Saturday, August 11, 2018



August 4, 2018
Forest Show - music by John Teske and Neil Welch
Ravenna Park, Seattle

John Teske, bass
Neil Welch, tenor and C soprano saxophone
Samantha Boshnack, trumpet
Ebony, cello
Noel Kennon, violin
Greg Campbell, drums

it is a rare thing
not Ravenna Park
- if one is not engaged at that moment in the performative mode of Choral Singing
just then -
to experience the same
blending sense
of being a proper part of this activity we are doing together

I have been conscripted to battle
that much is clear

(flash scene)
(Gangs of New York)
(Dead Rabbits emerge)

warriors of cosmic conscience and little bells
now relics on the table

battle whom? what?

the clear co-association of each of us with the march, the us, the procession, was enough
we are us
we are the knights who process with bells

fear us

but seriously folks

there was a call, a gathering, a procession, and an anthem
there was preaching and a rite
as though
the blood of prophets
grows up
through us
church arising
through cracks in the pavement

fall you will rise you must

dust of priests fear not tidings
so loved the world
in own image


--- Thank you John and Neil and your superb cohort! Joy is a pleasure and joy in music is a particular pleasure.


August 4, 2018
Duetto "Donque io son . . . tu non minganni" - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from Barber of Seville (Highlights)]

dumb fun yes
also no moment like any other
conversations and coils and negotiations and journeys

I Want Jesus to Walk With Me - Homer Quincy Smith [from Alan Lowe's Really The Blues]

reed organ and tenor sweet

Why Do Fools Fall In Love - Frankie Lymon and the Teenagers [collected from Dave Marsh's The Heart of Rock & Soul]

before band-ness became what it came to be
as: who and what did that
is: when the group was a group of singers first, accompanying themselves perhaps

Baby It's You - The Shirelles [from Shirelles Anthology]

alarming dynamic contrast in the mix
gives the singer's voice room to get low and sexy

Substitute - The Who [collected from Dave Marsh's The Heart of Rock & Soul]

mixed blatant so that
what is front is front
what's back is back

The Journeyman's Grace - Fairport Convention [from Meet on the Ledge]

the word "I" has almost an "oh" sound to start: "oh-EE" rather than "ah-EE"
an accent that was near to that that returned in the heydays of Brit Punk
England land of diphthongs

Strawberry - Keith Eisenbrey, Dave Jones, Aaron Keyt [November 1981]

one side of a conversation
telepathic feelers
you enjoy your dinner

NB - this is one of the very few bits of recorded sound left over from that proto Banned Rehearsal time

I've Seen Your Face - Julian Lennon [from The Secret Value of Daydreaming]

suffocation saturation sound

August 7, 2018
Banned Rehearsal 269 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [September 1991]

Toad Hall and its intonation of doom and destiny
do not adjust, listen instead
you will have to listen to what this little bird says in order to construe oneself
boogah! boo-gah-loo!
a unique compositional challenge: engage with a protoverbal sentience
nailed it
(easier than with a verbal sentience, especially than with a neoverbal)
a seminar open table conference hearing congress convention
of rhythmic inflection
from inside the tape, any input from outside the tape serves to shrink, diminish, circumscribe
the challenge of any sound is to be more than its fact

August 8, 2018
Caress Me Down - Sublime [from a private mix CD]

a sex brag weaving between Spanish and English
little bit of a Bo Diddley beat

I Love You - 260000 Volts [from The Funhouse Comp Thing]

urge mindless
certainly does not overstay

Nature Lives in Motion Part 1 - S. Eric Scribner - S. Eric Scribner, Mike Sentkewitz [from Storm Sound Cycle, Chapel Performance Space, Good Shepherd Center, Seattle, May 2011]

how it begins
cetacean siren keen feline yowl caw

limn of sky and ocean
was not

a long process begins here
utterly without hurry

time to enter an impersonal space completely progressing clearly in imperceptible increment to space-alien cricket field

never clear whether bird sound is from the can or from the out
what is in the room barely registers over what already persists
our world matters so little

what of it is the use of it as over above what is the other of it, the it of it

the passing squalls have carved the landscape into passing squall impervious hollows
little can happen except in the eddies where flotsam collects

a corner is turned around a ridge line into a furtherscape where we sit and say what we did and what we heard

best get on up the trail

!fun fact: my laptop was used to play back the canned bits

syncretic land/sea/jungle/alpine could be all at once or
rigging creak on ocean ship

