Sunday, October 14, 2018


Dead Bars, not Counterpunch. 
Showbox at the Market, Seattle, 
October 11, 2018

October 11, 2018
Dead Bars
The Bombpops
Strung Out

The Showbox at the Market, Seattle

Our long-time favorites Dead Bars opened at the Showbox.

Let me say that again.

Dead Bars opened at the Showbox! Woo Hoo!

We have watched and listened to this fine little band rise from their beginnings as a one-off pick-up band thrown together to play a few songs before Your Mother Should Know came on at the Comet back in 2013 - a great show that also included two of my other local favorite outfits: Rob McDonald's Canals of Venice and Emma Danner's Red Ribbon. It was our anniversary, so Karen and I were delighted to be there as they spread their wings on the ample Showbox stage. They even played Regular, which is one of Neal's songs!

Counterpunch hails from Chicago, The Bombpops, who were down one regular member to attend her sister's wedding and for whom their producer filled in, if I got the story straight, were from San Diego, and Strung Out has apparently been doing their thing since 1989. This is not the first time we have been to a show because the opener was somebody we knew, and in which I had never heard of the headliner.


October 8, 2018
Concerto in F BWV 1047 - J. S. Bach - New London Consort, Philip Pickett

subdued trumpet touched to balance flute and strings
outsized no more
each part given its full color and articulation
not a reduced orchestra, but a chamber ensemble of only the players absolutely necessary to cover the parts

Quartet in E minor Op. 59 #2 - Beethoven - Alban Berg Quartett

do not approach directly
it will struggle to break free

a vacancy in its middle

third movement gets stuck in tuneland (which paid the bill) and has to work mightily to sneak out the back corridor

fourth movement
here be the cheerful hero youth to finally grasp the prize
if only there were any end to braggadociations

October 9, 2018
new moon
Aria "Il veccio cerca moglie" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

was setting it in far off Seville just enough distance to pass the censors?

Answer after some research, sort of, but not really. Beaumarchais had spent some time at the Spanish court. What a crazy life he led! What other 18th Century watchmaker's name springs so easily to mind?

Stockyard Strut - Freddie Keppard [from Alan Lowe's That Devilin' Tune]

before imitators imitated celebrities they clowned types and critters
anything to get a laugh
the act made more money if there was music
so the band learned to imitate the imitators imitating clown types and critters
somebody's tappin'
everything is a show

Howl (for Carl Solomon) - Allen Ginsberg [from Holy Soul Jelly Roll]

would prefer to read without hip static

post holocaustic flagellation
tunes his pitch to the room of words

the vast stone of war

oh Victory
forget your underwear

Twenty-Four Tonal Preludes: 9 through 12 - Greg Short - Keith Eisenbrey [June 2009]

I like my playing on these, deliciously reckless
Greg's piano writing is brilliantly orchestrated
Busoni-ish in expanse

Smile - Oscar Peterson [from The Great Connection]

each impact keystroke chord struck
slips so perfectly into the granular swing

dropped from above

such clear thinking!

Intermezzo - Aaron Keyt - Keith Eisenbrey, Aaron Keyt

A story teller tells a tale with tune bits
edges between segments are given room to breathe
by spreading them oddly among the two pianos
(even with the shuffled order of the ultrafamiliar we give it a long line lyricality)
a play
in the form of a dialog
between two pianos

October 12, 2018
Papa Legba - Talking Head [from True Stories]

adds interest by adding sounds rather than by re-arrangement
gets stuck when there are no more to add that make a difference

Banned Rehearsal 272 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 1991]

Aaron provides music lesson for young
and old beat drum beat drum gibberishpoems
"free space for causeless bliss"
persistent drumming drum must be tapped at all times wolves dontcha know wolves say what
do I hear slinky back there?
we howl at the leaves
missivate to the stars

pa pa hay dn's
dead and gone

but his mem ree ling ers on

in the grave his bo dee rots

these are rhymes
we teach our tots

that was a subtle use of rhyme there pal
nonsense rhymes for the outré 90s dad
absurdist radio play

best cadenza ever
you're welcome

Sunday, October 7, 2018



September 29, 2018
Free Improvisation: The Quartets Project
S. Eric Scribner presiding, September 29, 2018, Chapel Performance Space, Good Shepherd Center, Seattle

