Sunday, January 20, 2019



January 13, 2019
Jenny Jenny - The Sonics [from Boom]

at their raucous best
it is itself
straight ahead
no flinching

Criss Cross - Thelonius Monk [from The London Sessions]

number (or quantity) theory
he's laying all this stuff out there folks
listen up
take notes
it's on the board

Luxembourg - Elvis Costello [from Trust]

derives from the same era as Jenny Jenny above
the bridge gives it away

I love the song, but I'm not sure I'm as enamored of the echo on his voice as he was.

Banned Rehearsal 86 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

cans and shakers,
YES! The Obo Roi!

Cornet & obo roi make a fine distortion on the tape

lively, but gets a bit stuck in a music trap,
that is, we play music, which is a trap, a habit, a known
Neal finds a pretty little lick on ukulele
a Waltz from Karen on the Funmaker
just like practicing but without any pesky sense of trying to get better
nothing like highminded commercial free improvisation
nothing like

the didgeridoo says didgeridoo
the game we play is to bump each other off our respective kicks

Bierhall badge achieved!
"I Love Baseball" a sudden song
I have a phone call you'll have to get all quiet to which request compliance is partial

We all join in a rousing rendearment of "Take Me Out To The Ball Game" in a slightly less creepy shade of the Mack The Knife tempo, my obligato line to which is perhaps my finest moment on toy piano ever

American Patrol - Canadian Brass [from Red, White & Brass]

a polite swing
bandstand ready bandleader arrangement
even pokes La Marseillaise in there a la Faschingschwank aus Wien

Liebeslied - Benjamin Boretz - Keith Eisenbrey [from my recital: Preludes in Seattle, June 2006]

An unfinished and now withdrawn mid-70's composition, the pencil score to which Ben presented to me as a gift in 1984 when I came back to Seattle. I have performed it many times, and I have also modestly altered it (Liebeslied, Amended), and less than modestly utterly and completely re-composed it at Ben's prodding (Sonata Liebeslied).

What it is about is the particular intervals between chord changes, as they go on, going on within other ongoing musics.

The Last Jubilee - Rachel Harrington [from Celilo Falls]

"don't be blue
if you don't wake up today"
- a kind of subjunctive, as though sung from sleep
"just pick up your harp and play"

Banned Telepath 48 Somerville [Aibell, Jennifer Chung, Aaron Keyt, May 2016]

Assembled (by me) from several sound files hurled across the intersphere from Somerville MA
sound boundaries :: intervals gaps joints adjacencies gores
g'bye kiss me quick to Wallace (a spinet/player cyborg)
If the parts are indestructible the joints can be haphazard
what pipe organ music could be if given half a chance

advice for listening: let go of your morbid abstemiosity
don't just live a little live a lot go to the outer

part of what Wallace is, for me, is the mediated Wallace, the recorded sound of it, as it actually landed on this side of the Rockies

Courante I & Courante II - Johann Grabbe - The King's Noyse [from Mascharada]

a gracefully balanced wit dancing on the points of pins

January 15, 2019
Go Joe Go - Phil Napoleon [from Alan Lowe's That Devilin' Tune]

a big orchestra
the 1926 recordist/tech was not quite up to the task
too few microphones, not enough multitrack capability
but its all there if you listen for it
and the dynamic range is real

What's New - Art Pepper [from The Way It Was]

Did the more subtle degrees of nuance become part of the point of this music because the technology made it possible?

You Hurt Me - Wayne Storm [a Rescued Record]

I'm still loving you-ooo-ooo-ooo
hurt me

The spoken verse
Is anything worse?

Spoken word
Poetry's turd?