70 minutes in a dynamic event with bird tweet or not

August 9-10, 2018
Finnegans Wake Chapter 6 - James Joyce - Maharadja Sweets [from Waywords and Meansigns]

comedy show
from space!
each line a separate dream full formed
folk strum recitativo psalmtone focus
the finessed intervals between each end of line spokesung and guitar refrainingcommentary
as though this were simply sung for y'all to hear
!to Anna Livia!
is each
things enumerated here
focus: size of
riddle me this: range of
reading with specs :|| answer ||: rank of
!! Finn Mc Cool !!
sees of
another silent hiatus
after which the tune bends downward not this not that game show !!! ANSWER !!!
sub basement ward
fragmentsed fastjumbleforwardthroughawesomeheap
MS SAM!??? almost
teachermaster filtertransformuliterates into dialogue reported
sequentiated logo layers
the linguas distracted
each from their each
quiver against each other in layerous words

In Session at the Tintinabulary

August 6, 2018
Gradus 337 - Neal Kosály-Meyer

Every piano composition performance should announce itself with equal forthright-ery and detail.
If this is melody
what is the exact nature of it? exact to the absolute? notes emerging into consciousness
after all these years it is easily as much about teaching me to hear piano music one note at a time
as Neal learning to play so
an interview question (hear below)
Do you, when moving from one rung to another during a single double 40 minute session,
think: this is a new thing entirely wipe the slate clean of rung before just preceding
or: now I'm just gonna move some notes around
or: something else entirely?
gap between what it says and what it is
transformation through filter of availability (as a compositional strategy)
downright narrative

Interview Question - Keith Eisenbrey, Neal Kosály-Meyer

I was so tickled to come up with an actual question that I asked it. Neal answers immediately.

August 7, 2018
Oak Harbor 180807 - Glen Eisenbrey, Keith Eisenbrey

I was in Oak Harbor, Washington, on Tuesday, with my brother Glen, who decided to give his car an automatic bath. I recorded it with a phone app.

Saturday, August 4, 2018



July 29, 2018
Finnegans Wake Chapter 5 - James Joyce - Neil Campbell [from Waywords and Meansigns]

as from in a swivelorbiting teacup ride
the fellows of which filled with pulsing square wave glowers

quiet enough suburban sounds around oblivious
lore is rich with long loops backdrops cranky go round

here's the motor at the heart chugging chug chug tip
under the waves it goes

July 31, 2018
Aria "La callania è un venticello" - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

snark within form
form lights fuse
fuse polite tunes
tunes turned to
to revolution

Get With - Ben Pollack / The Readheads [from Alan Lowe's That Devilin' Tune]

that guitar sounds amplified
as richly detailed as the trumpet
the drums must have been two blocks west
instrumental dance for dancing instrumentals

Who Do You Love - Bo Diddley [collected from Dave Marsh's The Heart of Rock & Soul]

same deal
but the drums moved back in
trumpet replaced by loudspeakered voice
beautiful virtual space of recorded sound
cut to fit to the two minutes thirty or so

Symphony in D minor (The Year 1917) (#12) - Shostakovich - Leningrad Philharmonic Symphony Orchestra, Yevgeny Mravinsky

soundtrack for which visuals are superfluous

circling lost in the orders of its circling figures
somebody keeps turning the frenetic up

meanwhile in the simple hearts of the proletariat
history's burden bestowed
distant doings afoot

Stop Her On Sight - Edwin Starr [collected from Dave Marsh's The Heart of Rock & Soul]

power coloratenor
barely a song before it's gone

Don't Let Nobody Turn You 'Round - Silver Light Gospel Singers [from The Art of Field Recording, Vol. 1]

tempos within voice
genders of tempos
held together at the tap tap tap tap tap tap

Fire - U2 [from October]

kind of a mess, drifts off in a Pink Floyd haze

August 1, 2018
Banned Rehearsal 79 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

merge! yield!
recounts a story of the container of stuff they had brought with them from back home
Karen clears her throat
Keith recites in whale a sixty cent bus trip

time and a consideration of decision making
measuring regret and loss
Orpheus and Eurydice perhaps, in another guise

Harry and Maude hoot hoot hoot hoot hoot hoot

remember! merge! forces beyond their con|||| . . .