Aaron Keyt, piano, objects, melodica
Bruce Greeley, bass clarinet
Carol J Levin, harp, electric harp
Ha-Yang Kim, ‘cello
Jim Knodle, trumpet
Karen Eisenbrey, piano, objects, drums (?)
Keith Eisenbrey, piano, objects
Neal Kosály-Meyer, piano, guitar, voice
S. Eric Scribner, piano, percussion, field recordings
Amelia Love Clearheart, bringing what she brought, doing what she does

Mr. Scribner gathered this cohort of 10 to improvise variously arranged quartets while carefully avoiding having too many Banned Rehearsal members all together until the very end when we were all there anyway. Good feelings all around.


September 30, 2018
Twenty-Four Tonal Preludes: 5 through 8 - Greg Short - Keith Eisenbrey [March 2007 at University Temple United Methodist Church, Seattle]

5. lively but a bit rushed; 6. crazy man; 7. tender, lovely, childlike, lullaby waltz (delicate piano writing!); 8. tells a whole story complete with corporate lament refrain, a ballad, that is, is what it is

Where Do We Go From Here - Oscar Peterson [from The Great Connection]

a show-off but
o what glory!

a tour through his colleagues' manners
a tip 'o hat to Bill
a say hi to Sphere

Track 5 - Empire Brass Quartet [from American Brass Band Journal Revisited]

brass fandom
another enclave
with its enclave pleasures

Banned Rehearsal 82 - Karen Eisenbrey, Keith Eisenbrey, and Neal Kosály-Meyer [May 1986]

blowing pipes
rattle laugh
third body
imaging itself
as bumblebug balloon rub
elastikissing sticky kiss
rainbow plane
pass over
dog barks
twangchord talks
balloon talks
pipe blows
still guitar strums a while
and also another bell bongs
pipe blows
pluckdrone pipes blow (two of them)
we retreat back to sounds just made before that what
that will now new be made
guitar close in
but specific close
not equal
so drumbody
an utterly other sense of playing well
giving it your voice
in doing so
it allows others
to give theirs their voice
the world is our axe
and laughing box
return to rattle again
sleepy as they are
focus remains

October 4, 2018
Something In The Way - Nirvana [from Nevermind]

interval: between acousticish sound and electroreverberated sound drives it
driven: by 2ish note tune then 3ish note tune
intriguing that it doesn't go on because it could

Sonata in G - Pietro Locatelli - Philharmonia Virtuosi [from Musical Evenings With The Captain]

never finish a thought unless thy finish be to pick up another thought
never finish a balanced thought
music before Beethoven killed it dead
two violins and cellopiano continuo
movements arranged not for drama but for social function presumed
else why?
better than whist by far

Ballad of the Whitman Greeks - Wes Weddell [from My Northwest Home]

the city they named twice made famous by a cartoon a story heard having been told to
but unverified
micro-urban myth?

"...woe my road is spoken..." draft 060604A - Keith Eisenbrey

another midi go at my variations for string quartet
playing with just so variation flowing through just so continuity
room to breathe
finding foil and echo in a pitch pattern

Bury Me Close - Rachel Harrington [Celilo Falls]

wrapping words around a place in the voice
the place that lies above and the place that lies below
waters upper and lower
should have seen her dance

Lincoln Beach Park Walking North - Keith Eisenbrey [May 2016]

I accidentally recorded this
pushed record unintentionally

so wasn't careful

saw a seal

latter day dinosaur sound (microphone bump bump) overlays sound of walk and sounds along walk

right left
left right left
he had a good job
and he left right left

rhythm between the relations among the sound from outside our mechanism of walking
the sound of our walking the sound of our talking while walking and the sound of the device hitting and rubbing

sexy flange of wave sough

In Session at the Tintinabulary

October 1, 2018
Gradus 340 - Neal Kosály-Meyer

does the quantity of simultaneously played notes count beyond 1, (2) (many) (lots)? and is that importance commensurate with horizontal quantity?
possibility: composition can resolve or confuse that issue or mediate that resolution and confusion