Darn That Dream - Thelonius Monk [from The London Sessions]

all the extremes of dynamic differentiation in play between mezzo forte and forte
and degrees of forwardness to the back of the hall

Eliza Act 3 - Keith Eisenbrey, Dave Jones, Aaron Keyt [December 1981]

. . . is hushed
two twins

sophomoric in big chunks
not yet awake to the concept that there is a possibility of much more than the clever
best when we leave the wordplay out of it
even better when the musicplay is left out of it too
ceremonial irreverence - a necessary preparation
we exit
on hisses

January 17, 2019
Johnny Bye Bye - Bruce Springsteen [from a collection of 6 B-sides]

barely comes on before it goes out
like a bonus quarter track

Banned Rehearsal 279 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [December 1991]

your blogger, ca 1983 - Red Hook, NY
the hats 500
because of the feather
a mighty view

Dr. Seuss's "The 500 Hats of Bartholomew Cubbins" is a touchstone of my own intellectual awakening
(structures of the tale revealing structures of knowledge)

hats and crowns and fathers
very serious nonsense
the father of the father of Nad
the magicians from the southwest tower

Karen remembers hearing the story as told by Captain Kangaroo

nursery songs if songs we do
guiro overdrive
drum guiro dialogue as conversational composition

In Session at the Tintinabulary

January 14, 2019
Banned Rehearsal 973 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Not rehearsing for our upcoming gig at the Seattle Improvisation Festival on February 7, 8pm at Hollow Earth Radio, we crowd six into the Tintinabulary

Saturday, January 12, 2019



January 11, 2019
Shelby Earl, Songs for Singing 2,
Matty Gervais
The Triple Door, Seattle

Matty - currently with The Head and The Heart and with Mikey and Matty, formerly with Curtains For You and The True Bugs, and I do not know with what all else even more formerly - was joined after a few solo songs by his spouse Charity Rose Theilen (also of The Head and The Heart), by his brother Mikey Gervais (also of Mikey and Matty, etc. etc.), and later by the Passenger String Quartet. His voice is a light tenor joy, effortless to hear solo and effortless in its blending with others - later in the evening he joined Shelby for a number. The blood harmony between him and Mikey is a Seattle miracle. The evening's set basked in the clear glowing comforts of home life facing itself bravely, young adulthood fading into the near past.

Shelby, in what she announced was her last calendared performance before she has her baby, was accompanied by Billy Brush on piano, and the Passenger String Quartet. The ping of her voice is set a bit higher than, but, in spite of any dissimilarities of repertoire or technical glitter, is quite similar to Liza Minelli's. And like hers, its strength is not really in its sheer volume, but rather in its graciously rapturous embrace. When she sings in a room she sings to you, to us. Her voice shines, enfolds, fills - as though in shining from her it shines from us. 


January 5, 2019
Three Strathspeys (1979) - Keith Eisenbrey - Keith Eisenbrey [recorded live on June 10, 2006]

Something about these, my second-ever set of piano pieces, brought Rameau, whose keyboard music I have been sight-reading recently, to mind. Uncluttered textures, clear phrases, and most of all, exuberantly enjoyed sonorities in all the registers. The finals of the first two are a tad clever I suppose, but the third one holds its focus out to the bitter.

Soundform IV Spaces - S. Eric Scribner - [from Storm Sound Cycle, May 2011]

whispered conspiracies
a windscape with none there to hear it
counsels are kept
the traffic without knows nary aught

You tell me.
January 5-6, 2019
Finnegans Wake Part 3 Chapter 2 - James Joyce - Kio Griffith [from Waywords and Meansigns]

patiently sotto vociferated time kept magnetically
multiple concurrent renditions (none hurried) cross-fade joints
ham broadcast Polonius reborn bloviating as of old

narrow range of frequency recorded: the principals of the pitch if low and pristine would not be heard unless they interfered with higher frequency waves, and then they would be re-constructed principals, reconstituted on the mind's side out of its effects on those higher sounds - ghostlike.

prose sodden with poetic rhythm thinking
fond of sharp corners and rhyme games that veer away absolutely

setting: bandwidths and echo spans
sound recordings of sounds recorded: particular bandwidthprints evolve other-eon-ly, extraplanetoidenal cultural sourcing

ambient in that it is not addressed to anyone in particular
as the text of a book on a shelf not being read, not talking, applesauce
once upon a drunk and a very fine drunk it was
the scorch house putting all space in a nutshell
a damn good cup of skald you could trot a mouse on it

a compositional game: pulling the text back and back and down and down just to disappearance's nearing
o bother I must tell a troth
love's young fizz on a matter poetic

January 8, 2019
Canzon XVI - William Brade - The King's Noyse [from Mascharada]

That it is in fact highly refined is of less import than that it projects refinement, im- or op- presses with its refinement.

