Saturday, January 20, 2018



January 19, 2018
Triptet - with guest Stuart Dempster
Gallery 1412, Seattle
Greg Campbell, Michael Monhart, Tom Baker

Grows from the center out
Triptet with Stuart in carefully matched tops
and a rhythm of beards
successively shedding each past against chronospheric abrasian inexorably
seasonal dormancy
alien body antibodies
Stuart joins! late night FM station sea shore sea shell show
bouy bell
kalimba magma man
electronic squeezy wormhole to outer sci fi
Punch (sans Judy) in space toy time


January 13, 2018
Jacob's Ladder - arr. Ernest Kenwal - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of April 11, 1961]

Each verse is arranged to do exactly the same thing in a slightly differently arranged way. He could do this all day. To anything.

Hastings River, New South Wales
Just Like A Woman - Bob Dylan [from Biograph]

A song all scrubbed up and shiny for public consumption, just rightly arranged. Syllables are not set to notes, but to pitch vectors, pitch curves.

Behind Blue Eyes - The Who [from Who's Next]

The Romantic imagination mythologizes itself in order to imagine growing up. No Drums! (til later). The songwriting is blatant in the songwriting.

Stay - David Bowie [from Station to Station]

A careful slicing into a funky rhythm hoping to find whom? James Brown? His solo vocal is a collection of overlays, each complete, each integral to itself and complete. Together they form a composite reading of how the song might be sung. Bowie thinking.

You'll Never Be a Man - Elvis Costello [from Trust]

A simpler version of the same (Bowie) idea. Simpler not in the bad stupid sense, but in the clarified pointy sense. Or, how a single song can render Billy Joel entirely unnecessary.

Banned Rehearsal 69 Part 2 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [March 1986]

starts out somewhere in Late Beethoven Slow Movement Serious Mode, until it gets just out of sight around the corner. An internal psychic anatomy. Back to LBSMSM, i.e. sustained harmony with inner energy that feels as though at any moment it is about to become . . . [never complete] [refrains from] [rather, it slowly deconstructs] its sense of self into another and runneth then over [repeat ] drumming does a number on the clock chime - oh that Bickleton clock chime! - long dim.
My Sweet Euchabibilla Baboo, Electric Garbage, then the Aaronsbundler March in all its pomp triumphal and glory grandiose

nobody, but nobody
pomps triumphally and grandiosally like we does

Territorial Pissings - Nirvana [from Nevermind]

slides knife into its groove

Banned Rehearsal 435 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, and Neal Kosály-Meyer [September 1996]

Even in the decade of chaos we make a remarkable sound. Keeping the rhythm lively - and all while
Karen was nursing the baby right there. Familial. Banned Rehearsal lullaby.

January 15, 2018
Embryonic in the Same Traditions - Dale Lloyd [from Sonicabal 2001]

the human mouth is the cavernmyth of language, dragon's lair.

Banned Rehearsal 699 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [March 2006]

Incongruities joined by a near-common pitch
or by cooperative winding entwining
on the down low barest smallest of sounds
muttering with exactness into the big space around small sounds
guitar (neal) kicking the sound around on the floor
into hot spots where it glows in feedbacklight
improvisation: helping each other's sounds out.

The Chronicles of Dirty Dick Part 2 - Antique Scream [from The Chronicles of Dirty Dick]

Beat invention. Beat elaboration. Part 2 is in Two Movements.

Selections from Music for Wallace - Aaron Keyt [from my recording - Seattle Composers' Salon, January 5, 2018]

I'm coming at these pieces, in part, in my guise as pianist who has read through them often and who plans to work them all up in the next year or so. Clearly they are music. Just as clearly they are poems, thorny poems. Think a Dada Ezra Pound. thinkadada thinkadada thinkadada thinkadada POUND!

January 16, 2018
The Seventh Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

How many voices can be got to be seeming to be doing exactly the same thing, while all the while always doing entirely different things actually?

Birth of the Blues - Paul Whiteman, Ray Henderson, B.G. DeSylva, Lew Brown [from Alan Lowe's Really The Blues]

The Official Whiteman Tour Guide to Rhapsody in Blue, with favorite bits!