Saturday, September 29, 2018



September 27, 2018
Greg Sinibaldi Trio (Ray Larsen, Remy Morritt, Greg Sinibaldi) / David Pate and Steven Cohn
Chapel Performance Space, Good Shepherd Center, Seattle

DP and SC:

fluid tour through times and joints (of all the)
linger in the back booths
down the long byways
nightish slipping into reverie ways
passing time(')s past time past passing
flung in part from earthbound

largely concerned with the surface between their individual sounds
a wrestle afloat in temporaneity

skin shared
intent skeined
(more'n one way to)

switch instruments but don't change the subject

keep it lively


tone fills space

giant slam speaking

location projected with weight throb ventriloquized under liquids and corridors
cathedralic culverts

a raft
rocking swells

imagine a tempo and phase along it

hot rod star machines gunning motors

blow bell blow

simple melody writ enlarged

ether ways net work tapped


September 25, 2018
Concerto in D BWV 1050 - J. S. Bach - New London Consort, Philip Pickett

its parts show
its cooperations laid bare
all of them

we are aware of awareness

Quartet in C op. 59 #3 - Beethoven - Alban Berg Quartett

straight tone to explain
where it might go anywhere

the sides of each thing are hidden behind what you hear
not until they turn the corner hidden inside

traveling by warp and weave
these parts do not cooperate to fit

they are carved to fit
joined cabinetrically

Sequito del Quintetto "Buona sera, mio signore" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

just taking care of stage business

Hot Mustard - Fletcher Henderson [from Alan Lowe's That Devilin' Tune]

such an easy move from part to part
nothing to it
packed with event but never crowded

America - Alan Ginsberg [from Holy Soul Jelly Roll]

drunken reading
"my mind is made up there's going to be trouble"
"I'm addressing you"

stand-up comedy act

"queer shoulder to the wheel"

In Session at the Tintinabulary

Sepember 24, 2018
Banned Rehearsal 967 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, September 22, 2018



"The words we choose to address our musical thoughts and concerns are moral actions. It's not that, by choosing, we have acted in a moral way; nor is it that, by choosing, we act in a way that is good or bad. It is, words are actions, actions that are subject, subject-able, to moral considerations. By choosing words to address our musical thoughts and concerns, we choose verbal language; by choosing verbal language, we choose, willingly or un-willingly, wittingly or un-wittingly, many words, many actions, many moral acts."
Jon Forshee "If Music, as a Music: Three Notions Around the Thoughts of Benjamin Boretz" Open Space Magazine issue 21 spring 2018



September 16, 2018
Forever - Screaming Trees [from Clairvoyance]

twice the tune
twists away from its starting
instrumental bit

then twists away again
just to the point of losing

Banned Rehearsal 271 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 1991]

old ice cream
at Toad Hall
advice for adult living
baby talk
inane conversation with sound effects
distraction of infant in the room

lots of pistons

Aaron proclaims that when J became 27 years of age Bruce Springsteen would be president.
that would be strange
opined Karen
not as strange as who is president
now that J is 27 years of age

Sonata in D minor - Jean-Marie Leclair - Philharmonia Virtuosi [from Evenings With The Captain Vol. 1]

contrapuntal weaves were all the rage still
so everything copied it as a model
as later the operatic scene

civilized grace (what else would one expect from a Jean-Marie?)
some instrumental showing off

September 18, 2018
Drifting - Wes Weddell [from My Northwest Home]

free reed harp as one-man horn section
song of where we landed

Making Hey - Eve Beglarian - Eve Beglarian, Matt Fieldes, Damien Bassman [from Open Space 21]

or was
as in
at as
an or
even was
when that
as in

Night Signals Journey To The Sea - S. Eric Scribner [from Stormsound Cycle, May 2011, private recording]

doing next to nothing for a stretch inflates doing anything from both sides of the performance doing divide
turning in sleep

