Saturday, October 29, 2011



October 22, 2011
Banned Rehearsal 570 - Banned Rehearsal

Karen Eisenbrey, Aaron Keyt, Anna K, Neal Meyer, and me participating. This session dates from April of 2000. We called it Gradus ab Parnassum in possibly bad Latin. It wakes itself mostly into the upper spectral ambit with low frequencies entering later. It settles after about 10 minutes into a place that just doesn't gel, but which is nevertheless a pretty interesting collection of sound. I got to thinking about some of the ways that our knowledge of the social history of an artifact affects our perception of it. Knowing that a recording was made on the spot without prior restraints beyond our past of social and musical interaction frees us from trying to discover the intent of its maker as a single utterance, and allows us to focus on how multiple utterances interact on the fly, without any of them knowing where it is headed. It ends with bells.

Sounds of the Underbrush 2/28/2005 - Track 8 - Jim Knodle, Mike Marlin, and Tom Swafford (I think)

Deliciously lyrical, warm and folksy

Man of My Dreams/Be Like You - Shaprece

Extraordinarily sophisticated arrangements that play with the sound and surface of sound. As lush as it gets it is always intricate and transparent.

October 23, 2011
A Married Man's Blues - Wade Ward [from Allen Lowe's Really The Blues]

The interaction between downbeat and pickup is to die for, like Schumann with a wicked twist.

Piano Breakdown - Frank Melrose [from Allen Lowe's That Devilin' Tune]

The vinylscratchysound provides a worthy and sophisticated percussion track to this. 

Harlem Air Shaft - Duke Ellington [from Allen Lowe's That Devilin' Tune]
I Forgot To Remember To Forget - Elvis Presley [from Sunrise]
Tonight's The Night - The Shirelles [from The Shirelles Anthology, Rhino Records]

bump sh' bump. oh yeah.

Winter Potato 2 - Cornelius Cardew - John Tilbury

Microphones up close to the action, all sorts of odd rumbly sounds exude from the piano's inner workings.

She'll Be Coming Round the Mountain - Maude Thacker [from Art Rosenbaum's The Art of Field Recording volume 1]

October 27, 2011
Banned Rehearsal 25 - Banned Rehearsal

Banned Rehearsal in 1985
Anna K, Aaron Keyt, Neal Meyer, and me participating. This session dates from March of 1985. If I recollect rightly I had rigged the space prior to the band's arrival by covering the floor with blue paper pup tents and inserting them between books on the bookshelves. My intent was to give the space a sense of otherness. All the sounds set themselves onto a vast wheel revolving through. A recording of a Bach Cantata finds its way into a tin can to explore the science of the beauty of bad audio. The last 10 minutes are a silly waste, but most of this is raw and interesting.

In Session at the Tintinabulary

October 24, 2011
Banned Rehearsal 801 - Banned Rehearsal

Present and making noise were Karen, Steve Kennedy, Aaron Keyt, Neal Meyer, and me.

October 25, 2011
Your Mother Should Know - recording The Day You Deleted Me

Neal made an attempt at a cornet track, and then we got two vocal tracks. On to the mix!


October 22, 2011
Lovesick Empire, Thee Emergency, Mudhoney, Hot Bodies In Motion - at Neumos, Seattle

Hot Bodies In Motion (standing still)
Four extremely able bands put on a spectacular show for us. Both Lovesick Empire and Thee Emergency are straight-ahead driving local bands, with LE tending toward the solid beat style of Goodness, while Thee Emergency tends toward a more bluesy style reminiscent of Heart. I was quite taken by both of them, and I sure hope LE puts some music up for download soon, since I missed out on the free CD they were giving out. Mudhoney of course is well known and their set was loud, fast, non-stop, and loud. To my (ringing) ears it is as though The Sonics, The Stooges, and The Dead Kennedys were thrown into a paper bag and shaken vigorously. Did I mention that they were loud? Hot Bodies In Motion will forever after be known as "that band that came on after Mudhoney," which is unfortunate because they are tremendously accomplished musicians and they put together a fabulous funky set. The guitar player looks like Gunther from Greg Evans' Luann, and he doesn't move around much, but he sure can play that thing. The bass was matching him funk for funk, the drums were solid and the singer was all in. Great job guys!

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