Grand Coulee Dam - Woody Guthrie [from Columbia River Collection]

In celebration of the industrialization of the West. "prancin' dancin' stallion". poet he was at that.

Jezebel: Overture - Benjamin Boretz [midi realization]

intimations of repetitions
that never
get repeating
they make
you wonder
if you
heard it right
the first time

Great Day - Vincent Youmans - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of April 11, 1961]

Intricate rhythms nearly obscured by the boomy old tape sound.

Let Her Dance - The Bobby Fuller 4 [collected from Dave Marsh's The Heart of Rock & Soul]

Wisely does not make the song much more than a vehicle for the rhythm. In which the guitar riff neatly invokes a subtle cross-meter in 3.

Won't Get Fooled Again - The Who [from Who's Next]

There are some words in there inside the emphatic locution. How the words are spoken, not what the words speak.

Wild Is The Wind - David Bowie [from Station to Station]

Picture an awful movie, just dreadful
the credits roll disconsolate
past the first credit roll song
everybody leaves
just then is where this song belongs
brilliant unexpected brilliance
"you touch me I hear the sound of mandolins" barfy song lyric lifted into incandescence.
I know he's just showing off, but this is one of my favorites.

Undifferentiated Functions - University of Washington Contemporary Group Improvisation Ensemble [live at Brechemin Auditorium May 1981]

Now with tape wobble! Me, in closet, gaveling.

January 18, 2018
I Know What I Know - Paul Simon [from Graceland]

Third verse wraps the first around crazy high backup singers.

Banned Rehearsal 258 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [June 1991]

All tapes begin with fuss
quite thin the sound of rattling big red bag of fun
with pre-recorded music layered in: My Chart, my Sonatina, Cantus
gentle sounds then the rhythm band cymbals
an apparent harmonic tendency upwards or not downwards
Toad Hall? probably. We'll say so.
my Sonata in 2 Movements
Such Words (must have been Neal's)
we all sing to baby

In Session at the Tintinabulary

January 15, 2018
Banned Rehearsal 950 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, January 13, 2018



January 7, 2018
Banned Rehearsal 623 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [November 2001]

intoned among the reverb a keening tale
wholly indecipherable resolving into small talk (enlarged!)
percussion feedback washtub piano
in avante jazz dreamscape mode
an opera twisted sense of compositional response
episodes, with screams certainly wandering
out of chamber symphony territory
upon which could be inscribed temple rooms
no longer regular passing of time
at multiple rates
dissimultaneously, ritualistic, a grim march into future's moil
excerpts of architecture inserted
transparent and lucid utterance stick with it to the end
Someone to Watch Over Me and other Gershwin Favorites

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

Perfect intervals and ray guns
static as the speed would seem to increase

Gradus 190 - Neal Kosály-Meyer [March 2011]

in order to follow the thought precisely


to catch a glimpse of thinking happening

the long silences are evidence of a larger idea overshadowing, or holding, cupped
{stray inappropriate thought: punitive silence}

free improvisation is a strict method of being particular

I am playing back a sound in this room that is a sound that had been made in this room. Their various acoustical spaces share similarities across a medium.

purposeful silence

placing a tone so as to thread the needle's eye
the eye between the partials of other tones

split them like kindling whack!

patience testing silence

January 9, 2018
Mind The Gap - Strange Like Us [from Strange Peeps]

hollow shell
the center not empty so much as gone, never was.
(arthouse punk)?

Pavana the Sixte "Kinbrugh Goodd" and The Galliarde to the Sixte Pavian - William Byrd - Elizabeth Farr [from Ladye Nevells Booke]

Here the independence of voices is achieved largely by other means than current voice-leading practice would suggest.

What is the role of the extraneous noise of virginal playing, essential to its charm, the effect of its image on how its music hangs in space?

first voice, then second voice, then a conjointure of voices, folded in continually
dough making

Senegalese Stomp - Savoy Bearcats [from Alan Lowe's That Devilin' Tune]

In loving imitation of keyboard figurational shenanigans.

Song of the Coulee Dam - Woody Guthrie [from Columbia River Collection]

He kept trying to get the same song right: retry, re-write, re-use.