Sam the Accordion Man - Williams Sisters [from Alan Lowe's That Devilin' Tune]

the low voice slipping off in secret to become an instrumental part

Tickle Toe - Art Pepper [from The Way It Was]

selling a brand of refinement also, distinctly expensive

In Session at the Tintinabulary

January 7, 2019
Gradus 343 - Neal Kosály-Meyer

not played
not posited
not proposed
not even queried
not tried, for want of any way about it

bunches at once

In what sense could these coalesce into a collection, or combination? how combined?
by use of, or by sounding, within a timespan?

Saturday, January 5, 2019


Baker City, Oregon

December 28, 2018
Brick (sound excerpt from the film) - Shelley Roden, Foley artist

school bell drumming of ball footfall cross rhythms
echo play piano from score shows up as the run runs by the practice rooms
DONG! . . .
crows and bells

I was so taken by this bit of sound design, Foley art, and cues of music, that I went to the trouble of figuring out how to extract the sound track

cross-rhythms generated by the footfalls of two actors chasing through a school ground.

Soundform III Wind - S. Eric Scribner - [from Storm Sound Cycle, May 2011]

mallet work explosives

Finnegans Wake Part 3, Chapter 1 - James Joyce - Simon Ross [from Waywords and Meansigns]

guitar, kalimba

music sound shifting as marker of section, otherwise inaudible disunderstandable
as though ordinary, phrases decrescendo and drop in pitch

The parts don't hear themselves together with the other parts, but only themselves alone, oblivious of their proximitousness.

Ondt and Gracehoper
a poem in rhyme

Old Faithful, Yellowstone National Park, Wyoming
December 30, 2018
Canzon - Thomas Grabbe - The King's Noyse [from Mascharada]

fitting fitness
appropriate attire
as the be all of all of it

they develop further the science of polyphony and variation
and of ornaments to grace them

Serenade for Strings in C, op. 48 - Pyotr Ilyich Tchaikovsky - Berliner Philharmoniker, Semyon Bychkov

bigger and more glorious empire than any

such lights
more than any others

such dresses
more splendid than any other empire's lights and dresses

the self-grandiosifizing Nobility that rose back against the wicked upstart's troops
those troops from their beloved French cousins now dead

and all they do with the knowledge is dance
a carefully prescribed portion only of grit life gets through

the romanticized serf life
counterpart to the antebellum South

such gentility
in the bloody claws of legitimacy

that same dress that same face
new rooms

write any story on top
a One Act Opera Without Words

Look! The light sky! Hark!
The Lark! Twitter bird!

our hopelessly generous attitudes about our past oppressors
we are nostalgic for our kings

his derivations are in the winding up for all to see

January 1, 2019
the past
Grandpa's Spells - Jelly Roll Morton, George Mitchell, Edward 'Kid' Ory, Omer Simeon, Johnny St. Cyr, John Lindsay, Andrew Hilaire [from Smithsonian Collection of Classic Jazz]

horns blaring to all corners
the center holds tight

I Can't Believe You're In Love With Me - Art Pepper [from The Way It Was]

alto and tenor share a fancy version of the tune
then a series of alternating quick bits with the drum

Don't You Just Know It - The Sonics [from Boom]

drunk sloppy, immovable

Crepuscle with Nellie (take 4) - Thelonius Monk, Al McKibbon, Art Blakey [from The London Sessions]

palpable heft
it moves but it is an effort
until it lifts of its own
and back

Did You Steal My Money - The Who [from Face Dances]

the too smooth, too distant, sound has a blanket over it. my money my entitlement

Banned Rehearsal 87 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

your blogger and soon to be spouse, 1986
a valiant stab
I just turned the level all the way up

Book of Windows (select panes)
Ideas should be run with, unlike scissors.

preacher voice production, not quite sprechstimme, but like it, lifted

Trance Butchered Knight at revolution's height
hard core earlyish Banned Rehearsal
Funmaker set to Rend

must have been working on the songs I wrote for my nuptials soon to be
there's the text auf Deutsch

Anna and Aaron arrive
brought in on a past cassette

the ancient Italian fighting art for the family
we don't know what we're doing anymore
than you do

TV gun shots derived from cyclic noise flange or the boofing of balloons
soggy of the green great lake monster in my bathroom



Hard To Mention - The Young Fresh Fellows [from Electric Bird Digest]

whatever it is
drive right through it
don't look, (but it does)

24 Preludes 1 through 4 - Lockrem Johnson - Keith Eisenbrey [June 2006]

once an idea is in hand
he does not let go

nicely played, past me!