. . . crickets . . .

woke up the birds

abide next to nothing

abstract literal
(fact as though image)

September 20, 2018
Finnegans Wake Chapter 8 - James Joyce - Mary Lorson and Brian Hall [from Waywords and Meansigns]

on a bed of tones and crickets ALP told all about as a comic dialogue
from the Ginsbergian Beat Voice Sound notion
i.e. music sound upon which to sit
to lie
8 bit hip hop

what men say about women
never the other way

witness we are to conversants' conversant converse

a pause as to shift
point of view


In Session at the Tintinabulary

September 17, 2018
Gradus 339 - Neal Kosály-Meyer

6th B up then a 4th above

Saturday, September 15, 2018



September 9, 2018
Zeitmasze - Karlheinz Stockhausen - London Sinfonietta

not yet
if it ever will be
divested of its operatic flow

a scene of sniping-at-each-other people

irreproachable by design

staining the whole is its forcefully presented Modernity, its Avante Gardity
the purpose of this music is to set the front point of the fashion of music
to get ahead of us'n'all

Try A Little Tenderness - Otis Redding [collected from Dave Marsh's The Heart of Rock & Soul]

magnificent right up to where it gets big and self-absorbed for no particular payoff beyond a merciful fade-out

Younger Than Springtime - Oscar Peterson Trio [from Great Connection]


from texture
to texture

to touch

September 13, 2018
A Pedantic Soliloquy - Keith Eisenbrey, Neal Kosály-Meyer [November 1981]

just post under graduate thinking processing as sonic or aural essay

the text
the sighs



chains by x-junctions
bare channel LR composition personhood

bangclankclapwhap reminiscifying a chamber Trans a la Stockhausen

weary feet

we break into anthem

music theory in its performance practice


September 10, 2018
Banned Rehearsal 966 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, September 8, 2018


Like it is

September 2, 2018
CHA Trio - Heather Bentley, Amelia Love Clearheart, Carol J. Levin
Cafe Racer, Seattle

Such a beautiful time this was
CHA Trio is a chemistry found, a rare and precious thing

after their set other threes of us rode their sparkly wake
(thank you for allowing your blogger to join in progjazz keyboardist guise)


September 1, 2018
Duetto "Pace e gioia sia con voi" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

conflict is a structural interaction

Rabbit Foot Blues - Blind Lemon Jefferson [from Anthology of American Folk Music]

"bisquits are a little thin"
light quick strummelo

Do blues guitarists often play in A-flat
or has this recording been sped up?

Your Promise To Be Mine - The Drifters [collected from Dave Marsh's The Heart of Rock & Soul]

The vocalist needed a pop guard.
(sweet sax track in the back)

The Great Airplane Strike (remix) - Paul Revere and The Raiders [from The Legend of Paul Revere]

spy sound with a power blues heft to it

Jenny Nettles - Harry "Pappy" Wells [from The Art of Field Recording Vol. 1]

fiddle scribblin' with left hand pizz!

followed by the obligatory "I made some mistakes like I thought I would but that there Jim Davis used to play that awful nice" nuanced self-deprecation

It sounded pretty fine to me.

Strict Time - Elvis Costello [from Trust]

gamelonic flow

Banned Rehearsal 81 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

Tad Pole - Kosály-Meyer - we continue sudden singing
slip rattle backbeat
several false starts stacked in sequence onto the end bone of it

microtonal study - some people likes a beat

goes on too long in a most peculiar way
part two with vocals and funmaker sneaking in there
quite the sham man there chant there

Kyrie eleison - my vocal plus 'du

more of the sorts of microtonal thinking that only liberated intonation would allow
whipping flames out of that tambourine back there karen!
the between bits composed as to be uncertain for a good long whether one is in which bit of what song

". . . to pick up where we left off" (more stuff under the seat left back there)
one is in or not static stuck but tugged

Karen lofts the date into the epistolarisphere
the rhythm of the pace of writing read as improvised textual crosspointed 3-dimensional poetry

