Saturday, November 18, 2017



November 11, 2017
Amy Denio
Truth is Up for Grabs
Chapel Performance Space, Good Shepherd Center, Seattle

Pre: Neal tells us that 2/3 of Neal's & Anna's wedding brass ensemble is participating. Packed! All the chairs are brought out. Big enough to be a murmuring, luscious in this space.

The governing vibe is of a pit orchestra, rather than an art orchestra. That is, there is no concerted attempt on the part of the performers to transcend themselves and become else than a group of musicians playing this music.

Full tilt expression, nothing held back, nor humor nor sorrow nor low nor high nor ought nor else.

How they end (the songs): not quite abrupt(ly).


November 11, 2017
Banned Rehearsal 620 - Karen Eisenbrey, Keith Eisenbrey,  Aaron Keyt, Neal Kosály-Meyer [October 2001]

Snare drum springs soften the sax. I revisit an old thought. Weighty massive thoughts dimple the ground. Tattered banners bothered in a chilly wind. Dampers off the strings prolong sax bleats room eloquence. Frivolity kept away. Every thought is a palpable mass.

O Mary Don't You Weep - Bruce Springsteen [from The Seeger Sessions]

As (though) recorded live in a big living room.

Banned Rehearsal 787 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [March 2011]

bits of sound barnacle the border
hints of vastness in the near distance
held back
drums guitar and bass a rock band
in the same sense we were ever a jazz band
"banned rehearsal" pronounced "scribble scribble"
eloquence feeds back has been trying to escape into glory
irreproducible results Neal sings!
It Was a Monday Evening
narrative church rhythm thank you very much
done found some groove we never found before and never will again

Bulleya - Amit Mishra, Shipa Rao [from Bollygood Volume 2]

Values production value. What is this without its bells and whistles? Full throttle is the base line setting.

November 12, 2017
Your blogger, ca 2001
Ut Re Mi Fa Sol La - William Byrd - Elizabeth Farr

Recorded so that, or is it always that, harpsichord sound is more specifically localized than piano. It is lighter, pointier. Immense intellectual heft, lightly borne, tales within tales within could finish and be done several times but then continue on, again, into ravishing beauty.

Die Kunst der Fuge, Contrapunctus XVIII - J. S. Bach - Lionel Rogg

To be inside this fuguescape fuguemare fugeuedral aware of the granular harmony of the spirit.

2nd fugue like a chapel echoes the cathedral and looook! we can open up this wall and create a third midsize space - and finally 3rd fugue here's the choir with our Orgelmeister Kappelmeister - an architectural tour, all the sites singing. Surely if this had gone on JSB had a grander weirder place for it to get to than any such place as it had already been.

Karen and me, 1986
November 13, 2017
Lazy Drag - Thomas Morris [from Alan Lowe's That Devilin' Tune]

Light touch on the beat at the start, allowing them to fatten it up or thin it out as needed. Patterns of same.

Columbia's Waters - Woody Guthrie [from Columbia River Collection]

Conceit: this song is a job application in which many of WG's stock phrases are trotted out again. A window into a process of making.

For Minors Only - Chet Baker, Art Pepper [from Playboys]

Clearly, this track is a product, an object, quintessentially commercial.

Far and Wide - Brahms - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from A Musical Souvenir: The Lake Washington Singers Spring Concert (April 11, 1961)]

Some fine piano playing there, Joanne!

Hymnen - Stockhausen
Karen and Isaac, 1996

What is a theme within such a thicket?! A prop, a focus, a thread to follow, a placeholder: NOT THE SHOW.

I think to myself "this is the Stockhausen that got on the cover of Sgt. Pepper's." Extreme Ivesian quote festival. (I started composing about 10 years after this was made, and it only took me about 4 years to find it, for it to find me.) I spent a lot of time with it back in the day.

Sounds we follow as they variously incarnate and morph toward other veering incarnations.

Electronic music was what it is now, a bunch of folks playing with new toys. What sounds can we get on this? What are its sounds? Its voice? As it concerns radio: radio waves, invisible light, dark light, another dark, another sleep, another night, another wake. Front loaded: an active eventful texture, signals in transit, the harrowing descent, breathing human sleeping.

". . . nur eine Erinnerung": What does that actually do as an excuse for the böses Blut es gibt?

Some events are discrete moments, note-like - hard edged short events. Others are episodes of flange and sweep - long events. Flange-y buzz-hum-y waves rhythmed syllabically. We hear the timbre shift as a quasi-vowel shift. Thuds of war episode in third region where whistlers imitate the whole of what they are of in mimicry, in mimicry as a kind of abstraction. A full range of immediacy(ies) articulating murk.

November 14, 2017
Trust Me - Janis Joplin [from Pearl]

The plea goes on and on circling inside around the instrumentals, pleading never ending changes.

Still Crazy After All These Years - Paul Simon [from The Essential Paul Simon]

In a warm keyboard bath. Is it just me or did I really catch a partial quote of Bridge Over Troubled Water in the strings?

We're Desperate - X [from Wild Gift]

Structural density of the guitar/bass complex: leave space in the verse for the words, leave none in the chorus.

Banned Rehearsal 67 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [March 1986]

In the little Greenwood half house, sneezing, heater, hooting: slide show? Conversational, sort of, in that we are doing activities and also being with each other as just folks a little bit. Bumping around is up front, music as such, in deep background. Woozy but not unpleasantly so. Making spaghetti, it sticks good. Slow swing dinner in B-flat minor. This is our trademark DING! from a junkshop in Kingston NY. The tape machine has an eraserhead button (still does, long unpushed). "I hope that was intentional or not." My dad shows up, must have been something to do with my passport. Karen may have moved up to live with Neal & Anna while interviewing. Tri-doxology, para-para-doxology (hindsight) a hindsight. It is very nice it just slips underneath the skin. Berry-ness is discussed. Wild sound on acoustic guitar.

Polly- Nirvana [from NevermindWordblurbs in exact syllabic count fitted into soundblurb segments with pitch trajectories, a partial song. (Schumann's inescapable ghost.)

Banned Rehearsal 432 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [August 1986]


We try to get something to work. Got those wah-wah tech blues. Aaron's synth, I believe, we struggle with the extent of our tech-savvy: this has an "in" that fits the guitar patch cord, therefore if we plug in the guitar to it we will automatically get magnificence. At the time it seemed, oddly, that nothing was happening, that the guitar strumming had no effect on what was coming out of the synth. The jury is still out on it, but the sounds of us struggling with it are fabulous. "It is my firm belief that with five more synthesizers we could achieve total silence." And yet, between the synth, the Mighty Wurzlitzer, and our direct to cassette mastering, I wonder if any prog rock band ever sound as good? the Tintinabulary at its finest. We don't do nicety.

Banned Rehearsal 621 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [November 2001]

Nothing to hear but you. You make the sound. In our digitally produced era there is more air between the sounds, which allows more expanse of surface with which to mess, more coast to invade. Plunks and hums tiny sounds of extreme interhearing. Down to pianississimo violion tremolo and small frame drum, ocarina moving between their soundboxes' resonances, articulating a shiver whistling in the dark.

November 17, 2017
Banned Rehearsal 698 -Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [March 2006]

Testing the waters. It generally doesn't take much to get it going, inert as it is, (though it be), just takes the right gentle push prolonged just so long. After several false-like leads: snare drum, flute and buzz, but that also falters . . or wait, now it's moving. Reasons to hang in there. Seeping into other sounds groundwater invisible under cover of underground it sneaks past the carousel skimming the feedback fence, flirting with skimming it under cover of skimming past it we flirt under darkness with the broad light of it, of past days.

