocabulary music. Most of our words are stolen from all the visual arts or literature, the criticism that goes along with that.

We don't have very many good words. And I don't think in words when I'm playing it all. I hope I'm thinking in music if that's possible. And on the other hand, I don't think about, you know, well, now I'm going to put down my second finger and then comes the third one. It's not a technical kind of thing, but on the other hand, I also don't say to myself, well, Susan, you've got to be sad before you go out and play this. I just think about the music. What about the two pieces we're going to hear tonight? Tell me about the first one. The first one is by an early 17th century composer who was one of the first keyboardists to write down a fairly large body of solo literature. Most of his music can be played on either the harpsichord or the organ. And in fact, in my opinion, the great body of it actually works better on the organ. He's known for some rather shocking kind of musical characteristics, a lot of chromaticism, very tiny sections making up a piece, almost like a mosaic, so that you don't have a lot

of times you don't have any idea carried through that we expect in modern music today. We expect to have sort of a unifying force with that piece. And he'll change tempos on you and change figurations. And that doesn't mean there's nothing holding it together. There is. You just have to listen harder for it. The piece that you're going to hear is made out of a myriad of tiny sections. And besides that, sort of overlayed on top of it, there are about four larger sections too, but you couldn't really call them movements. Prescabality was an organist at St. Peter's in Italy and I often wonder if his congregations were listened to the organ music that was going out there, what they thought, if they were shocked or not, or whether they just didn't listen at all like a lot of church congregations today. Thank you.

So how did you happen to choose the harpsichord?

I started piano when I was six or seven years old and I wouldn't say I never felt at home on it, but my teachers were the typical, you know, people who did it out of the backroom because I needed a little extra money. And when I got to college, I had the first teacher who told me about arm weight and playing from your back and using all the muscles in your back and it scared me to death. So I switched to organ and I liked the organ, I felt a little bit more at home on it. Then when I got to grad school, I discovered the joys of ensemble playing and I also decided I didn't want to be a church organist the rest of my life. So I switched to harpsichord and that's what I've been ever since infrequently playing the organ now and then.

I hardly touched the piano, it's very different technique, it would be sort of similar to my trying to keep two instruments such as cello and saxophone going at the same time and being equally good on them, it's very different technique. Let's talk a little bit more about your profession as a musicologist, a harpsichordist and as a professor in an institution, an educational institution, you're a woman, it's something special about that in those contexts. Well, let's just say I hope things are better for my daughter. In graduate school, there are certain subtle things that happen. The field of music has really always been open to women, especially performers. The problem comes, I think, just as in other fields, including ones that are also traditionally women's and that is if you ever try to get into a position where your judgments are forced

on other people. In other words, if you ever try to get a PhD for example, then you have to write a dissertation and you have to have opinions and judgments. You're not just interpreting something that can't be put down on paper, you're not just out there on the stage playing, you're actually having opinions and trying to get across ideas and persuade people. That's what you do also when you're teaching classroom courses to a certain extent, you're trying to persuade people and I don't mean to say you're trying to just give your opinion and nobody else's, although sometimes it turns out like that. But you're putting a position of having strong enough opinions to want to teach other people, to have a desire to teach. I think that a lot of people subconsciously perhaps don't like women to do that, they're not used to having women up in front of them, telling them what to think or giving them

even, giving them the option of two or three things to think. Say a lot of people do mean men mostly or women too. Now I think I'm afraid it's men and women and the difference is that a lot of women today of course will go to great lengths to at least recognize their own prejudices and that's more than half the battle. What about improvisation when you play the harpsichord? I assume you mean in Baroque music. Some modern composers give you a chance to improvise but not very many of them. There are really two different things. One category is huge, it's really big and that's within the category of what you call continual realization, there's a sort of shorthand for a lot of Baroque music, the harpsichord player is given just the left hand or the bass line and underneath it bass line there are a series of numbers, if you're lucky sometimes you can get the numbers and you're supposed

to add with your right hand the proper harmonies but in addition to adding the proper harmonies you're also supposed to play it artistically, you're supposed to ornament, you're supposed to break chords, you're supposed to have little melody fragments come out when it doesn't get in the solos way, you're supposed to do certain things like stay under the solos, there are all kinds of rules and regulations for it and besides that you're supposed to have what's called the good voice leading, in other words it's supposed to sound good it's not supposed to jump all over the harpsichord and this is or it was improvised totally, all you got is the bass line with those little numbers and so yes I do a lot of improvisation when I play continual, when you're playing solo music you have a little bit less to do and a lot of that depends on the composer, for example in Bach you can add ornaments now and then and you can fill out chords and do a few things but you can't do a lot because as the people of his time already noticed he put in almost everything he wanted, there

are other composers that left just a bare skeleton and you have to add things, you have to. The second piece you're in here is an Enzamel piece and the Albeplan Continuo and that, the two solo instruments are a Baroque flute, not a modern one, and a recorder which is also an old instrument, they play the two upper parts and I play the bass line with all the harmonies in there with it and that's a, it's a piece that was written by a man named Quance in about the middle of the 18th century he was one of the favorite composers of Frederick the Great for the main reason that he composed a kind of music that Frederick could play, Frederick was a flutist and Quance, he's a good composer, this is a really nice melodic piece, as I say from the middle of the 18th century it's much more what a modern audience would expect out of a piece of Baroque music, it has four movements there, sort of slow fast, slow fast, it's much what you expect or what a fairly educated audience member expects

out of a Baroque piece of music as opposed to the fresco ball day. Where and how was this music played, what was the purpose for it? The Quance was probably done in court, it may have been performed by Frederick and one of his other court composers or whatever, by that time about the middle of the 18th century music is pretty easily divisible into three categories, it's either for the court or it's for the church or it's for the theater and in fact it's opera or oratoria. I don't mean to say all music is that, don't forget folk music and popular music of the time that we've just lost track of completely. While the

.

. . . . . . . .

. . . . . . . . .

. . . . . . . . .

. . . . . . . . .

. . . . . . Susan Patrick Harpsichordist and Bonnie Bloom Country Rock Performer. Our guest tonight on part two of New Mexico Women in Music. A three part series, profiling seven of New Mexico's finest women and the music arts. Next week, on the third and final segment, we'll be listening to the music and interviews of Magdalene Luky, pianist and Robin Scholkowski, percussionist.

So listen again, next Wednesday night at 10 p.m. on KUNM. I'm Marilyn Pittman, your host for New Mexico Women in Music. Thanks for listening. . This program is funded by a grant from the New Mexico Arts Division. This has been an Albuquerque Action Radio presentation.