In The Middle of the House - Vaughn Monroe [a Rescued Record]

a 50's pop novelty song with great train sound effect. I learn this actually reached number 11 on the Billboard magazine's Most Played by Jockeys chart, and 21 in the Top 100. Imagine that. I wonder if Dr. Demento ever spun it?

In Session at the Tintinabulary

January 8, 2018
Gradus 325 - Neal Kosály-Meyer


up and down

it does not move
things in it

some of them

a vast
combination lock

a long way around
to clear

Saturday, January 6, 2018



"What am I doing, mind in the concert hall like that? Maybe it's better to state things more generally: something happens, which will have had, quite inadvertently, any number of complex, variable, and unforeseen interactions with everything else, down to the molecular level. This immanent vitality is quite incidental, belying the notion that one ever does more or less than simply take part in it. Music situates parts -- gathering up bundles of messy connectivity, listening in; putting an ear to all that vast, tangled darkness, we draw close to the beating heart. The question of what we do in music is therefore revitalized by the exploration of incident."
Mark So "Music is Full of Incident (Christian Wolff at 80)" Open Space Magazine Issue 17/18 spring 2015/fall 2015



December 31, 2017
Sheridan Riley (with 5-Track)
Red Ribbon
Ben von Wildenhaus (with Amanda (?) Blue (sp?))

Gainsbourg, Seattle

Decades ago I lived in an apartment that shared a long wall with Benjamin Boretz's basement music studio in Red Hook, NY. When improvisation sessions were happening in that next room I would often turn the television on without the sound and see what the crazy music next door did unto Barney Miller or baseball. It was more often than not the best thing that had ever happened to television. Gainsbourg is a 'French themed' bistro in Greenwood, Seattle, that, among other things (including excellent food), features (or at least did that night) old French films projected silently, with sub-titles, on the wall behind the tiny stage. These continued through the three musical presentations. I have seen many intentional multi-media works, strenuous juxtapositions of elements, curatorial and high-toned, but rarely have I been so ravished as by this haphazard mashup. Earnest late night conversations across the traveled years.
Red Ribbon at Gainsbourg, December 31, 2017

Sheridan Riley presented as a well-dressed drummer/guitarist/singer joined by 5-Track (or so I'm told), who is a local musician playing bass (or playing guitar as though it were a bass - memory fails). They came on so gently into the evening as to be a near ambience, inviting and warm. It was fabulous to see Red Ribbon again, this time as Emma Danner just herself, her guitar and a little keyboard. Freed from any need to rise over a full band, she was finding all sorts of wonderful spots in her upper register that I had not heard before. A marvelous voice with, I suspect, riches she hasn't discovered yet. More please. Ben von Wildenhaus, back to mostly guitar playing, but with occasional vocal-percussive interjections. A singer, costumed to the French nines, joined him on several numbers, or perhaps stepped forward out of the old time cinema wall, for sure at least playing along with the oldies act, hand gestures and vocal styling streaming from mid-20th century continental torch-song. Too bad she couldn't bring one of those old radio show microphones along with!

January 5, 2018
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Ian McKnight - The Trees Awaken

Story telling is a mode of experiencing time. Melody is another. The reticence with which many composers approach even the notion that they might be exploring the landscape created between them is due, in part, I think, to the unquestionable difficulty of, first: getting the story and melody modes right, and second: getting those modes to work together as a synthesis. Or rather, the issue may simply be one of trajectory. Is this a melody that tells or is it a tale told in melody? In this case, clearly the former. Unfortunately Ian was ill, but we experienced his piece as a projected video file of a live (situated in a lively Tacoma cafe) performance. The players were Ian on flute, Clement Reid on piano, and Carson Farley on cello.

Carson Farley - Film Music

Same set up, same ensemble, video from the same cafe performance, customers walking through the frame, coffee grinders grinding, espresso makers hissing. I must admit it is quite a mind bend to experience, on film, as it were, a performance of a music written for a different film than that which we were witnessing. Between the mind bend, the frozen-eye videography, and my increasing anxiety concerning my own impending performance, I admit to not being as focussed on the music as I would like to be.

