Saturday, July 2, 2011



June 26, 2011
Four:Text:Commentary - Benjamin Boretz

From the InterPlay tapes.

June 28, 2011
Banned Rehearsal 220 - Banned Rehearsal

Karen, Aaron, and I lay out an image of intentional unintentiality - radio roar space aliens become disalienated.

June 30, 2011
Banned Rehearsal 563 - Banned Rehearsal

Participants: Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Anna K, Neal Meyer. This session raises an interesting question for me about what counts as a music-structural node, and in what sense that which counts as such has a structural meaning for the listener, and further, what structural meaning, for the listener, is. Theorem: What is structural is only that which we perceive as being structural, and its structural meaning is not what we postulate it to be after stringing together the collected markers of structural nodes we have heard and whose relations we have analyzed repletely and globally, but rather it is exactly and only what we perceive that node-moment to be as structural as we perceive it so to be. Its structural meaning qua structural meaning is exactly how it sounds vis-a-vis those less-structurally-perceived graces that make up its local context.


June 26, 2011

Triptet - at Lucid Lounge, Seattle

Tom Baker, Greg Campbell, and Michael Monhart were joined in the second set by Jesse Canterbury and Stu Dempster.

Highlights, for me, of this beautiful, rich, and completely rewarding show: Michael's long slow solo in the first set, deep as a river at night; The interplay of Greg's elaborately melodic drumming and the friendly hubbub of the lounge; The palpable human warmth between the audience and performers. A truly memorable evening of mountaintop playing by all at every moment. Thank you!

July 1, 2011

Seattle Composer's Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Four Songs from Seven Songs of Death - Stuart Wheeler
Stuart Wheeler, voice; John Teske, string bass; Brianna Atwood (name?), viola; Jesse Canterbury, clarinet; Richard Johnson, trombone; Tom Baker, guitar; Dianne Ashbrook (name?), bassoon.

These songs steer an interesting course through contrasts of atomospheria and concretia, among deep pools of abstract repetitive structures and gaping maws of gooey sensuality. I'm not sure where they come out in the end - but I'm sure interested to find out.

Storm Before the Calm - Jeffrey Izzo
Dana Wen, piano

Clever title, but if you're going to put 'storm' in it then put STORM in it. I think Dana did about as well as could be done, but in the end it just didn't make it for me.

Three Movements from The Cage Elegies - Tom Baker
Tom Baker, guitar

Nowhere, Questions, Middle - Luminously coherent lyric utterances, contrasting poignantly with the well-known predilections of the elegaic subject.

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