August 2, 2018
Once in a While - The Young Fresh Fellows [from Electric Bird Digest]

for those paying close attention, I blogged about this one just last May.
punctuated by insert beats and relax chorus a BRIDGE!!
Big Punkt
to guitar solo Haydnesque affect-thinking translated to song structure
finishes in punctuation mode

The Teen Thing - The Young Fresh Fellows [from Electric Bird Digest]

so I listened to the next track too
clever filler bit of song for between

"...woe my road in spoken..." (second midi draft of May 29, 2006) - Keith Eisenbrey

still messing with tempos and pace, dynamics
seeding ideas into cloud forms
chains and links and daisies

Pretty Saro - Rachel Harrington [from Celilo Falls]

precise pitch articulation
essential inflections


no song needs to be
or could be
more than this

as good as it gets

10 Minutes for Aaron - Keith Eisenbrey [April 2016]

loose hi hat cymbal inverted on antique milk can with mallets (various)
all its sounds' parts and their lastings

In Session at the Tintinabulary

July 30 2018
Banned Rehearsal 963 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Saturday, July 28, 2018



July 22, 2018
Banned Rehearsal 78 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

the legendary push to 100 begins in earnest
Anna had decamped to San Diego, Neal to follow in a few weeks
we figured we could fill 23 sides if we got together as often as possible and made several sessions every time

with dulcimerian strum and guitar and funmaker
distinct presences playing pitches
vaguely downhome funmaker bend button to imitate saw or bee swarm

the relation between the metaphor of steady beat and the metaphor of click track clock time
each is a kind of virtual reality

Neal sings a sudden song Strange Animal interrupted by a wicked great funmaker effect
Sprite in punkissimo overdrive

clocktime is a metaphor of objectivity and reproducible results
beat is a metaphor of inner time - heartbeat breathing sleep
to conflate them is to sell beat short
to measure the rightness of a beat by its adherence or not to a click track clock time timepoint is to utterly mistake its subjective essence
trading image for fact

clavichord even gets in there most sinister of sounds

disproportionality is our speciality
does it go on too long?
experiments should not halt upon receipt of desired result
desiring a result is an ur-error

Stay Away - Nirvana [from Nevermind]

ferocious bass playing back there
sure like that fuzz box

Downtown Hangaround - Blank Its [from The Funhouse Comp Thing]

minimalist patterning
nice focus
power suit

"...woe my road is spoken..." (first midi draft of May 29, 2006) - Keith Eisenbrey

another in a series of drafts of a set of variations for string quartet

affect is carrier wave for pitch set transformation

Life in a Marble - Youth Rescue Mission [from Youth Rescue Mission]

just a young man and his strummer joined by kin on cello and voice

Gradus 288 - Neal Kosály-Meyer [April 2016]

the highest G

if the acoustic machine that is the piano
strings soundboard hammers frame harp dampers
could be adequately modeled algorithmically

then one could design interfaces for the dampers
on a gimble or as independently operated as the keys themselves

one to play the hammers
one to play the dampers

could virtual strings break?
algorithmic modeling of the sound of a string breaking?

if it doesn't then the model is inadequate
limitations are important

the E comes in as though it hadn't really

July 24, 2018
Cavatina "una voce poco fa" - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from Barber of Seville (Highlights)]

how exactly weight is adjusted to articulation

Don't Fish In My Sea - May Rainey, Jimmie Blythe [from Alan Lowe's Really The Blues]

celebration within complaint
irrepressible right hand comments

Ubangi Stomp - Warren Smith [from Sun Records Definitive Hits]

copping to racial thievery (N word trigger warning)

What A Sweet Thing That Was - The Shirelles [from Shirelles Anthology]

as crowded as the words are
there is lots of time for spare my my my my to spill out

Septet - Arthur Berger - The Contemporary Players [from Form]

long tones doled out sparingly
to tell
we search them out where they cling
past woods edge
a guide will be wanted
to return

Barefoot School - Bellevue First United Methodist Church Children's Choirs [from my Mom's tape of May 6, 1971]

I shared narration duties on this, and so it becomes one of the very earliest instance of recorded sound recognizable as me

our charming pious tale of spreading the benefits of civilization

July 25, 2018
I've Never Been In Love - The PK's [from a private tape]

history: the night before Karen went off to UPS at the end of the 1981 Summer in which we (she and I) happened to have both been in the same room at the same time for the first time Karen and Neal and Yvonne made this recording of their (really proto-PK's) collaboration. It was supposed to be a good tape.