Goodbye Amsterdam - Rachel Harrington [from Celilo Falls]

Relations among people occur in landscapes. How much we leave - its expanse of sorrow - when we leave each other. Gentle stutters in the guitar figures.

Banned Rehearsal 906 -Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [March 2016]

Neal learns himself speaking. Tiny construction workers hammering miniature hammerings. Wallace watches o'er, duets across the continent with cowbell. Lightweight sphere rolls the texture of the drumskinhead amplified by circular tension applied. Copperpipe in syntheticfoam insulationtube squeak like balloons.

In Session at the Tintinabulary

November 12, 2017
Rain Traffic Crabby Crows - Keith Eisenbrey

Our best guess is that the crows were complaining about the rain.

November 14, 2017
Kitchen - Keith Eisenbrey

For the record: I didn't break anything.

November 15, 2017
Second Thoughts - Keith Eisenbrey

I finished composing the first eight Études d'exécution imminent in May of 2014. In terms of the original chart this was the half-way point, but I needed a break to re-think myself, to consider where the composition of these had gotten me, so I took a self-imposed sabbatical from composition - indifferently observed: news of the death of J. K. Randall brought forth a response in the form of J, (September 2014), I was asked to contribute to Ben Boretz's Festschrift (Another, December 2014) and I arranged a traditional hymn tune for Karen to sing just after Christmas (Hail the Blest Morn) - altogether a fairly productive sabbatical. In the spring of 2015 I started working on these disassembled piece parts, which together constitute the 9th Etude, finishing in August, 16 months later. That was a long time for just a few notes, but I flatter myself they are densely packed. Arranged as in this (not quite perfect) performance, one after the other, the piece parts play out the re-writing of memory as it is remembered and its eventual, inevitable, loss.

Saturday, November 11, 2017



November 4, 2017
The picture I made
Gradus 94 - Neal Kosály-Meyer

Uses dampers as filters to extract partials
silence is resilient
behind me Karen purees pumpkin
time out of grid
a car stereo drives by outside
sidebar tea ceremony
that a sound could seem to happen Now is a demonstration of how wide a span is the apprehension of Now

Thursday After - Youth Rescue Mission [from Youth Rescue Mission]

adding elements one after another in stepped sequence
within song structure serious phrase length rhythm play
blood harmony could almost be the Fleetwoods at the end (just a hint)

Gradus 285 - Neal Kosály-Meyer

I made a picture.

November 5, 2017
The Hunts Upp - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

ringing echoes
signals passed on hills
familial tales
courtly tales

Der Kunst der Fuge, Contrapunctus XVII Rectus / Inversus - J. S. Bach - Zoltan Kocsis

strong vertical leaps up? down? contribute to the effect of utter duplication
is it the direction of the leap or its mere distance that tells?

Gatemouth - Kid Ory, Johnny Dodds [from Alan Lowe's That Devilin' Tune]

sliding around the pitch, glisswise
a dance of them

this music is not dance music
this music is dance

Roll Columbia, Roll - Woody Guthrie [from Columbia River Collection]

Progress celebrated, collective progress, progress to benefit us'n'all.

For Miles and Miles - Art Pepper, Chet Baker [from Playboys]

phenomenal playing full of subtleties to be sure but something bluesy has been buffed out if it, refined in an almost pretentious way, if they weren't getting away with it pretty bossly

Echo Song - Orlando di Lasso - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from A Musical Souvenir: The Lake Washington Singers Spring Concert (April 11, 1961)]

humored up? or just oddly translated, odderly arranged? or maybe that's just the way it is

Hold On I'm Comin' - Sam and Dave [collected from Dave Marsh's The Heart of Rock & Soul]

thought: jazz is about its rhythm; rock is about its song structure; blues is the glue
these boys have heard some church singin' and how

The Song Is Over - The Who [from Who's Next]

praise chorus

November 7, 2017
Song of Fifty Cents - Jack Bean [from The Art of Field Recording Volume 1]

another function of demotic music
actual advice in humorous guise
(not that, but like dirty jokes as ad hoc sex ed)
how it is learned: those life lessons
quite the accent, one needs to pay more than fifty cents of close attention

Improvisation - University of Washington Contemporary Group Improvisation Ensemble [from Neal's Recital Tape]

Conversation wordlessly, as musical exercise.

You Get What You Want - Julian Lennon [from The Secret Value of Daydreaming]

this tries so hard, but I have trouble giving it the benefit of the doubt. The problem is not his singing voice, but something like a lack of roots.

November 9, 2017
Banned Rehearsal 254 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 1991]

testing 1 2 3
now we have begun
at Toad Hall some crud in it
John 'plains, but 4 weeks old
strenuously lame we thus arrange the possibility of brief moments unlike any others
drill bit into bedrock inexorant
on my wall
there hangs a purple trout
continues on through
metabolism enhanced
be- words auf Deutsch
bell rings for train coming in

Hail Hail - Pearl Jam [from Rearviewmirror]

til the fuel runs out
the ride is over

In Session at the Tintinabulary

November 6, 2017
Banned Rehearsal 946 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Aaron and Neal duet on trumpet and cornet, Karen drums an ocean, Steve tunes in, and there is me with banjo on my knee

Saturday, November 4, 2017



"Some are explaining that each one is doing the thing each one is doing because they are needing to
be doing that thing, because they are needing to be wanting to be doing that thing, because doing that thing is a thing that is feeding them, because doing that thing is a thing that they are needing to be doing so that they can be ones doing something that they are ones needing to be wanting to be doing, because doing that thing is a thing that is something any one will be doing who is one needing to be one doing some things that this one is needing to be doing, because doing that thing is a thing in some way satisfying that one as being the one being that one." Gertrude Stein - The Making of Americans



November 3, 2017
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Calvin Senter - Colloquies: Moon, Rain, Sun, Wind - for solo guitar

gently persists in not resolving easy

long long thoughts (yep, Longfellow)

solid quiet presence

admirable patience

Mark Wilson - Kyrie eleison from "God Helmet" - for guitar, soprano, and flute

What glorious close heterophony between soprano and flute! It fairly made the melodic elements leap and kiss above our heads.

Clement Reid - Realizations for Horn and Piano

A richly produced illustrated narrative, of the sort whose pages linger in memory.

Nicole Truesdell - Ghost Story - for piano four hands

How does one signal story telling, musically? Or, how does music signal that it is telling story? This then that sequencing to be sure, but with four hands to play with Nicole also gets plenty of this and also that in play, lapping o'er.


October 29, 2017
Banned Rehearsal 431 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]

one channel aimed in of doors
one channel aimed out of doors
middle passage
industrious at noise making
wrecked and wicked piano sound
in late night dreamy bill evans mode
duet cornet
conjoined banjo
roar from we know not where
subordinate clauses

Banned Rehearsal 619 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [October 2001]

homing in on room for quiet in the large
for explicit thoughts in transparent company
what can be done if considerations of performance just don't come up
such considerations not eschewed
more as if never known
music innocent of outside apprehension as such
rattling in so many ways
so many ways of rattling

In Session at the Tintinabulary

October 30, 2017
Gradus 324 - Neal Kosály-Meyer

not wandering | not circulating | not but contracting | into falling | into inward collapsing


suspended spool | waking extend | thought into forward | space alert spreading | out exhibiting delve | back into

Saturday, October 28, 2017



October 21, 2017
Finnegans Wake Chapter 2 - James Joyce - Neal Kosály-Meyer, with Karen Eisenbrey, percussion, and Jim Knodle, lights
Gallery 1412, Seattle

When the lights are out inside where we are, the lights from back stage leak through the cracks in the wall into the darkness where we are.


October 22, 2017
A Galliardes Gygge - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Concerned with distinctions: common and elite. How close to the surface the common is, how sophisticated is the ornament. All dressed up for court.

Die Kunst der Fuge, Contrapunctus XVII, Rectus and Inversus - J. S. Bach - Lionel Rogg

Bach designs his material so that it does what he wants it to do. The Inversus almost pulls off the Satie trick of having no difference from the Rectus that makes any difference, it is clearly the same piece in every particular that matters. Heaven and earth, up and down, near to each other past touching.

The King of the Zulus - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Solo impersonations, complete with shticks-aplenty. It can so easily be heard as exactly a blackface act, and they know it, but it is their shoe in the door.

Talking Columbia - Woody Guthrie [from Columbia River Collection]

Musical journalism, he even tries to stay on topic, but he has a knack for wandering off before you realize where he has led you.

Elegy in Memory of Serge Koussevitsky - Howard Hanson - Seattle Symphony, Gerard Schwarz

Fugal, but rolling in heaves and billows, smoothly in billows and heaves. No non sequiturs here. Edges are beveled soft as a lakeside morning. Hints of Wagner and Ravel, Tunes murmur among the voices, veering toward Hollywood grandiosity.

O Sons and Daughters - Williams - Lake Washington Singers, Betty Eisenbrey [from Spring Concert 1961]

Ripped from an LP, from back in the day when you could press just a few for memory's sake.

Good Thing (Remix) - Paul Revere and the Raiders [from The Legend of Paul Revere]

On the fine line between sincere and creepy, in the end it's so blatantly pornographic I am amazed it was allowed on the radio.

Mercedes Benz - Janis Joplin [from Pearl]

Her entire body goes into the foundation of her sound. A cackle to start. She near-rhymes 'poor', 'tired', and 'Lord'.

Silly Love Songs - Wings [a Rescued Record]

The happy version of the opening from Pink Floyd's Money.

a cheery world cartoon
body smoothed out of voice entire
by intent and engineering

classy songwriting though

Hamburger Lady - Throbbing Gristle [from The Best of Throbbing Gristle]

A dial twiddling virtuouso
undulating a bit like ol' heaves and billows himself.
See above.

October 24, 2017
Banned Rehearsal 66 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [March 1986]

We may have started to see Banned Rehearsal 100 in the lights by then.

a furnace hum some
tappings around and some
tapings around ocarina
jingly scrapes

we drag the room and pick up noises as we go
The Boospook Pumpkin
oc or other flute
again cassettes were our effect set
stacked literally and loopilly

dragging the past off the seafloor
sounds of its mechanisms
spring doors clopping shut

the immediate is a surface upon which the past is etched
cut phonographically
we are the vinyl

paperformants (neal's)
as long as it takes
an ur gent mess age from the odd IO re cord industry
Neal names our first brace of kittens


after a political announcement
we stop out to birds
and wind roar train
for the west leaves
in 20 minutes better hurry


Song Three - Infamous Menagerie

Gets that world weary sneery ugly that PIL aimed at but missed.

In Session at the Tintinabulary

October 20, 2017
Construction - Karen Eisenbrey

While at work, Karen recorded several minutes of hammering from across the street.

October 23, 2017
Banned Rehearsal 945 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Only 55 to go before number 1000. We'll probably get there before 2020 if we keep going.

October 27, 2017
The Boospook Story - Karen Eisenbrey

Shortly after we were married (31 years ago this month) Karen made a piece of brilliance, a picture book titled "The Boospook Story". She reads it here,  with preambleous conversation among Isaac, Karen, and Keith Eisenbrey.
The Boospook Stump

Saturday, October 21, 2017



October 17, 2017
Banned Rehearsal 618 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [September 2001]

Another go at my 2001 piece Work Architecture Unity And The, with a pre or proto verbal lecture, a
language fountain in the months immediately prior to lexical formation, with illustrations. As the composer of the score I can't not hear this as a performance of the piece, but I do love how gently it fades from being that into not being that at all.

