Saturday, December 14, 2013



Triptet unplugged

December 12, 2013
Chapel Performance Space, Good Shepherd Center, Seattle

sequence theater
simultaneity complexes
of textures with or without
vector sequences
of note-isms or textures
of simultaneities or quasi-simultaneities
offset not simultaneous quite
but not because not vertically aligned
or not because not possibly
vertically aligned
but arising
with in
or with from
of persons
imagined inaudible
layers beneath
remove process
remove power
beneath that


December 8, 2013
Banned Sectional 15 KEE NWM - Keith Eisenbrey, Neal Meyer, October 1985

This tape ended up being a distillation and summary of several strategies that had been worked out in previous sessions. We started with sudden songs, notably Neal's first cover of Aaron Keyt's This Bus Won't Stop For Me, immediately preceded by the instructions "Enthusiasm, idealism, and a forthright approach". After we did that for a while we found ourselves in channel separation mode, Neal in the left speaker making tiny sounds and me in the right speaker with a guiro. Moving then to spoken word play (" . . .  think  slowly  stop  between  each   word  . . . "), high birdlike feedback intrudes, at first masquerading as whistling then boldly chirping. We take a high banking trajectory into a crazy, off place. Neal ends in self-referential mode, softly repeating "this is what I call a quiet tape" over and over to the cut. It certainly has some lame moments, but is mostly quite listenable.

December 10, 2013
Snohomish Piece 2 Remix - Keith Eisenbrey, S. Eric Scribner, Neal Meyer

In the battle for cognitive awareness, order trumps chaos. We latch on with biological fierceness to what we can make sense of, leaving the rest to be understood in terms of that what that we can make sense of. Or: why steady beats are so poisonous to free improvisation,

Keyboard Sonata (Partita) in C Hob. XVI:3 - Haydn - Christine Schornsheim

Performed on what I believe is a small harpsichord: not one of those orchestral multi-manual behemoths, but a private, residential sized instrument.

The Messiah (Christmas Portion) - Handel - Bellevue First United Methodist Church Chancel Choir, Betty Eisenbrey, conducting (1965)

For many, it just isn't Christmas without The Messiah. O what a difference italics make! The theological thrust of the work is focused on Christ the King, as one would expect when royal hierarchies were the only show in town. At our historical remove this comes across as far more flattering to kings than illuminative of Christ.

In Session at the Tintinabulary

December 9, 2013
Your Mother Should Know
Demo for an upcoming album project.

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