Shut Out The Light - Bruce Springsteen [from Neal's mix-tape Six B-Sides]

story ballad family retrieval

Banned Rehearsal 268 - John E, Karen Eisenbrey, Keith Eisenbrey, Paul Eisenbrey, and Aaron Keyt [September 1991]

clams up
big honk speaks across the spiral tape as it lies on its reel
J clears his throat
nervous sort of explosiveness
all the doo dah day yes sirree doo dah
buddha baby
imitates squeaky violin squeal
failure to incandesce but many many colorful bits
bug call

July 26, 2018
Haunted House - Fall-Outs [from The Funhouse Comp Thing]

politely overdrawn accusation
never trust a breakup song

Song From The Storms and Winds - S. Eric Scribner [from Storm Sound Cycle, live at the Chapel Performance Space, Good Shepherd Center, Seattle, on May 21, 2011]

tone held through thundernuk place
within place within place

In Session at the Tintinabulary

June 27 - July 6, 2018
Two Pomes Play - Keith Eisenbrey

Most of June and into July I was working on getting an adequate recording of these short two-voice
piano pieces. The first is one of my takes from June 27. I finally got the last one pretty well on July 6. These began their lives in the mid 90's as duets for clarinet and bassoon. In 2000 I transcribed them for piano solo.

July 23, 2018
Gradus 336 - Neal Kosály-Meyer

. . . and the fifth B
perihelion swerves of many kinds
lit up the bubble of now in etheric mind nowhere hidden

Saturday, July 21, 2018



July 1, 2018
Cavatina "Ecco, ridento in ciedo" - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

a distance traveled before we get off the ride

Rainy Night - Duke Ellington [from Alan Lowe's That Devilin' Tune]

say a thing (twice) (or two things) then comment or overturn
the back ends of the melodies invite consideration

The Goodnight Waltz - The Voices of Walter Schumann [Rescued Record]

The Age of Sentimentality's Last Gasp

Walk, Little Julie - Chester Hanchell [from Anthology of American Folk Music Vol. 1]

jaw harp in the raw

Requiem Canticles - Stravinsky - London Sinfonietta, Oliver Knussen

pitch plates microadjust their relative altitude
planar placards plastered on the pitch plate walls

Track 6 - Tillicum Junior High School Orchestra [from my mom's tape of a concert give March 3, 1971]

with vibraphone solo

Subhuman - Throbbing Gristle [from Throbbing Gristle's Greatest Hits]

inverted accentuation becomes name classification

July 4, 2018
Banned Rehearsal 77 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [May 1986]

vacuum cleaner vacuuming floor clacking sticks and ocarina or flute
we have a hum on the tape from something
it wanders

Neal & Anna's Outpost on Brooklyn Ave, as they were packing it up

typing tap tap tap tap ding! szzzhook!

persistent lack of focus, phoning it in, not present
weary and wearying the hum does not help
this tape has ennui
impervious time

Don't Mix The Colors - Courtney Love [from Kill Rock Stars]

words on a good enough rhythm track
half a song or less

Gradus 99 - Neal Kosály-Meyer [May 2006]

single tones allowed to linger
turn their predilections for proliferation inward upon themselves
become sets of parts independently spinning
fulfilling the compositional imperatives
which notes to play
is so simple to accomplish that the notion of necessity in the short term
or of form at all as a specious trajectory
is left far below

Front Door - Shaprece [from Scatterbrain EP]

circling insistence (a worry stone)

Banned Telepath 47 Somerville - Aaron Keyt [April 2016]

the new note nears quickly
improvisation composing itself as a composition composing improvisationality

July 5, 2018
Cavatina "Largo al factotum della città" - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

intricate prestissimo blah blah blah
tour de articulation

Irish Black Bottom - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

wide open window to another celebration
when it is over
feels empty

Tweedledy Dee - Elvis Presley [from First Live Recordings]

clearly worked over before release
with vinyl surface noise just as clearly audible
no-one was, apparently, thinking history and collecting quality data

(He's) The Great Imposter - The Fleetwoods [from The Very Best of the Fleetwoods - Come Softly To Me]

Requiem Cantlicles - Stravinsky - Columbia Symphony Orchestra, Stravinsky

categorically disparate rhythms
though coordinate
choral sound disblending as instruments perfectly
voices instruments solos chorus - all treated emphatically impersonally
each is there to function just so
not anybody's show really
as though these were sound samples pulled from hammer space

July 10, 2018
Jascha Horenstein reminisces with Alan Blyth

". . . nineteen tzwolve . . . Webern and Berg were the ushers who controlled the membership cards . . . enowmously tense and inhibited . . . Vienna is the only place in the world . . . a closed shop . . . icy cold every inch the emperor of music . . . "

Well I Just Might Do That - University of Washington Contemporary Group Improvisation Ensemble [July 1981]

barbasol theater
it's got lemon in it
an historic moment for proto Banned Rehearsal
in that we were beginning to spill out of academic oversight
into sessions which we then inflated into legend out of all proportion to the actual results
good thing most of the sound is lost
come inside you'll catch your
mind your mother
clump clump clomp clomp

