June 6, 2015
Rather than being at one with, and ever-creating, the tonal world in which they exist and persist, these float precariously, as on a boat perched on an obliquely gravitic tide. The sea lists around us, emptier now than in the ever-referenced past.
Blue Suede Shoes - Carl Perkins [collected from Dave Marsh's Heart of Rock & Soul]
Each part alike aware of its balance and bounce.
Come On - Chuck Berry [from The Best of Chuck Berry]
Rock solid everything but guitar, which blows like the wind all over wheresoever.
When a Man Loves a Woman - Percy Sledge [collected from Dave Marsh's Heart of Rock & Soul]
How he wished he never loved thee, let him count the ways.
String Quartet #3 - Elliott Carter - Julliard String Quartet
A rain forest seen in all its particulars, from all frames of reference, at all removes, in each scale of magnitude.
One of those cleverly disruptive lexical shifts that is more effective than it ought to be, as moves moves from noun to verb, as night moves from adjective to noun, the syntax of each word lurching to the left, as the song's voice moves from active ("working on my night moves") to lyric imagery ("the night moves").
Go Wild In The Country - Bow Wow Wow
a calibrated whine/tantrum.
Word Up - Cameo [collected from Dave Marsh's Heart of Rock & Soul]
Clarity preserved by tying up all the resonances in tight little bunches, shrink-wrapped.
June 9, 2015
Syrens - St. Elmo's Choir
An album of sea-shanties (mostly I think of English origin) arranged for female voices. Reminiscent in a way of the more famous Bulgarian folk songs that made such a splash a few decades back.
In Session at the Tintinabulary
June 7, 2015
Duet 150607 - Keith Eisenbrey
I improvised on toy steel drum and then on wooden transverse flute.
June 8, 2015
Banned Rehearsal 887 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer
Our first porch session of the summer, recorded using a four-track zoom, two channels aimed at the porch, the others aimed into the neighborhood.
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