Patrick O'Keefe - A Morning Stroll - Thornton Creek Clarinet Quartet

We heard an earlier version of this piece last year. Patrick has tightened it up considerably, and the ensemble of 3 regular sized clarinets (not sure if they were B-flats or A's) and one bass clarinet sounded great. An attractive and entertaining jaunt somewhat in the vein of Nielsen, but happier.

Aaron Keyt - Selections from Music for Wallace

Aaron and I go way back. Wayyy back. On top of that, these pieces are in my stack of "prepare these next" scores, so I wasn't hearing them cold. However, hearing them while playing them is quite different from hearing them while not also concerned with fingering and note reading. What shines, and it shines bright, is their knife-edge poetic focus. These pieces do not bludgeon, they incise.

Keith Eisenbrey - Selections from Second Thoughts

I'll refrain (this time) from commenting on my own pieces, other than to list their names: A a, B a, B b, C a, C b, C c, D a, D b, D c, D d. Since I only found out I was on this show at 1:30 that afternoon (at the time it was thought that Ian's illness might leave two spots open) I stopped before I got to any that were difficult to play. I mentioned during the Q&A a midi version of all the parts packed in the box. Here it is:

And here are all the parts spread out on the floor, performed on a real life piano:


January 1, 2018
The Fifte Pavian and the Galliarde to the Fifte Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Phrases to savor in the mouth, ornamented with florid scholarly encrustations, glossed, commentaried, captioned, titled, moraled, glowing with all of text's accoutrements.

Black Cat Blues - Old Pal SmokeShop Four [from Alan Lowe's Really The Blues]

Sitting close to that uncomfortable region where the blues veer near or into their own caricature.

Jackhammer Blues - Woody Guthrie [from Columbia River Collection]

Each line is short a beat, which is to say that they is some sevens in there snuck among the eights.

I Walk The Line - Johnny Cash [from Sun Records Essential Hits]

There is a quiet bowed tone just before JC enters, or is it hummed? It sounds like a cello to me.

My mom, seated in the middle, with me. 1959.
Elijah Rock - arr. by Jester Hairston - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape]

The Hollywood style counted then, in 1961 suburbia, as popular, modern, with it. It wasn't.

It's All Over Now, Baby Blue - Bob Dylan [from Biograph]

Rhythmically aware accentuation of the verse in at least three independent modes of delineation -  pitch, duration, emphasis - all cooperating at different rates.

January 2, 2018
Going Mobile - The Who [from Who's Next]

beep beep. The lighter acoustic guitar arrangement upfront allows room for the electric to enter into the space opened up by the drums.

TVC 15 - David Bowie [from Station to Station]

What it's about (its words) is not the point. What it is is an excuse for rhythm games, how to accentuate the title as an ordered set of syllables.

Improvisation - University of Washington Contemporary Group Improvisation Ensemble [from Neal's Recital Tape, May 1981]

applause bravo author
goes rockish
heroic fanfare
count ONE!
the gavel bangs

In good humor I suppose. We tried.

January 4, 2018
Fall On Me - REM [from Life's Rich Pageant]

Even the drum track sounds strummed with subtle tambourine, softening the whole harmony.

Banned Rehearsal 257 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [June 1991]

Me and John, 1991
Oh that new parent yawn! I guess it had finally caught up with us. Reed organ (a toy) beset by radio on radio off. Shifting sounds, that is, the sound of us shifting ourselves, picking up instruments, moving about in the room. We have weight and bodies. We can be heard. These instruments do not magically appear. Sudden entrances, sudden blossoms.

Hot Foot - The Boss Martians [from 13 Evil Tales]

Sliding down the Ventures' side of Surf Mountain.

In Session at the Tintinabulary

January 1, 2018

Greenwood 180101 - Keith Eisenbrey
Waiting for a bus at Greenwood Avenue North and North 85th Street. Fireworks for a new year and a tow-truck. beep beep.