4th of July, Asbury Park - Bruce Springsteen [from Bruce Springsteen Live 1975-1985]

full blown legend domain see your life as mythic grandeur
your face here

July 11, 2018
Banned Rehearsal 267 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [September 1991]

in the past I have made errors in that regard
moan tube scolding big red bag of fun
soft skinned rattle of rattles
semi independent double reeds
finger independent righty lefty
breath dependent if each speaks or in turn
jalopy rattle get it firing tambourine
this sounds like Aaron's now defunct electric organ
rather than the funmaker
30 minutes in not a dud moment really
concerns itself with another subject than the terrain we experience
much as geology arose from metallurgy and mining
Mr. Punch you are a bad bad man
diabolic plotting encrustations of narratives' remains
realms are missing
music is an abstraction of activity
informing our future selves of the past reporting back truly what we say
common pulse theory

DX7 - Brad Anderson [from Dark Energy - Interstellar Pianos]

probes in substance with danger traps beacons left behind
creatures that feed on geyser's edge in pitch darkness

July 12, 2018
Day Signals Sonic Nebula - S. Eric Scribner [from Stormsound Cycle, live at the Chapel Performance Space, Good Shepherd Center, Seattle, on May 21, 2011]

slow circle
stethoscope to deeper tunnel
clanging cagebars
rain drops what zooms by cares not
performance as self preservation
face of impervious
the slowly drawn circle nears, lurking, respiring
a membrane within the sound
cessation without conclusion

July 17, 2018
Finnegans Wake Chapter 4 - Rio Matchett [from Waywords and Meansigns]

immediate: as though related over morning breakfast finger thump on table
scifi traffic medievaly chanting past on the interstar
repletely misoverheard
leaning close over the cafe table
not fussy about the jointures
color not corrected as gossip passed
then report per radio tv with background

July 18, 2018
Duetto "All'idea di quel metallo"- Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

light orchestral touch
the air they breathe

You Made Me Love You - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

not much space on these old tracks, timewise or dynamical
best to fill it completely

Tynan Tyme - Chet Baker, Art Pepper [from Playboys]

now we got us some elbow room

A Thing Of The Past - The Shirelles [from Shirelles Anthology]

such subtlety of vocal pressure
just exactly the right weight given to each part of each syllable

no slop

Secret Agent Man - Johnny Rivers [collected from Dave Marsh's The Heart of Rock & Soul]

something in the sound is often repressed

July 19, 2018
Selections from Finian's Rainbow - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of a concert given May 4, 1971]

extended medley or truncated show
Irish as ethnic quaint (harmless) lesser European pastoral
LA < > NY
Hollywood < > Broadway
good enough modulations (not to write home about)

Universal Corner - X [from Wild Gift]

measures measuring measuring measures

In Session at the Tintinabulary

July 2, 2018
Banned Rehearsal 962 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

July 16, 2018
Assembly Rechoired 57 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy

Saturday, June 30, 2018



June 24, 2018
Symphony in B-flat, op. 60 - Beethoven - Berliner Philharmoniker, Herbert von Karajan

Tonality as practiced here is not a set of keys and their relationships. It is, rather, constructed from the dynamic ambiguity of scale-degree functions within contrapuntal web-works: how each pitch within the object of discourse relates to all the others as a polyvalent set of latent scale-degree functions :: as an expressive tool or a box thereof :: here's the power-up: an interval pattern is a thing but it can be set willy nilly within any particular portion of the key.

I appreciate how well this recording is engineered to sound like it is being played in an exquisite place. I'm sure it was, but it even sounds like it was. Great timp sound in the 4th movement.

Skid-Dat-De-Dat - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Was his slow vibrato an imitation of old recording instability / spindle speed variability?

Stranded In The Jungle - The Cadets [from Original Oldies From The 50's Volume Thirteen]

silly? check.
fully realized? check.
variety show comic skit song
vaudeville :: minstrel show
place and history
Jungle :: Town
played as
Primitive :: Sophisticated
equally treacherous

Guitar Pete's Blues - Guitar Pete Franklin [from The Art of Field Recording Vol. 1]

His guitar playing is mostly a right-handed strummy picky sort of affair. A robust relation between his right hand and his singing.

voice: diaphragm | vocal cavity
guitar: lh pitch mix | rh articulation

7 O'Clock News - Silent Night - Simon and Garfunkel [from Parsley, Sage, Rosemary & Thyme]

the mistake was in presuming our own innocence
personal note: I was 7 when this came out. It came into my consciousness not long after, probably through the older kids at choir camp. Howsoever faux profound it is, I succumbed to it hook line and sinker.