Let Me Sleep In Your Arms Tonight - Rachel Harrington [from Celilo Falls]

sung at a tempo that is only available in the big sky night of western stars

Banned Rehearsal 910  - Aibell, Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [May 2016]

metal, wood
substance that sounds :: things appear in sounds, in their sounds

if one is not talking one feels one is not existing
the piano tunes of Wallace drift across the bells and potlids
milk can and shakers various
magnificent metal squeal as mega music

now pitch hangs in space as a concretion of a physical object into time
a glow
even a special bit, as after the credit roll

Canzon XIV and Galliarde XIV - William Brade - The King's Noyse [from Mascharada]

style: a cooperatively created object of thought inhabited by its creators
intersection of what we collect in our closets and what we don from them

He's the Last Word - Ben Pollack [from Alan Lowe's That Devilin' Tune]

nice duet vocal, soprano and alto, neither quite the lead
also, an excellent tuba

I Can't Believe That You're In Love With Me (alternate take) - Art Pepper [from The Way It Was]

my how they jump off the beat
hot potato

Such A Lovin' Appetite - Wayne Storm [a Rescued Record]

a songwritten song
could set the tone for a Watersic satirio-comic film
I'm glad it goes away

September on Jessore Road - Allen Ginsberg - Allen Ginsberg, David Amram, Bob Dylan, Jon Sholle, Steven Taylor [from Holy Soul, Jelly Roll]

and millions
with bread from the state
malnutrition skulls
border trucks flooded
ambassador bunker alone in the rain
what shall we buy without food stamps on Mars?
how many daughters with nothing to eat? to go.

January 2, 2019
Eliza Act II - Keith Eisenbrey, Aaron Keyt [December 1981]

perplexed by Beckett
with dij(eridoo)
at the same time one is obliged to speak
oblivious of apriori self-defeat

music is alarmingly simple to imitate
to make it, actually, is also simple
but also easy to miss completely
the slightest pretense wilds the aim

January 3, 2019
Prelude by the "C" - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

introducing his band with a filler sort of song full of effects with nothing in the behind of it
trapped by its need to have a particular energy throughout
like a workout in a gym
nothing is accomplished

Banned Rehearsal 278 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [December 1991]

J greets you
Toad Hall Outpost
microphonic misbalance is a problem || or is salutary || in that it is distracting
it removes transparency
forces a retreat from suspended disbelief
can't forget we are listening to what microphones hear in a space
we are amused that J turns a page
J is amused that we are amused

Kierkegaardically Dock
the geese were in a flock
and Keith read Donne
and Down John ran
Kierkegaardically Dock

Aaronsbundler in Ivesian wads of notes
devolving into Mahlerian kitsch drift off
becoming a careful study of bounce rhythms
drum head color clicks and sticks on tight head skin

whisper monsters

Saturday, December 29, 2018



December 22, 2018
King Arthur Act 5 - Henry Purcell - Le Concert Spirituel, Hervé Niquet

The birth of the distinction between high art and low art can be blamed on the concept of Royalty and Nobility. The idea of Learned Court or Church Music, as an economy, allowed only the Learned to be written out, writing being the only means of preservation outside of oral tradition. The demotic appears in written form only through imitation by the learned and otherwise is left to its own devices, its praxis handed down personally - a process that did not stop at the courthouse or churchhouse doors. It remained there also, as always.

