September 2, 2016
Seattle Composer's Salon
Chapel Performance Space, Good Shepherd Center, Seattle
Narrative, like a slide show, or like a viewmaster card with music.
Wandering within a container. Dreamy.
Pieces of the Puzzle
A struggling and a wrestling.
Two Songs: Leap Into Love and The Finding
An attractive lyricality, reminiscent of late Griffes.
August 28, 2016
Polonaise-Fantasie in A-flat Major, Op. 61 - Chopin - Artur Rubinstein
Fantasiestücke Op. 111 - Schumann - Shura Cherkassky
In which meter is re-conceptualized as entirely plastic, like heat-pliant steel, but weightless.
Petrouchka - Stravinsky - London Philharmonic Orchestra, Bernard Haitink
The circus is a metaphor of the universe, or an excuse to trot out the musical fauna for display and study - of how and of what it is made. The grim oppositions of every kind of material: Outside/Inside :: Puppet/Master :: Circus/Theater :: Audience/Dancers. The gloriously polyphonous thrum. He even gets his big tune in there as a distraction to be suddenly interrupted by the interior drums let loose. I love the desultory tambourine bang just after the fatal thrust. Et tu, Igor?
August 30, 2016
I'll Be Good But I'll Be Lonesome - Southern Negro Quartet [from Alan Lowe's That Devilin' Tune]
The best way to get a good recorded sound in the early days was to compose around the limitations of the tech. Still is.
Each successive chorus a careful notch less restrained.
Creole Rhapsody - Duke Ellington and his Orchestra - Freddie Jenkins, Arthur Whetsol, Cootie Williams, Lawrence Brown, Joe "Tricky Sam" Nanton, Juan Tizol, Barney Bigard, Johnny Hodges, Harry Camey, Fred Guy, Wellman Braud, Sonny Greer [from Ken Burns Jazz]
That the legitimacy and prestige sought so strenuously, of which this music is so clearly deserving, was never achieved in the legitimate and prestigious world is not simply a matter of DE not being white and/or dead, though it is surely due muchly to that, but is also a clear indication that legitimacy and prestige were never real to begin with. (Which may have been his point all along).
August 31, 2016
Peter and the Wolf - Prokofiev - Philadelphia Orchestra, Eugene Ormandy, David Bowie
The quintessential free-range kid. I love how the introduction of the characters one by one (masquerading as an introduction of the orchestra) is echoed at the end by the parade of all at once, and how incrementally the story emerges in tandem with the incrementally complex orchestration. SP isn't just telling a story, and isn't just demonstrating an orchestra, he is also explaining his musical thinking. Bowie nails it.
Swingmatism - Jay McShann [from Alan Lowe's That Devilin' Tune]
Two heads collide: a sly one and a cockeyed crazy one.
Pete's Lonesome Blues - Pete Johnson [from Alan Lowe's That Devilin' Tune]
I got to thinking: As we listen through the imperfections of the recording tech do we filter out the noise or do we fill in the sound's envelope with the music we invent as having been heard?
Salt Your Pillow Down - Dickie Jones and Benny Leaders [from Alan Lowe's That Devilin' Tune]
Got your big fat tube-amp guitar sound down solid.
The lyrics are a red herring. The action is in the rhyme between voice and guitar, leaning forward off the beat.
Pretty Little Angel Eyes - Curtis Lee [collected from Dave Marsh's Heart Of Rock & Soul]
Competitive do-wop-she-bop. Beat that!
September 1, 2016
And On The Seventh Day Petals Fell In Petaluma - Harry Partch - Gate 5 Ensemble
Charisma trying on outfit after outfit. Constant motion without arrival. Fascination without obligation.
In Session At The Tintinabulary
|Dad's 1957 Nash Ambassador - Whidbey Island 1964 (we're building a cabin)|
August 27, 2016
Shucking Corn 160827 - Keith Eisenbrey
Although it is clearly just that, shucking corn, it also sounds, at times, like muppets making out in the back seat of dad's Nash.
August 29, 2016
Banned Rehearsal 917 160829 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer