July 1, 2012
Leavin' Train - Bruce Springsteen [from Tracks]
Banned Rehearsal 581 (August 2000, Isaac Eisenbrey, John Eisenbrey, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Holden Kosály-Meyer, Neal Meyer)
A dynamite mid-adventure opening untwists, dis-ravels, reduces, and distills itself over a long hovering time stretch to the point where it has become little but a highly particularized thump. It does what one always hopes an improvisation session will do: discover a sound unimaginable and unobtainable by any other means.
July 4, 2012
Songs, Psalms, Sarabande (rough draft) - Keith Eisenbrey
A song with instrumental accompaniment is a duet in at least two different senses. First, it is a duet between the sound of a voice, with all the psycho-linquistic freight that carries, and the sound of an instrument, to which some of that freight is or can be imputed. Second, it is a duet between the world of language utterance and sound utterance, between literature and thunder. Songs, Psalms, Sarabande is an album of duets I compiled, consisting mostly of my Gathered Songs as they existed in 2005, sung by Karen Eisenbrey, accompanied on piano by me, and recorded at Jack Straw by Doug Haire. It also includes two trumpet & piano duets, the first of which, Sarabande, was composed as a score, and the second of which was an improvisation. The trumpet part in both cases was played by Jim Knodle and the piano by me. The last selection is an electro-acoustic realization of my Psalm 23 (meditation, responses) a duet between spoken voice and clavichord, using as sources old tapes of Neal Meyer reading the Psalm and of me playing clavichord.
BF Organ Pipe Chorus, Shell Shaker Chorus, Tongue Drum Chorus, Tub Drum Chorus, Twang Chorus, and Wood Drum Chorus - Keith Eisenbrey
|Notes for Blood and Fire Hallelujah|
These are part of what eventually became the canned bit for Blood and Fire Hallelujah. At this point in the process I was planning on putting together an arrangement of the shape-note hymn There is a Fountain Filled With Blood with me in chorus with myself singing all the parts and accompanied by a layered percussion orchestra. I was going to use that arrangement as a seed for an electro-acoustic track against which I would then pit myself improvising on the piano. The six tracks under consideration, and six others, were part of what was to become that percussion orchestra. Each consists of a 7 minute single-instrument track of various somewhat regular rhythms layered several times, if I remember correctly, with offset start points. Although I did finally complete the arrangement as planned, there was something about the resultant rhythms of these instrumental choruses that intrigued me - the accumulation by scatter-effect of ever-more complex kaleidophonic shiftings between seeming regularity and seeming funky and seeming randomness - to the point where I decided to use the simpler tracks as seed instead and make my pattern of arrangement more ferociously thorny. The final result is a track that exhibits a progressively more seething and finely chopped turbulence between order and chaos.
|More of Same|
In Session at The Tintinabulary
July 2, 2012
Banned Rehearsal 817 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer
In which we decide that using cellular phones as an instrument is fun for a bit, but becomes tiresome quickly, especially when some of us new users are still having trouble figuring out how they work.
Sunday July 29, 2012
Your Mother Should Know
Comet, Seattle, 8:00PM
Thursday August 9, 2012 (tentative)
Your Mother Should Know
Rat And Raven, Seattle, 8:00PM
Saturday October 20, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short