December 3, 2013
Banned Sectional 14 KEE NWM - Keith Eisenbrey, Neal Meyer, October 1985
The sectionals, especially those that Neal and I did during this period, were not so much sessions of free-improvisation as they were freely-improvised workings out of ideas of things to do with which to fill up sides of tape. On the plate for this was a continuation of the sudden song project. Texts used include a Heine poem and coin-toss-chosen phonemes from John Rahn's Lines Of And About Music. In the middle Neal launches into a spirited acoustic rendition of Wild Thing, which gesture in subsequent sessions became a reflex go-to subject changer. In this case I can't say that the subject changed from was all that spectacular - we were once again driving lameness firmly into the dirt - but it was never about being spectacular, and working steadfastly at sticking points often leads to amazing places otherwise unreachable. Changing the subject comes across as a defense mechanism for avoiding discomfort, and veering into a groove, specifically, approaches social manipulation. You can join the fun or you can be a grump. But if neither fun nor grump is where you're at you're stuck. There is no room to maneuver into elsewhere. You just have to wait it out.
December 5, 2013
Snohomish Piece 1 Remix - Keith Eisenbrey, Neal Meyer, S. Eric Scribner
Sonata (Partita) in B-flat Hob.XVI:2 - Haydn - Christine Schornsheim, clavichord
Haydn is so gracious with the what of where he is, and with the spaces between. He does not move along to satisfy moving, but to provide a vantage of a new what, at a precise remove.
Grande Piece Symphonique - Franck - David Di Fiore
|our humble abode|
A sprawling mansion
too big to inhabit
our host uncanny
shows us around
Chorale from Seven Last Words - Dubois - Bellevue First United Methodist Church, Betty Eisenbrey, cond. - April 1965
Go Girl Crazy - The Dictators
They'd fit in quite well here in Seattle. Surf-rock self-parody. You'd almost think Kurt Bloch was involved. I have to say their cover of I Got You Babe made my jaw drop.
In Session at the Tintinabulary
December 2, 2013
Gradus 238 - Neal Meyer
In anticipation of the impending 2-hour public performance of Gradus on December 14th, (Chapel Performance Space, Good Shepherd Center, Seattle, 8pm) Gavin Borchert came over to hear a 1:3 scale model preview. Of the three rungs to be performed, the first two differ sharply in the quantity of pitches present. I was struck, hearing them in such close proximity, by how perversely bereft the more pitch loaded rung was in timbral richness, as though the sharp point of palpable sound was obscured by a haystack of figuration, however attenuated that figuration might be. It made me wonder to what extent we compose in order to hide the actual in favor of the conceptual.