Track 4 - Tillicum Junior High School Orchestra [from my mom's tape of a concert given March 3, 1971]

Sounds Haydnish, perhaps Weberish.

Discipline - King Crimson [from Discipline]

guitar strings are drums
long thin drums
long thin drumheads
pitch is a change in the shape of the drumbody
Learn to Play Guitar with Fripp!

Banned Rehearsal 76 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [May 1986]

perhaps we made a pact

tiny sounds only and yet tape machine conglomerate of sounds
piano as recorded intermezzo in the wild
my how they talk
a very Keytian play
part 2
must have been just before the Ben and Jim concert that Neal and I did
circular texts we laugh less controllably
bells and strums Leiermann BOW reference from the old days mash up Leiermann and Hidden Damage overdriven guitar lobs laser blasts at Elvis back carnival game stack-o-decks at its craziest made possible and limited by the Realistic mixer (it was cheap) the spot I'll seek if the hour you'll find there's that Stranded In the Jungle guy to where we began again at the end

pop pop


Blue All The Way to Canada - Moe Tucker [from I Feel So Far Away - Moe Tucker Anthology 1974 - 1998]

caboodle convoy chrysler after chrysler to Canada

Yaburebukero (reduction mix) - inBoil [from Sonicabal 2001]

some uncertainty as to origins
all electro I suppose
makes a wicked rattle of it
to vibrate your whole skeletal
really shake it

June 25, 2018

"...woe my road is spoken..." (midi draft 1 060522) - Keith Eisenbrey

my string quartet in an early finished version
unlike some I have the ability to forget details of my own composition
so that though I know this changed considerably I can't recall precisely at which point it veers
sudden nonsequiturs of harmony-timbre, clearly made segments
all there rudely

You Don't Know - Rachel Harrington [from Celilo Falls]

about as perfect a thing as can be
just guitarplucking, singing, and a wee bit'o'harp blowin' here and there.

Banned Telepath 47 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy [April 2016]

for 908 so long ago
a common aspect of BR has become the easy way we can move around the room, with happy dis-regard, or with focused regard, of where we are in relation to the microphones. I have skewed this somewhat in my current setup: 2 stereo channels, one aimed LR, the other UD (Up Down). It rounds it, but the sounds still move scitter scatter playing squeaky mouse nose right up the camera there restless jitters quick and that is all

June 26, 2018
Overture to The Barber of Seville - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg [from The Barber of Seville (Highlights)]

pre-highlights highlights
something is about to happen kids
pay mind

Sunset Cafe Stomp - Louis Armstrong's Hot Five (with May Alix) [from Hot Fives and Sevens]

Is the sense of what was meant by "Stomp" in this context derived at all from the Southeastern Native American "Stomp Dancing?" If so, how?

That's All Right Mama - Elvis Presley [from First Live Recordings]

false starts for laughs
takin' care of business
beatnik nerves

Scarlet Purple Robe - Georgia Jean Eversole [from The Art of Field Recording Vol. 1]

immediacy inescapable
punk gospel
you've been preached to up close

Psychotic Reaction - Count 5 [collected from Dave Marsh's The Heart of Rock & Soul]

somebody is playing with dials at the board
makes it sounds like rubber bands

June 27, 2018
Track 5 - Tillicum Junior High School Orchestra [from my mom's tape of a concert given March 3, 1971]

neoclassical, and pretty classy too.

Son of Manhasset - University of Washington Contemporary Group Improvisation Ensemble [from a private tape of a concert given at the Seattle Concert Theater in July 1981]

Does anybody remember where exactly the Seattle Concert Theater was?
me on piano I think
it is a mistake to demonstrate, by what we play, that we have heard what another has played.
hear and do, it is enough

Ferryboat Bill - The Velvet Underground [from Another View]

pencil sketch collective

Banned Rehearsal 266 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1991]

some appliance hums and tocks in the back behind guitar mbira ocarina cymbal toy piano (fan in
disresonantly metalictocky
something vanished
drum shaker vocal like an official whisking compounds to make drum corps
funmaker duly introduced
Aaronsbundler tattered away into old radio land
advanced dance calls for rhomboid dancing
empty brain rattle can
where does the sound come from
did he we mean it to sound like that
behind that drum beat beat beat bidi beat beat beat a moil resolving to their drums at tether length
there's that clavichord consorting with toy piano
tuning the last piece he wrote
we filled those cassettes
crammed them

June 28, 2018
Pay Me My Money Down - Bruce Springsteen [from The Seeger Sessions]

hitchin' a ride on another starshine
so that no voice other 'cep'n' his can be heard as an individual

