Saturday, December 31, 2011



December 26, 2011
Squeeze Me - Clarence Williams' Blue 5 [from Allen Lowe's That Devilin' Tune]

Stripper tempo.

Jack Purvis
What's the Use of Cryin' Baby - Jack Purvis [from Allen Lowe's That Devilin' Tune]

In a single song the horn steers a course from song to dance, from image of voice to image of body.

Moten Swing - Jay McShann [from Allen Lowe's That Devilin' Tune]
Maybellene - Chuck Berry [collected from Dave Marsh's The Heart of Rock & Soul]
Lead Me On - Bobby Bland [collected from Dave Marsh's The Heart of Rock & Soul]
Don't Look Back - The Temptations [collected from Dave Marsh's The Heart of Rock & Soul]

Arranging chunk to chunk, the patterns of notes don't create the harmonies from themselves, but just bounce around as though trapped in them.

Domino - Van Morrison [collected from Dave Marsh's The Heart of Rock & Soul]
Blow Blow Thou Winter Wind - John Rutter - UPS Chorale (1985), Thomas Goleeke

Egregious word-painting coupled with sicky sweet sentimental pop - and politely British to boot. Not a winning combination.

Fresh Fruit for Rotting Vegetables - Dead Kennedys

The instrumentals are fabulous, riding just on the edge of too fast for the tempo. They would have been miles ahead in my book if the one-trick pony singer, a misanthropic spawn of Frank Zappa & Ian Anderson, had kept his mouth shut. Cutesy art-punk.

Let Us Break Bread Together - UPS Women's Chorus (1985), Sylvia Munsen

December 27, 2011
Banned Rehearsal 228 - Banned Rehearsal

Over the decades these sessions have been many things. Among them has been a sort of aural snap-shot album of our collective life. Midway through this session Karen's mom comes over to visit, sharing some of the first pictures of our then new-born nephew. Prior to that were 10 to 15 minutes of luscious noisy roar. August of 1990, Karen, her mother Marilyn, Aaron, and I participated.

December 28, 2011
Banned Rehearsal 575 - Banned Rehearsal

A session full of players: both my sons, Karen, Aaron, the above mentioned nephew, Anna, Neal, and me in June of 2000, celebrating the 16th Bannediversary. The opening does not bode well, a muttery electric guitar (played by me, I think) dominates a sound that could be the quintessence of incessance. As we peel players the sound thins out, guitar and drums are put away, and we find a surprisingly lovely quiet peace.

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