Pianofortesynth - Brad Anderson [from Dark Energy]

double double toil and trouble
cauldron signal
bubble and sizzle

Gradus 188 - Neal Kosály-Meyer [February 2011]

Number, count, three is big
but four notes five or six
come up (depending on how you parse)
how many ways there are to count (let me . . .
) to group ratio and number

but no rational durational rhythm
that is out the window a distraction
eleven there

proximity in time in adjacency in dynamic et al

order assertions
here, this note
ratios of approximate quantities

Chull - Kapoor & Sons [from Bollygood Volume 1]

patterns of fabrics, like a really great scarf

October 19, 2017

In Session at the Tintinabulary

October 16, 2017
Gradus 323 - Neal Kosály-Meyer

Theoretically, if not practically, it is possible to play each of all the combinations of keys on the keyboard. The quantity is finite, if hyper-dauntingly large. What can't be done is to play any one note in all possible ways. This is what allows Gradus to be an experiment in building an idea of composition, as a practice, from near scratch.

Saturday, October 14, 2017



October 8, 2017
Banned Rehearsal 617 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [September 2001]

toy boats bobbing in the bay
steady state

low organ throb
indicator measures and creates hidden pulse

(great spring sound!)
intersocial anacrusis

agogic peoples
rhythm is a social event

what shifts in the ear when pitches change
the soil the wind the orbit

bell and drum ritual
lightly touched

October 9, 2017
Banned Rehearsal 697 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2006]

several species of guitar
bucket brigade messages
a triangular circle

or tuning to each other in a fluid sense
lovely how it refrains from shredding
even when louder


(long long protracted)


wanders into the casing

October 12, 2017
The Chronicles of Dirty Dick Part 1 - Antique Scream [from The Chronicles of Dirty Dick]

Pink Floyd fade
up to wide
vibrato capable vocal
seriously uptight brings
the forces together
let go
but slowly piece
by piece relax
to allow full
weight to be
thrown around stops
to start again
Preening Bad Boy.

We Are Climbing Jacob's Ladder (Autoheterophony) - Keith Eisenbrey
Like a chorus o' angles! (Karen's comment).

The Barelye Breake - William Byrd - Elizabeth Farr

Finely tuned adjustments over the phrase, section, and movement breaks. Far more category shifts than simple butt joints would intimate. Early sense of variations, or changes: the theme is not a structure but a thread within possibilities.

Die Kunst der Fuge Contrapunctus XVI Inversus  - J. S. Bach - Lionel Rogg

The fugue is an analytical tool for composers, it is used to pry tunes apart. Surgeon: "Stretto! Inversion! Diminution! Sponge! Suction!"

Sweet Little Papa - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

lipwork ornamentation
big music shaped by minute attitudes of the mouth

On The Sunny Side - Don Albert [from Alan Lowe's That Devilin' Tune]

Don Albert
Lovely glow in his voice as it tails off at phrase ends. Pretty mean trumpet player too.

New Found Land - Woody Guthrie [from The Columbia River Collection]

Living in the light of the morning. One of his better poems.

Don't Be Cruel - Elvis Presley [collected from Dave Marsh's The Heart of Rock & Soul]

A ploy or a plea?
from a genre of personal fictions.

The 95th Psalm - Powell Weaver - The Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from Lake Washington Singers, April 11, 1961]

This features my mom's long-time accompanist and friend, Joanne Deacon, and a fine solo by soprano Kathleen Richards.

Good Lovin' - The Little Rascals [collected from Dave Marsh's The Heart of Rock & Soul]

A rhythmic schema
arising from a lively bed
begets variations

Love Ain't For Keeping - The Who [from Who's Next]

This is quite a fine little song, whose impact is diminished by the commercial necessity of bloating it out to stadium size.

Louie Louie - The Stooges [from Metallic 'KO]

Garbage rock in the sense that it doesn't take much technique to make it happen (compare with the fancy guitar playing of the Ventures, for instance). Nearly indestructible, Iggy makes a go at it.