Banned Rehearsal 949 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Saturday, December 30, 2017



December 26, 2017
Banned Rehearsal 69 Part One - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [March 1986]

From the Bickleton Outpost, with piano in it and the Meyer family electric organ. The parts resist
I.O.O.F. Cemetery, Bickleton, WA 1986
integration, strain at their harnesses, pull the buggy toward alternate landscapes. At first the noodling on the piano takes over the sound - partly a fault of the instrument. Big soundboards command attention, often undue. Over time the organ settles into a shimmery surface in dimensions worth exploring, a slow build applies a squeeze play. Scattered herds thunder by. No one times the ends of things to match the doings of things, valiantly prolonging the build until breaking off into plangent lugubriety, a simulacrum of emotingness. Boards creek beneath our shifting weights.

This was a two-sided cassette session. Part Two will follow in the next weeks.

Spit - Infamous Menagerie

Distorted depth
each part occupies a unique warp

Something about the slow rolling of it reminded me of Neal Kosály-Meyer's long-ago tape piece Ecclesiastical Musings.

December 27, 2017
Banned Rehearsal 434 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [September 1996]

Marilyn and Bill Meyer, Whidbey Island, WA 1996
Sound are crowded onto the tape.
O the Mighty W!
The stage is thick with scrims.
Counting layers is a fool's game.
Skewing the rhyme of pulse and meter shishy hiss of amplifier turned up! up! Up! morph into traffic.
The wah wah is working.
From one pulse/metric locale to other pulse/metric locale a long long modulation winding among the modulations of the polyvocal scrims.
Bits strip off.
No level places, we transmogrify perpetually.
Flow, change, vector: complex curves of intention and attention. Intent. Attent.
Sound in your face deal with it.
Stu says cleaning out your ears.
Matt says when nothing else will do.
We hold our own onslought sound the alarm never let up.

Edge Saturation - Mutant Data Orchestra [from Sonicabal 2001]

This piece is like a satisfying rub down with a towel. All the dead is scoured off and your skin glows.

December 28, 2017
Gradus 95 - Neal Kosály-Meyer [March 2006]

Much of it takes place elsewhere, at various distances, around corners, in other glades, as though our position weren't privileged, Sternklang-ische. In the long silent bits we are sitting in a place where it isn't.

Lift - Shaprece [from Scatterbrain]

Backing: as thick and layered as it is, and as fluidly as it is allowed to interincorporate with the solo vocal, it is always exactly an accompaniment. No question.

Banned Telepath 45 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [March 2016]

We strive mightily to find a fertile seam in the collision of word sound and not-word sound. Neither
does each other any favors. Not-word sound in all its richness of timbre and rhythm and pitch and myriad other invented on the fly qualities shine a harsh light on the monotony of word sound's carrier wave, forwards its inescapable dullness. Word sound ineluctably cues up our minds' language receiving propensities, bloats itself over the top of not-word sound. Topsy turvy, the least interesting sound blots out the richness of everything else. Words often deafen us to music. A longstanding pet peeve of mine. Of course, it being a personal peeve I am aware that my take on the issue is just one of several.

A note on nomenclature: The Telepath project began in our collective history as a way of making a tape when we weren't all in the same place. Telepaths 1 date from August of 1984. Neal was in Bickleton and made a tape there. Karen makes her first sonic appearance in the canon, as does the rest of his family. Aaron and I got together and made tape at my folks' house in Bellevue. Later we mixed the two together and called it Banned Rehearsal 7.

In the instant case, Aaron made a tape where he was living in Somerville, MA, and the two combine to form Banned Rehearsal 906.

Saturday, December 23, 2017



December 16, 2017
Neal Kosály-Meyer recites Finnegans Wake Chapter 4
Chapel Performance Space, Good Shepherd Center, Seattle

Karen and I had small parts to play (Karen on bodhrán, me on a venerable complex of lighting equipment). Neal proceeded, in this fourth chapter, to, as the book says, murder all the English he knows.