Nänie Op. 82 - Johannes Brahms - Atlanta Symphony Orchestra & Chorus, Robert Shaw

consistently engaging as a play of sound colors
nice orchestration!!
a symphonic movement with one of Brahms' few harp parts
about as fine a piece as any other of his

December 26, 2018
Grandpa's Spells - Jelly Roll Morton - George Mitchell, Edward 'Kid' Ory, Omer Simeon, Johnny St. Cyr, John Lindsay, Andrew Hilaire [from Alan Lowe's That Devilin' Tune]

Arrangement is,
as composition is,
a tool for timbral amplification

Adagio for Strings - Samuel Barber - Berliner Philharmoniker, Semyon Bychkov

poignant incomplete, enclosed

All The Things You Are - Art Pepper [from The Way It Was]

never losing cool in the spotlight
easy to hear
how the pairs

Let The Good Times Roll - The Sonics [from Boom]

a winning combo of messy reverb and narrow bandwidth

Crepuscle With Nellie (take 3) - Thelonius Monk - Thelonius Monk, Al McKibbon, Art Blakey [recorded in London on November 15, 1971]

cyclily it goes
slow and heavy round
and round and round

Eliza (Interlude) - Keith Eisenbrey, Aaron Keyt [December 1981]

three short movements for spinet and (trombone or tenor tuba?)
clever and brief
but not horrible either

Breakout - Swing Out Sister [a Rescued Record]

synthy machine backed
born to be bland

December 27, 2018
Banned Rehearsal 277 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 1991]

guitar, autoharp, ocarina
homespun sound with infant and fuss and very faintly if I am not mistaken a radio station brought in on the waves of electric chance

violin and hand drum shiny bright with bell duet
for violin squak and infant squall

deep dynamic focus from mezzo forte on down to where the airwaves shine dimly

öbjét d'kítsch

special brand young parent sleepiness yawn

No session or sequence of sessions is important as to where the project might be going
they are only important in the sense that they and their kind exist within the corpus
the junkyard's accumulation is the key, not the particular trajectory of accumulating
history is not as granular nor as linear as we would care to think

this music is very close, near, to our ears, inhabiting its space precisely
its space is its and none others

In Session at the Tintinabulary

December 25, 2018
Fox Spit 181225 - Keith Eisenbrey

After the guests all left
a scribbled bit on the guitar my brother Paul made.

Saturday, December 22, 2018



December 15, 2018
Neal Kosály-Meyer recites Finnegans Wake Part 1 Chapter 5
Chapel Performance Space, Good Shepherd Center, Seattle

what have we here
a book
what we have here

these paper wounds
we start proper

worthily, Neal is gaining an audience for this crazy project
it is quite the thing to experience
acted but acting not
spoken but sung
a musical reciter at top of game


December 16, 2018
Banned Rehearsal 276 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 1991]

Listening is thinking

thinking listening

language hegemonizes mind
so too does music

language and music engage in mutual hegemonization
language seeks to control
because it, language, is control

music seeks to permeate
so peaceful a lullaby

we busy ourselves rearranging sonic devices
drumming to serve for work song
dulcimer bridges a gap between koto and banjo
(but then the autoharp?)
lyre and lute pipe and drum
a gentle concerto for mountain dulcimer and autoharp untuned

John the impaler of snails
John the emboweler of otters
minor masterworks of the limerick art, by Aaron

recorded in The Spaceship Tintinabulary on its generation long journey to The Center of the Unknown Universe

a bell is a cymbal with pious pretensions
toy piano toy accordion toy drum
trio contrapuntesque

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

more string play

December 18, 2018
24 Preludes 1-4 - Ken Benshoof - Keith Eisenbrey [June 2006]

My performance here focuses on the piano thinking rather than on the genre thinking, in order to make plain what is optional in the notation.

Spokane - Rachel Harrington [from Celilo Falls]

She does not rhyme "gold watch and chain" with "Spokane" (because it doesn't!)
She rhymes it with rain.

I fall in love with the fancy duo guitar stuff. Her personal geography takes care with its syllables.

