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The brass quintet Come Spring!, unfortunately recorded in a very dry unflattering acoustic, moves from one event to another in what seems to be the Brazelton style, an intermix of Feldman, Miles Davies, Janis Joplin and others, that delivers some attractive surface work but doesn't get anywhere, like this short-lived rhythmic pattern from the second 'groove-centric' movement called 'Miles Through an open Window' [listen -- track 2, 1:39-2:30]. The best of the music is in the 'voice-centric' third movement in which she explores her student interest in medieval plainsong [listen -- track 3, 1:26-2:26].

R, completed in 1998, is the only track in which Kitty herself features as performer, singing a 'bizarre half-dreamed lullaby, halfway between the magic realism of Claude Vivier and surreal exotica of Yma Sumac' (to quote Frank J Oteri's enthusiastic notes) [listen -- track 5, 3:04-4:01].

From the same year came Sonar Como Una Tromba Larga (To sound like a great waterspout) for trombone (Chris Washburne) and a tape created by Kitty in the Columbia University Computer Music Centre using sounds played, spoken and breathed, by the trombonist. It is by no means very advanced work of its kind, but it does become quite intriguingly percussive about half way through [listen -- track 6, 6:52-7:50].

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