September 3, 2018
Fear Bitterness and Hatred - The Young Fresh Fellows [from Electric Bird Digest]

we hear in excruciating detail some venerable genre of psychedelic surf parking out in a moralizing 60's message board

Duet in D - Haydn - Philharmonia Virtuosi [from Evenings With The Captain]

a pleasant breakfast in the sun room
its own costume drama parody
playing for its fellow wizards

Lakeside Summer Home - Wes Weddell [from My Northwest Home]

its tense: past telling present subjunctive had now been past narrating the present as though from the future

"...woe my road is spoken..." - Keith Eisenbrey [midi draft of June 3, 2006]

disparate times in a row of chained pitch worlds

Great White - Youth Rescue Mission [from Youth Rescue Mission]

coloristic active composite arranged patterned

Something of Mine - St. Rage (Your Mother Should Know) [mix of April 19, 2016]

And we're going to go give blood today too! waddayaknow!

September 6, 2018
Concerto in B-flat BWV 1051 - Bach - New London Consort, Philip Pickett

reveals what is admirably small and transparent
allowing maximum differentiation, the play among individual strings isn't washed out in box resonance
inner overlaps each distinguished

portativ continuo? interesting and quite successful!

but keyed down so that its intricate address is made plain
its hocket phrases are allowed to remain made of parts made by individual players

no big deal here move along

we can't

See, The Conqu'ring Hero Comes from Judas Maccabeus - Handel - Philadelphia Orchestra, Eugene Ormandy, Mormon Tabernacle Choir, Richard Condi, cond. [from Handel's Greatest Hits]

played for dreariness and all it doth not add

Aria "Contra un cor che accende amore" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

every moment a theater
a stage made of dynamic moments

High Fever - Coon-Sanders Orchestra [from Alan Lowe's That Devilin' Tune]

patterned sequence of time spans similar
but made not so
by each's display
watch me!

Symphony 1 - Samuel Barber - Saint Louis Symphony Orchestra, Leonard Slatkin

comes on like movie credits of the 30's
must grab NOW
moments of being must be ultraexperienced
in big screen passion

In Session at the Tintinabulary

September 3, 2018
Gradus 338 - Neal Kosály-Meyer

shows its hand as the better idea
recomposed from the ground up

the color of water
protesting singularities

a discussion about wealth
among friendly climes


Saturday, September 1, 2018



August 25, 2018
Mossyrock, Lewis County - Wes Weddell [from My Northwest Home]

guitar plucking tenor minstrel
a collective memorial

Kilvert's Hills - Krassimir Ivanov [from Open Space 21]

contrabassoon, I think

turns melody's ear here

all been there
never wasn't

a cozy room in the woods

Nature Lives in Motion Part 2 - S. Eric Scribner [from Storm Sound Cycle, Chapel Performance Space, Good Shepherd Center, Seattle, May 2011]

I drew a picture and wrote a poem

August 28, 2018
Finnegans Wake Chapter 7 - James Joyce - Mike Watt & Adam Harvey [from Waywords and Meansigns]

guitar thrum color of page
figures texture of tale
slipping off character intrusion of voice
goes under (done)

August 29, 2018
Hallelujah, Amen from Judas Maccabeus - Handel - Philadelphia Orchestra, Eugene Ormandy, Mormon Tabernacle Choir, Richard Condi, cond. [from Handel's Greatest Hits]

It isn't that he had a tin ear for English, it's just that he didn't care. Settled for blocks of affect.

Requiem - Mozart - The English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir,
Barbara Bonney, Anne Sofie von Otter, Hans Peter Blochwitz, Willard White

accretes and presses down
to rise while falling
all the while a collective endeavor
any given passage traverses solid spans
we never get to where we were
no span remains
or survives a passage

In Session at the Tintinabulary

August 27, 2018
Banned Rehearsal 965 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer

On the porch with
Aaron, chanter
Neal, phone
Karen, autoharp
Keith, ukulele

also sharing a few little bells and a dried leaf

August 31, 2018
University Bridge 180831 - Keith Eisenbrey

cars on grated bridge deck go by