Desert Bloom - S. Eric Scribner - Ivan Arteaga [from Storm Sound Cycle, The Chapel Performance Space, Good Shepherd Center, Seattle, on May 21, 2006]

music like weather
and the ground

ample time for an interval to be a slough

Falling On Your Face - Ravenna Woods [from Alleyways and Animals]

accelerating subtly then de-accelerating ratchet-like through broad but delineated space
four ways to fill the same space altered

Saturday, June 23, 2018



June 19, 2018
Mona - Youth Rescue Mission [from Youth Rescue Mission]

a tinge of string band and blood harmony
later, the center of sound scatters

Banned Rehearsal 908 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt - April 2016

assembled from Banned Telepaths 47 - Aaron playing Wallace in Somerville, MA; Karen, Steve, and me chiming in at the Tintinabulary in Seattle
sounds' seeming mass
moving air
massive instrument objects
to move air in specific modes
Wallace enters the space
otamatone answers
a trio for two pianos and otamatone
Steve provides essential percussion entwinings
actuation centers wander about the space
light percussion takes the field
copper pipe insulation squeak speak.

A Voluntarie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

an ordered garden path
a path of vistas

Jazz Lips - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

horns dancin' wild

Slippin' And Slidin' - Little Richard [collected from Dave Marsh's The Heart of Rock & Soul]

piano and drums keep it lively for bouncing voice and horn on

Mr. Ed's Theme Song - Jay Livingston

well there it is

A Poem On The Underground Wall - Simon and Garfunkel [from Parsley, Sage, Rosemary & Thyme]

egregious poeticizing
insufficient song

June 20, 2018
Track 3 - Tillicum Junior High School Orchestra [from a private tape of a concert given March 3, 1971]

a little waltz, probably some J. Strauss or other

Two Hymns of Brahma - David Jones - Seattle Symphony Orchestra, Michel Singher [from a private tape]

Americana brash, then going for exotic ala Hollywood, in the service of which we find some pretty nice colors

I Know What I Know - Paul Simon [from Graceland]

He writes this from the sound first, then downward into the song. It is no better a song than it needs to be to inhabit the sound from within which it emerges. PS as groove assembulator.

June 21, 2018
Psalm 23 (meditation, responses) - Keith Eisenbrey - Keith Eisenbrey, Neal Kosály-Meyer

This 1991 score still intrigues me, specifically as it concerns the question of what small part of the
final performance result is actually written down. The score consists of a small book of page pairs. One facing page contains a verse from the Psalm and the other holds two short fragments of written music, the first fragment of which is always the same. In performance I improvised a path from the constant fragment to each not so constant fragment. This particular recorded realization (there have been several) follows my entire clavichord take with an edited version of Neal's reading. I guess, in some sense, this is the (responses, meditation) version of (meditation, responses). Listening to it after all these years I'm thinking I should do more composing for clavichord.

X-Communication - The Sub/Con Group [from Sonicabal 2001]

industrial-like sounds
between sci-fi Foley sound and music sound
unfortunately it wanders into  recognizable beat stuff
if it is a drum machine then it is making a point about drum machines that didn't much need making
if not, then ditto
a paucity of color

Nocturne Interruptus - Brad Anderson [from Dark Energy / Interstellar Pianos]

honest cheap sounds thrills naked non-finesse

Consort of Voices - S. Eric Scribner - Clifford Dunn, Keith Eisenbrey, Matt Kocmieroski, Dale Speicher [from Storm Sound Cycle {private recording}]

the tempo is somewhere in the single digits per minute, and mostly whole notes
some minimalist stratagems wander through to reveal, briefly, the spirit that had hovered throughout
I believe this was the final piece in Steve's 9+ hour live epic Storm Sound Cycle, performed at the Chapel Performance Space, Good Shepherd Center, Seattle, in May of 2011. I don't remember what instrument I was playing.

Animal - Ravenna Woods [from Alleyways and Animals]

interval :: production-distance between overdubbed tracks :: vocal/piano drums/synth :: reverbillumination

In Session at the Tintinabulary

June 18, 2018
Banned Rehearsal 961 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

We gathered on the porch for the first time this Summer.
We note that it is pretty close to the 34th Bannediversary (June 24, 1984).

Saturday, June 16, 2018



June 5, 2018
Psalm 23 (meditation, responses) (vocal take) - Keith Eisenbrey, Neal Kosály-Meyer [August 1991]

I made this quasi-setting of the 23rd Psalm in 1991 for speaking voice and clavichord, intending the
Eastern Washington
finished product to be some sort of recorded rendition. When Neal read the Psalm for me that August I wasn't entirely certain how the text would fit in with the clavichord commentary. Eventually there were two finished versions, the first accomplished with analog dubbing, and the second, realized some years later, with digital. Listening to my verbal instructions to Neal I find that my concept of how texts ought to be set has not changed much over the decades. I want to hear the sound of the words going by so that they mean what they mean, with minimal dramatic characterization or word-painting, and always being cognizant of the poetic structure.

