Saturday, October 1, 2016



"Phenomenology takes it upon itself to describe the appearance of phenomena and to do so on an originary background which has to be established in a theoretical manner (or perhaps, in a sense, as some sort of a fiction) as soon as we feel its presence behind all concepts. This pure presence, [. . .] far from being just a mere base or a unified and inert undercoat, is on the contrary a product of a preexisting, if not always identifiable, sensory mobility. In other words it is a given, not in the sense of a gift which somehow was previously given to us, but as the "givenness" of something which has always been in existence. Before we can even begin the process of distinguishing ourselves from the world, the famous Husserlian "there is" (es gibt) of the world - of which we became part of by birth - is a given. Our consciousness, incapable of making distinctions or judging, is given to us at the same time as the world; the world shaken by rhythms and movements of the originary, which are incessantly composed, decomposed, and recomposed before they become stabilized in a synthesis of sensory elements, so that ultimately, under the influence of the formation of categories of judgment, they may be arranged under the concept of an object." Marie-Claude Lambotte "the movement of the "originary" in art", translated by Dorota Czerner, The Open Space Magazine Issue 11 Fall 2009



September 25, 2016
Märchenbilder Op. 113 - Schumann - Gérard Caussé, Jean Hubeau

It is exactly when Schumann seems to be falling back on direct repeats and square rhythms that he goes most splendidly askew. In a Boretzian locution, these are program musics, the subjects of which are 'folk songs arranged for concert performance'.

Petrouchka - Stravinsky - Seattle Symphony Orchestra, Gerard Schwarz

Not the music to accompany a dance of a puppet show, but a puppet show in its own right. The mythic and the orchestral puppet show face each other across the chasm of the dancers bodies. For instance: the opening, where our attention is being pulled from here to there, from this sight to that sight, as though by strings. Not quite coercion, but not quite seduction either. We discover ourselves to be witnesses. The murder occurs while we are there.

Sounds of Africa - Eubie Blake [from Alan Lowe's That Devilin' Tune]

Part of the deep undercoat for Art Tatum and Cecil Taylor.

September 27, 2016
Heebie Jeebies - Louis Armstrong's Hot Five - Louis Armstrong, Kid Ory, Johnny Dodds, Lil Armstrong, Johnny St. Cyr

Louis digs his voice out from deep in his chest.

Travelin' Railroad Man Blues - Alabama Sheiks [from Alan Lowe's That Devilin' Tune]

This is me. This is my calling card, this my placard.

Romeo et Juliette Deuxieme Tablaeau - Prokofiev - Orchestre du Theatre Bolchoi de Moscou, Algis Juraitis

Grand Russian Ballet of the Tchaikovsky stripe, flagrantly flirting with the resurrection of Empire.

September 29, 2016
Take The "A" Train - Duke Ellington and His Orchestra - Rex Stewart, Wallace Jones, Ray Nance, Lawrence Brown, Joe "Tricky Sam" Nanton, Juan Tizol, Otto Hardwick, Johnny Hodges, Barney Bigard, Ben Webster, Harry Camey, Fred Guy, Jimmy Blanton, Sonny Greer [from Ken Burns Jazz]

A thought experiment: Listen to this as though the rhythm section were silent and it becomes deliciously disjointed.

Who Put The Benzedrine . . . - Harry Gibson [from Alan Lowe's That Devilin' Tune]

. . . in Mrs. Murphy's Ovaltine? In celebration of somebody's awakening.

Black and Blue - Dickey Wells [from Alan Lowe's That Devilin' Tune]

A soliloquy. Sometimes he looks in your eye. Sometimes his eyes drop to the floor as he mutters under his breath.

Too Marvelous For Words - Art Tatum [from Smithsonian Collection of Classic Jazz]

This is not a pitch/rhythm space into which one enters lightly. The song is captured at exactly the moment of critical fracture, bursting from within.

The Marcels
Blue Moon - The Marcels [collected from Dave Marsh's Heart of Rock & Soul]

Doo-wop is, in its inception, an imitation of instrumental music, but one that allows an interplay of attitudes toward that imitated music in the multiplicity of texts involved: lyrical, nonsensical, onomatopoeical. It's a bit like those old polyphonic works in which each part is in a different language. The song that floats on top isn't the show, it's just the excuse.

Rainy Day Women #12 & 35 - Bob Dylan [from Blonde on Blonde]

Arrangement by whoeverwasthereatthetime. Bob in full-on Revival Preacher mode.

Half Moon - Janis Joplin [from Pearl]

Love the yodel lift at the ends of phrases, and how carefully it is paced.

In Session at the Tintinabulary

September 24, 2016
Corollaries (Down's Up) 160924
Corollaries (Down's Down) 160924
Corollaries (Up's Down)  160924 - Keith Eisenbrey

The house was pretty quiet on Saturday so I recorded the other three Corollaries. Lately I have been considering my attitude toward notes as tokens or atoms of musical thinking. Among other things, this particular project has focused instead on the intervals, and on the gaps between notes in general, as the location of intentional design. In other words, rather than composing patterns of pitch in which the intervals, though considered, are subsidiary, I composed patterns of intervals in which the pitches, as it were, fall where they may.

September 26, 2016
Banned Rehearsal 919 160926 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer

introducing our new friend, Excelsior!

More need not be said. We have a new friend. "Oh the glory glory glory on the horizon!" (Shelby Earl).

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