December 17, 2017
Banned Rehearsal 788 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [March 2011]

First a Visitor Services Song sung by Neal
then a delicately clackety sound with bell kit

we have wandered together into a huge dark chamber
our soundlights don't reach the roof or walls

long loose strings shine zither and washtubbass

loverly piano tune

apparitional abidingness

poking the imperturbable



Mirzya - Daler Mehndi, Sain Zahoor, Akhtar Chanl Zahri [from BollyGood Volume 1]

multi-voiced like hip hop collabs
made of parts with cleverly revealed seams

The Fourth Pavian and The Galliarde to The Fourth Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Not a polyphony of voices but of time planes

immense pieces despite appearances

String Band Blues - Kansas City Blues Strummers [from Alan Lowe's Really The Blues]

low overhead for a travelling crew
some folks and their easily transportable instruments
and of course some singin'

The Biggest Thing That Man Has Ever Done - Woody Guthrie [from Columbia River Collection]

The Great Historical Bum,
Woody's nom de plume,
his actorly persona
his literary conceit

Jerry Lee Lewis
Hound Dog - Jerry Lee Lewis [from Sun Record's Definitive Hits]

Those words those near nonsense barely an excuse for a rhythm and a rhyme of improvisatory lyric emphasis

December 19, 2017
Breakers Off Baranquilla - Joseph W. Clokey [?] - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's private tape]

suitably plangent
drifts away

I'm Your Puppet - James and Bobby Purify [collected from Dave Marsh's The Heart of Rock and Soul]

on a virtual stage constructed out of reverb
also, in the mechanically presented herky jerky, a hint of Devo

Bernard Purdie - Aretha's master drummer
Rock Steady - Aretha Franklin [collected from Dave Marsh's The Heart of Rock and Soul]

The drummer here is not "a drummer" in the Keith Moon Animal take it all over sense, but only an essential part of the percussion portion of the rhythm track.

The bass player is killing it.

Word on a Wing - David Bowie [from Station to Station]

open: synth tone || piano finger drawing
new || old

pacing vocal affect
pacing arrangement affect
his scheme of things
his own vocals standing in his own light

Don't Let Go The Coat - The Who [from Face Dances]

light on its feet: a bit earlier than, but of a piece with Graceland, or True Stories.

In Session at the Tintinabulary

December 18, 2017
Banned Rehearsal 948 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Saturday, December 16, 2017



December 9, 2017
Banned Rehearsal 256 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [May 1991]

We have a baby at Toad Hall
We play Mario 3
Rondo loop vid game tune bits
In my future life I want to be an Anarchymedian Scholar

December 12, 2017
Who Are You - Pearl Jam [from Rearviewwindow]

Neo Eno Floyd
Mid 90s psychedelia

Banned Rehearsal 622 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [November 2001]

Isaac asks
how the pedal works
lugubrious wafts around impervious worlds
into the funks

the maltempered electric guitar and zither
we have trouble with intergenerational assimilation/incorporation
so much of what we do is predicated on long intracultural history
what we do is
I imagine
incomprehensible to many if not most or would be
why would we presume that a child would get it?
of course a child would not necessarily regard it as odd behavior
surely all families make noise and record it

John Henry - Bruce Springsteen [from The Seeger Sessions]

JH's Hammer
BS's Compression

Even money

Saturday, December 9, 2017



December 5, 2017
UW Modern Music Ensemble, Cristina L. Valdés, Director
Brechemin Auditorium, Seattle

Tierkreis - Karlheinz Stockhausen - Caitlin Beare, Emily Acri, Chris Young, Abbey Blackwell, Hexin Qiao, Edward Cunneen

Dual-faced rather than two part, the counterpoints shadow behind as though further behind in the shadows of the shadows behind. Where is the light placed to cast these exact shadows thusly?

(Stray thoughts: rhythms of the outer (outré?) Brubeck (that is, kind of jazzy at times); Looney Tunes Back in Action (another take on the two shadowing worlds of The Tune and The Counter Tune)).

Music in Similar Motion - Phillip Glass -Caitlin Beare, Emily Acri, Chris Young, Hexin Qiao,
Duck Island and Duck. Green Lake, Seattle, December 9, 2017
Edward Cunneen

How like machines we can be
if we allow it.
Nothing disturbs its shiny surface. All the parts fit. Nothing disturbs. Bots may safely sleep.

(I must admit to not being a big PG fan).