Riverview Park Playfields - Keith Eisenbrey [May 2016]

We were camped then in West Seattle while our bathroom was being redone. We took a walk through a nearby park and birdsong. We cross a street at a crosswalk.

foot step rhythm like bubbling sauce
kneading crunch dough

softball in the distant wilds
more distant traffic flanges through space as space is heard

December 20, 2018
Canzon - Thomas Simpson - The King's Noyse, David Douglass [from Mascharada - Music at the Bückeburg Court of Ernst III]

a miniature opera
done in 4 minutes or so

In Session at the Tintinabulary

December 17, 2018
Banned Rehearsal 972 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer

Saturday, December 15, 2018



December 8, 2018
How Firm a Foundation - Keith Eisenbrey, Keith Eisenbrey

my recording of December 5, 2018
unfinessed timing, but with great care to amuse

Satan, Your Kingdom Must Come Down - Sister Fleeta Mitchell, Rev. Willie Mae Eberhart [from Art of Field Recording, Vol. 1]

at ease with its confident command

Soundform II Cricket - S. Eric Scribner - [from Storm Sound Cycle, May 2011]

it is as though this weren't music we were listening to
but washes of layered ambiences
any story line focus is deliberately frustrated
so that we can experience this space without participating
a particular distance at which it grows dark

Finnegans Wake Part 2 Chapter 4 - James Joyce - aleorta [from Waywords and Meansigns]

outside inside
a quark an ark a bark
a beach of words like sand churned into filtered whorls of thematic synergistic jumbled geology
worlds piled into higglepiggle rhyme heaps
bits of precontext clinging
mucking up the whole weary moraine
a dye has been applied to these lists of words

December 11, 2018
Aria - Thomas Simpson - The King's Noyse [from Mascharada]

Something about the way pitches repeat at register is more than vaguely reminiscent of Webern.

King Arthur Act IV - Henry Purcell - Le Concert Spirituel, Hervé Niquet

a musical extravaganza held together by a plot
but the extravaganza of the music is primal
which is why a dance number as a part of one of these things makes perfect sense
Wagner's through-compositional compulsion was just a way of making plain what had been developing all along, it actually lessens the importance of the music as such with which opera began its history

Schicksalslied - Brahms - Atlanta Symphony Orchestra & Chorus, Robert Shaw

slow groundwork allows weightless lift
oops, dramas
setting a dense poem chorally adds density without contributing clarity, comes across like a movie adaptation of a book

Kansas City Shuffle - Bennie Moten [from Alan Lowe's That Devilin' Tune]

show dance upon which variations or doubles compete

Dona Nobis Pacem - Ralph Vaughan-Williams - Atlanta Symphony Orchestra & Chorus, Robert Shaw, Richard Clement, Nathan Gunn, Patricia Nealon, Pamela Elrod, Sean Mayer, William Borland

much like Purcell in the knee-jerk wordpainting, but inflated by more ample resources, oppressed by the imperative to be important, National
the sentimental sanctimony of Empire
unlike Purcell in that it takes itself seriously

wordpainting fails to enhance text's meaning, it merely underlines an empty aspect of it
good for a laugh, but otherwise generally a distraction
it would help if he had any sense of timing or proportion

December 13, 2018
Concerto for Guitar and Small Orchestra - Heitor Villa-Lobos - Chamber Orchestra of St. Petersburg Philharmonic, Vladimir Altschuler, Marco Tsessos

mid20thcentury Display Concerto
a vehicle
for solo enhanced by orchestra
the play of sounds against each other - what makes a concerto a concerto - given lip service at best
given that limitation this is a rather attractive example, with melody up front

All The Things You Are - Art Pepper [from The Way It Was]

mumbling in close formation they scrawl a tune

Skinnie Minnie - The Sonics [from Boom]


Crepuscle With Nellie (take 2) - Thelonius Monk [recorded in London on November 15, 1971]

syncopation can be accomplished by playing ahead or behind the felt beat
or, as here, by moving the beat to where you need it, stretching and squeezing the flow into a taut rubato

Tomorrow - U2 [from October]

pipe tune
builds up
only to get to where the fade is

Rock and Roll - The Velvet Underground [from Another View]

trying different vocal persona, demo-ish, (or self study)
rough song, smooth coda
what might this sound like if we were to do it this way?

Saturday, December 8, 2018



December 1, 2018
Allemande - William Brade - The King's Noyse [from Mascharada]

closer to clearly a dance than any of Bach's Allemandes are
being older

step kick step kick
do they all stem from the same root dance as the Polka?