Intermezzi, op. 117 #1 and #2 - Brahms - Neal Kosály-Meyer [from Neal's Recital Tape May 1981]

One among many distinguishing characteristics of European repertoire music: a complexity in the
Screaming Trees
way it proceeds through a phrase. Everything can be broken into parts. How do you break yours?

You Tell Me All These Things - Screaming Trees [from Clairvoyance]

No padded seat on this old bike, just tractor metal cold in the morning.

(A connection here: Steve Fisk, who produced this record, is a friend of Neal's (my brother in-law) from his days at Central Washington University, before I knew him. Small world of local music.)

October 13, 2017
Frogs 910415 - Keith Eisenbrey

(and dogs)

one mass of frog sound shifted toward the right
one soloist closer, to the left
dog is in the distance or several dogs or distances

a tape hiss
and occasional traffic
very faint with hint of pitch
emerging from the noise as proto-hum

(I recorded this from an upstairs window at my folks house near Coupeville, WA, the morning of April 15, 1991.)

distant howl
world guiro
waves of phasing rhythms in soft focus

kitchen talk downstairs
action on the edge of the sound
tink of flatware clock chime

morning breaks pulsing bulbous
flange of air prop traffic
phasing with frog croak waves
a quivering air


we apes converse in clusters of apeclatter
even from upstairs faint as it is
the room resonance of mom & dad's Coupeville kitchen

one could imagine the frogcroaksound as single oraganism's respiration
or the ripply surface of a pond
a jet's hissy roar goes on a long time
making wavelets in the quiversphere

wind roar
an event in the deep deep bass
(big frog!)

Banned Rehearsal 430 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]

ominous biding banshee
raucus and magnificent wail


the longer the held organ tones persist
the more questionable becomes their intonation

squeaky balloon violin stylings
elephant seal bellow soulfulness electric guitar

whatever this is
it is seriously pissed

drops into conversation mood
just cranky
tarzanyell grim march

off again to wander ferocious

In Session at the Tintinabulary

October 9, 2017
Banned Rehearsal 944 - Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

We were in a bit of noisy mood I think.

October 11, 2017
October 12, 2017
Focus tracks - St. Rage
Distracted Driver tracks - St. Rage - Karen Eisenbrey, Neal Kosály-Meyer

We did the basics on the 11th, and filled in some extras on the 12th.

Sunday, October 8, 2017



October 6, 2017
Sean Hamilton
John Teske

Chapel Performance Space, Good Shepherd Center, Seattle

Loci - Sean Hamilton

Manipulation of resources in deliberate sequence (the activity). The angle of head on neck is crucial and exact. "My approach to improvisation is as a unique moment in time." (I think that's what he said and I spent a certain amount of time working my head around what that might be meaning). There was a moment where I imagined the surface of a moment's sound had suddenly been frozen into a prolonged static noise. It could have been any of them, but it was this one.

Vector Scores - John Teske - Luke Fitzpatrick, violin; William Hayes, guitar; Evan Smith, saxophone; Neil Welch, saxophone; Maria Scherer Wilson, violoncello

topographies, book ii
short segment of long span (ad:sr)

pulsing as breathing in sleep
animate glow within embers

vignettes of topographies
small framed windows looking out to vast 


move on to the trashfire

growlbigbeasts and shriekbeasts
the congress these sounds make is not proper

nor publically appropriate
but personal, adult, intimate

talk amongst themselves predicated on
their individual identities as such

not in any characteristics that could be measured
by language or money or war

the categories have been blown
up and emptied


October 1, 2017
The Galliarde for the Victorie - William Byrd - Elizabeth Farr

Leaning forward in its chair, excited to show the next irrespresible delight.

Die Kunst der Fuge, Contrapunctus XVI Rectus / Inversus - J. S. Bach - Zoltan Kocsis

Yet another evidence of Bach's long fascination with inversion - turning tunes, counterpoints, entire musical fabrics headside footwards, fact and image.

