June 19, 2011
The Ventures Twist Party Vol. 2 Radio Spot - The Ventures
Rapport 3 - Robert Morris, David Mott
Bryde one Brere (live) - Keith Eisenbrey - Keith Eisenbrey, Aloysia Friedmann
Three: for Keith: 2 Commentary - Benjamin Boretz
Holden Greets the World - Banned Rehearsal
Banned Rehearsal 562 - Banned Rehearsal
The first 35 to 40 minutes of this is truly fine, becoming a thought of the past, the present, and of what we just have been. At our most symphonic.
June 21, 2011
Banned Rehearsal 679 - Banned Rehearsal
Figure Study 3 - Keith Eisenbrey
Slow, disjunct tempi, with occlusions.
June 22, 2011
Steel String Blues - Sylvester Weaver
Blue, Turning Grey Over You - Louis Armstrong and His Orchestra
I Belong To The Band, Hallelujah - Rev. Gary Davis
W.P.A. - Louis Armstrong, The Mills Brothers, Norman Brown
An humorous take on the New Deal, from the thick of it. "I'm so tired, don't know what to do/Can't get fired, so I'll take my rest until my work is through".
You Always Hurt The One You Love - Bunk Johnson
Ornithology - Charlie Parker, Navarro, Bud Powell
The Wayward: San Francisco - Harry Partch
A magnificent and phenomenally gorgeous memento of lost time and lost sound.
The Last One To Know - The Fleetwoods
Pedal Pusher - The Ventures
Tony Gave a Picnic - Ralph Shekel
Fox Chase - Coy Martin
June 23, 2011
Language, as a music - Benjamin Boretz
What do we mean when we say that a music moves us?
While studying at the UW in late winter or spring of 1981, soon after I first heard Ben's ("...my chart shines high where the blue milks upset..."), John Rahn played a recording of Language, as a music for us in a theory seminar. If my chart was the seduction, this was the sucker punch. A year later I was on a plane to New York to spend two years with Ben in life-changing verbal and musical conversation. But now that I can't hear Ben's voice without immediately bringing forth an image of his physical and gestural presence it is difficult to recall the sense of that first hearing: just a voice on a tape, a peculiarly articulate voice, gesturing in itself, creating a series of personae to speak with, and, as it seemed, to challenge me with. After all these years I can point to many ways this piece, and the thinking about this piece, changed, moved, the path of my life. Here is the seed of my decision to abandon an attempt at an academic career and also of any real attempt at a musical career. Through this piece it became clear to me that music and the thinking of and in it was far too vital to my self to allow the vagaries and exigencies of career to get in its way or limit my doing.
In short, this piece of six invented personae, each deeply concerned with illuminating and valuing that moment in which meaning happens, inhabits me in what I have become. It has moved me, and it has moved into me. It has become personal to me, which is all that ever matters anyway.