King Arthur Act III - Henry Purcell - Le Concert Spirituel, Hervé Niquet

Purcell liked the noise of it
up to his elbows in liking the noise of it

a shake (ornament) on shake (word) - very clever, Henry
wordpainting as blatant as possible, visceral even
as though that were so completely the point
but also distracts some from the little seminar the notes are engaged in, as notes

and then there's a Wind Machine!

Quartet in F Major op. 135 - Beethoven - Alban Berg Quartett

four clowns
each answering

to reprise is to vary
the activating symmetries

we suspect the non sequiturs
are not so non as all that

a lull? a lulling? a trap?
(left hanging in the attentive lurch)

definitely a trap
pizzicati ex machina

Caprice - Henryk Wieniawski - Itzhak Perlman, Janet Goodman Guggenheim [from Itzhak Perlman 
Live in Russia]

an encore
a remnant of the old Music Is For Fun vogue

East Arkansas Shout - Sammie Lewis [from Alan Lowe's That Devilin' Tune]

picked that up (the vogue above)
a draft or older version of the land of a thousand dances
pre mashed potato too

Carabina Trienta-Trienta - Epifiana Sanchez and group [from The Art of Field Recording vol. 1]

There is a slow flange quasi-arpeggiation effect concerning the placement of the strum sound upon the strings within the presence of the recording. tape wobble or intent?

December 4, 2018
Don't Be Afraid of the Dark - The Sonics [from Boom]

a reimagined throwback

Punk and its progeny being a back to the roots music, from the very root of it arises a propensity to revisit older songs and goose 'em. From this trope comes some of my favorite covers and moments: The Stranglers Walk On By; The Dictators I Got You Babe; and (live): Peterman I Can't Help Falling In Love With You; and Red Ribbon That's All Right Mama.

stripping the sheen from the 50's
bringing it home

Chordially (Improvisation) - Thelonius Monk [recorded in London on November 15, 1971]

thinking with his hands
not a finished thing and clearly not a thing intended to be finished
melody notes perched uncomfortably on lumpy chord chairs

Eliza Act I - Keith Eisenbrey, Dave Jones, Aaron Keyt [December 1981]

oh golly this goes back

in the year between my graduation from the UW and my wandering off to the East
Aaron, occasionally Neal, Dave Jones, and I would gather in the basement of Dave Jones's place north of the University and record improvisations. Over the course of several such session we improvised an opera named after one of the characters in Kurt Vonnegut's Slapstick. The result is easily not all that wonderful, but it has its moments and anticipates many of the activities that came to dominate Banned Rehearsal a few years later.

the overture
intoned trombone, bass clarinet, conch? ceremonial solemn
text erupts
fairy tales

If improvisation's purpose is to elicit pieces of music then we explode that idea by trying to elicit a particular known genre of music, demonstrating just how far off things can get. And it isn't due to us choosing the wrong kind of music to elicit. We do it in numbers.

we didn't have amplification per se to play with so we moved the microphones around instead
competitive cleverility
all of a sudden I realize
hey I'm in control here

December 6, 2018
Diamonds on the Soles of Her Shoes - Paul Simon [from Graceland]

fancy melismas and choral drums

Banned Rehearsal 275 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 1991]

a piano, so, Toad Hall
as none was available at that time at headquarters
thumbpiano mixed to have presence
J operates a spring contraption and is cyclically quite amused
drum and brass with flabby lip
the organ transformed suddenly into The Show
or was that the Aaronsynth?
going on for the cause of why not go on
or drift more
fat finger tunes
some tiny whisper whistles imitating cassette ghosting
J squawks discovering agency
double double reed thingy designed for the desire to be at two with one's self
pre-toddler delight
squeamish should turn their ears aside
diaper is being changed

In Session at the Tintinabulary

December 3, 2018
Banned Rehearsal 971 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

December 4-5, 2018

How Firm a Foundation - Keith Eisenbrey

I wrote this chorale prelude-ish arrangement of the hymn tune Foundation in July of 2001, the last of three little organ pieces. For the last decade plus now I've been going through all my keyboard pieces to be sure I have acceptable recorded documentation. They all work pretty well for piano too, though this one requires some carefully applied sostenuto pedal in three or four spots.