Coffin and a Six Pack - The Boss Martians [from 13 Evil Tales]

vintage sounds

Thirty-Three Seconds - Storrs Barrett Booch-Williams [from Sonicabal 2001]

apparently a Cage tribute track

Shenandoah - Bruce Springsteen [from The Seeger Sessions]

Baker City, Oregon
Of all the various ilks of americana out there, I think I mistrust the overinflated rural-sentimental the most, as it winds so close to icky ante-bellum nostalgia.

Circle Song - Steve Scribner - Ivan Arteaga, Mike Sentkewitz (?) [from Storm Sound Cycle (live on May 21, 2011)]

against a backdrop
augmenting the distance to the lively made sounds

Good Friend - Ravenna Woods [from Alleyways and Animals]

careful and organized arrangement
greeting card sentiment

June 6, 2018
A Fancie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

any passing place can generate all things new
routes kept open
civilization seeps outward

Big Butter and Egg Man from the West - Louis Armstrong's Hot Five with May Alix [from Hot Fives and Sevens]

vocals occupy a lesser place within the song structure
it is a song, but the instrumentals are the show, the vocal bits are present only enough to register

Since I Met You Baby - Ivory Joe Hunter [collected from Dave Marsh's The Heart of Rock & Soul]

another greeting card
an illustrated letter
it is what she wants to hear so it is what you tell her

River Line Blues - Shirley Griffith [from The Art of Field Recording vol. 1]

guitar and voice are one
pitch/meterpoint syncopation // guitarstringtimbre voice word confluence and retrofluence

For Emily, Whenever I May Find Her - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

I can't help but think Paul was as frustrated with Pop as with folk rock - but that the full on blues had been foreclosed by Mr. Dylan. He had to futz around for a bit before he really hit his song-writing stride.

Track 2 - Tillicum Junior High School Orchestra [from a private tape of concert given March 3, 1971]

bass booms out into a time warp
affects not just the EQ but also the rhythm sense, as in organ music

June 7, 2018
Terminal Preppie - Dead Kennedys [from Plastic Surgery Disasters]

feeds off some of the same misanthropic sophomoranticisms as Saint Zappa.

Readings of a Sonata - Keith Eisenbrey - Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

Neal and I dink around with another old score of mine, Sonata 1980
We trade-off readings to use up unused tape footage
We accomplish 3 full readings and the first part of a fourth

It's a graphic score so all the notes and rhythms are different, to varying degrees

sounds great, in that cruddy way we had, all the way

8-Ball Deluxe - 7 Year Bitch [from Kill Rock Stars]

Batman rhythm with a slippery bit
quantitive meter in action as rhythm

C'mon Jenny - The Boss Martians [from 13 Evil Tales]

what surf rock sounds like sitting in the rhythm section

Tokyo Fist - Alex Keller [from Sonicabal 2001]

radio signal morsey sound
(love it!)

Banned Rehearsal 702 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 2006]

geography of inhabiting

how where and across what extent do the determinable agendi specify their place or their vectors or their circulations

never quite settling for a trio for long

though the constant xylophone (all hail!)

sound assembly takes time (give it)

and so delicate

because it isn't what it is without how it got to be

In Session at the Tintinabulary
June 5, 2018
Banned Rehearsal 960 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

June 11, 2018
Yellowstone 180611 - Keith Eisenbrey

I skipped blogging last Saturday because Karen and I were on the road by mid-that-morning to make a week's long loop among the five northwestern states: Washington, Oregon, Idaho, Wyoming, and Montana, in order of our arrival in each. At the Old Faithful area of Yellowstone, on a windy day (hang on to your britches, dear, it's pretty gusty) I made this recording of our footfalls on one of the older boardwalks.

June 13, 2018
Phillipsburg 180613 - Keith Eisenbrey

10 years ago, during a similar road trip, we passed through the lovely little town of Phillipsburg, in
Montana. The memory stuck in my head all these years as "wouldn't it be nice to spend some time here?" So this time we did. After supper at Silver Mill Restaurant & Saloon (quite nice!) Karen and I opened the balcony windows of our room at The Kaiser House (the Mural Room) to take in the fresh air. I quickly grabbed my recording device to pull in the bird songs and the hominine shouts and the motor roars from the magic hour far from home.