Lonesome Blues - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

It is only a fistful of practices (riffs, guides, frames) but it is enough to tell near any tale.

Triflin' Gal - Jimmy Revard [from Alan Lowe's That Devilin' Tune]

Surely this went on and on, or would have, had it not been necessary to fit it on a record.

Roll On Columbia - Woody Guthrie [from The Columbia River Collection]

Sickening how anymore the verses celebrating Indian killing are elided, repressed, denied, forgotten. It's so easy just to leave them out.

Sweet Lorraine - Frank Sinatra, The Metronome All Stars [from Alan Lowe's That Devilin' Tune]

He descends down his tessitura with style, stopping at each station, making eye contact, again and again.

Stardust - Ben Webster [from Alan Lowe's That Devilin' Tune]

The heart of the rhythm depends utterly on being able to hear his breaths. Good lesson for singing.

Divertimento - Benjamin Boretz

The midi realization forwards the plainness of the material, flat footed, uninflected neo-classical tune bits. The rhythmic gambits seem pasted on, clumsy images of unexpected or exciting texture tokens. It isn't until well into it that we discover that each just so wrongly bent move, each he can't really have meant that adjustment of the tilt, has left us hanging well out over thin air, wingless, far into the unknown, paddleless.

Vere Languores - Tomás Luis de Victoria - Lake Washington Singers, Betty Eisenbrey [from Lake Washington Singers April 11, 1961]

From my mom's tape. I remember as a small child (I was two, then, but many times, also, afterward) being sent to bed while some of the singers listened to the concert tapes in the living room. The laughter and talk of women, and voices and singing and recorded sound.

Gimme Some Lovin' - The Spencer Davis Group [collected from Dave Marsh's The Heart of Rock & Soul]

Were the drums recorded in a stairwell, the rest in a gym? Crazy.

Me and Bobby McGee - Janis Joplin [from Pearl]

Road song, names and places, evoking Guthrie, Ginsberg, Whitman. A song the story of which is the singing of songs.
And so it goes.

October 3, 2017
Iggy Talks - The Stooges [from Metallic 'KO]

And what after all did they pay for, the chance to throw eggs?

Thela Hun Ginjeet - King Crimson [from Discipline]

The drums surround the scraps of overheard disjointed story. A dangerous place, to the narrator, but the group that  jumped and intimidated were quite clearly acting out of fear as well.

Bottles - Aaron Keyt

Glass panpipe pipery shivery breath inflected pitch. I am blowing bottles in a room. hootch hoot bottle pond pondering empty bottles. Lucieric exploration of a space made both by the room and the recording equipment, heavy on the latter, and less fussy about ideal presentation. Not fussy at all, in fact.

Sittin' On A Pitchfork - Young Fresh Fellows [from Electric Bird Digest]

Beerband mock-ironic feelgood anthem. It may be where I am but I wouldn't have it any other way.

October 5, 2017
Banned Rehearsal 429 - Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]
Karen suggests, upon being informed that she wasn't credited in this one, that this may have been the privately legendary session on a beastly hot day (she being great with child at the time so choosing not to enter the oven) after which I flopped myself down into the plastic wading pool. AHH!

Forward and transparent, that is to say, loud but clear, each sound seems placed into the mix with considered intent. The violated boundary between loudspeakered and unloudspeakered. ((Time's distance allows the opportunity of hearing without self-consciousness. At the time of making one is so focused on one's own part that the whole of the sound is obscured.)) That must be Aaron's synth back there in ear-purge mode. Long loud acoustic notes shift the filling of space by the electric standing sounds. Cassette tape was our effects pedal.

In Session at the Tintinabulary

October 2, 2017
Gradus 322 - Neal Kosály-Meyer

Specifyable intent activity, morphing, alters the parameters. Starting over without rounding off. Simply stop. Pause. Start over. Doesn't clear the palate, it positions memory as perspective. Not a music for ribbons and bows.