Quartet for the End of Time - Olivier Messiaen -Caitlin Beare, Emily Acri, Chris Young, Hexin Qiao

at any one time
all aim similarly
phrased in single times

I don't recall ever having heard this piece all the way through before. Messiaen somehow never came up for me as a student and these last 3 decades I've had so many other irons in the fire listening-wise that my experience with his music is quite limited. I was glad, at long last, to have been introduced to this piece by such a fabulous, musical, and completely engaged young crew! I love it when everybody is all in. I do indeed.


December 3, 2017
Love Princess 1 - Isabel K, Anna K, Keith Eisenbrey [March 2006]

My 6 year-old nibling, going by Isabel at the time, wanted to make a recording so we did. The payoff? I can hear the invention of pulse and pattern in real time, the basic units of compositional form. "Do it again!" is a mythic desire. See what I'm doing this arm then this arm then this arm then this arm and the wonderful words of the names of the things that make music. Ukelele. Drum. Cymbal.

Improvisation - Paul Kikuchi [from Portable Sanctuary Vol. 1]

insect buzz flap
bbbbblapp through the air
upper edges of short waves
out at their short wave stone henge
dancing naked on the stars

Banned Telepath 45 Somerville - Aaron Keyt [March 2016]

Spinets undo pretense. Essentially a fancy toy piano, in careful hands entirely its own instrument with its own relation of energy input to dynamic output, box, range, quality, degree of clunk. There is a quivering in its reverberance, shaking in its boots.

December 7, 2017
The Third Pavian and The Galliarde to the Third Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

The Pavian is, for the most part, a set of detailed solutions to the problems raised in the gap between the 1st and 2nd thing happening of anything happening. The Galliard rocks between upper and lower hemiolas. Hemiolan hula dance.

Die Kunst der Fuge, Contrapunctus XIX - J. S. Bach - Zoltan Kocsis

I understand there is some small controversy as to whether this incomplete quadruple fugue belongs in the set at all because it doesn't have the main fugue subject announced in Contrapunctus I. I have no particular opinion on that score, but I do note that if you fold the Contrapunctus I subject over, creasing at the 3rd note, you get the first subject of this - sort of. And parts of the other subjects also include parts of the CI subject. In the lost or unfinished portion at the end, perhaps the idea was to create that CI subject by fitting together the bits of these subjects - a new fugue arising amidst the counterpoints, a music within a music. I can't imagine it was beyond his capability.

Old Man Blues - Jimmie Blythe [from Alan Lowe's That Devilin' Tune]

Quick alteration of just-barely-contained and not-hardly-at-all-contained.

Hard Travelin' - Woody Guthrie [from Columbia River Collection]

Our internal migratory patterns. "I thought you knowed." Woody's collective I is in democratic opposition to the royal we.

Honey Don't - Carl Perkins [from Sun's Definitive Hits]

Word count economy. Leaning forward with a different bounce, but not so far from scat as all that.

Autumn - Edmund Rubbra - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of April 1961]

Mood interleaved.

I'm Living in Two Worlds - Bonnie Guitar [from Dark Moon and Other Country Favorites]

Listen to her long vowel-y syllables and the rhythm of their drawings out. Rounding diphthongs in the leisurely open air.

Get It While You Can - Janis Joplin [from Pearl]

She turns on a dime to sweet
and every elsewhere in like coin

Golden Years - David Bowie [from Station to Station]

A comfy complex groove || jump cut to anguish pronouncement || then back to comfy complex.

Piano Variations - Webern - Neal Kosály [from Neal's Recital Tape May 1981]

The tape, having cooked some decades before I transferred it to digital, left ghosts of notes scattered in Webern space.

Do You Hear What I Hear - [from Hallmark's Listen to the Joy]

Those boys really worked at rounding their vowels. Completely drowned in sentimental familiarity.

In Session at the Tintinabulary

December 4, 2017
Banned Rehearsal 947 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt

We haven't played much in this configuration since the early '90s, 700 odd Banned Rehearsals ago.

December 9, 2017
Tweety Bird - Keith Eisenbrey

As Karen and I were walking around Green Lake this morning we heard this group of pootootweeters pootootweeting.