Saturday, August 12, 2017



August 5, 2017
Gambler's Dream - Hociel Thomas [from Alan Lowe's That Devilin' Tune]
Hociel Thomas

The measured trill that opens this slows, as though feeling the resistance of muscle and tendon. A truly amazing pronunciation of "Ruin", with a complex diphthong and an extra R sound, almost like "rühren".

All The Things You Are - Hampton Hawes [from Alan Lowe's That Devilin' Tune]

A tip of the hat to Art "now-which-song-was-I-playing-anyway" Tatum. Probably up there on Cecil Taylor's playlist as well.

Brown Eyed Handsome Man - Chuck Berry [collected from Dave Marsh's The Heart of Rock & Soul]

Just how many complete short stories can be told in 2 minutes 30, with no hurry?

Visage - Luciano Berio

The body's struggle to speak, tell, mean, sing. After each "parole" a variety of laughter, separating lexicon from unconscious response. Classic analog synth sounds bring warm feelings to my heart.

Obviously 5 Believers - Bob Dylan [from Blonde on Blonde]

This is what I wrote in my journal though I'm not sure now what I meant: "deflection use is reflection use :: a trick, but he writes so well as a voice."

Seamus - Pink Floyd [from Meddle]

Impeccably recorded swamp blues with full on virtuoso hound solo. Riffing on The Beatles' Hey Bulldog perhaps.

Heartless - Heart [from Greatest Hits]

These folks like analog synth as much as Berio did. Ann's voice powers up in unexpected corners of her range.

Manhasset - University of Washington Contemporary Group Improvisation Ensemble

Recorded live at Brechemin Hall, University of Washington, School of Music, as part of Neal's recital on May 22, 1981. As I was listening our smoke alarm went off (something baking) as an outside surprise that worked well inside what we were doing.

August 8, 2017
Guess I'm Falling In Love - The Velvet Underground [from Another View]

Yet another stranded instrumental track.

Banned Rehearsal 250 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [March 1991]

Picks up in mid-scribble. Overdriven jingle bells. Tape, and it was tape then, is an object upon which to inscribe sounds, getting as many on there as possible, outcome as a music not so important as chucking it all in there so that any moment might flame. Waddayaknow! Bob Priest, on the radio, gets into Banned Rehearsal history. We do not hold the niceties of sound engineering in regard at all.

Sonic Brilliance 17 -Karen Eisenbrey, Keith Eisenbrey, Holden K, Neal Kosály-Meyer, Kia M [June 1996]

In which it is demonstrated once again that the ability to speak can become an attractive nuisance.

August 10, 2017
Banned Rehearsal 612 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [August 2001]

I was working on a piece that, by this time, was known as "Work Architecture Unity And The",
hoping that it would be a thing that the banned could play as an ensemble. This was a go at one version of it in which I had stipulated categories of sounds to be piled on top of the scraps I had composed for solo piano. At the time I ended up being frustrated that the sense of spacious time I had envisioned as the distinguishing feature seemed to be unreachable as a group project. Looking back on it now, I probably should have let the collaboration run its course and see what happened. Each scrap/soundglob, though misbalanced, was quite nice.

Birthday - The Shackles [from The Funhouse Comp Thing]

Mildly amusing in a sophomoric way.

The Memory of All That - Benjamin Boretz - Karen Eisenbrey, voice; Keith Eisenbrey, piano

Early in 2011 Ben emailed this score to us - a memorial to Milton Babbitt based on Donne's "Death Be Not Proud" - hoping that we could quickly manage a recording for a symposium he was attending in February. I'm usually up early so I woke Karen with the news that Ben had sent us a song that would ruin our marriage. It didn't, though it was a struggle for both of us to learn it so quickly. We ended up recording it one page at a time, stitching it together later. The balance is horrible (I only had one good mic), I couldn't get the quick bits quiet enough, and the vocal part is at the absolute bottom of Karen's range, but the recording still gets much right on - notably the fraught struggle to leap half-steps in the first few pages. Never did such narrow intervals seem so impossible a venture, like passage to the moon, irreversible.

If I'd Been Born In Another Place - Denise Glover [from Pathways]

A loving toast to how it turned out, with string band balanced to perfection.

In Session at the Tintinabulary

August 7, 2017
Gradus 317 - Neal Kosály-Meyer

A path not taken: Retro-Gradus (start with all the notes.)

Saturday, August 5, 2017



August 4, 2017
Klondike Kate
Mud On My Bra
Juicy Thompson and the Snuggle Regime
Porn Bloopers
Café Racer, Seattle

Anyone is there for their own reason. Not the sort of evening that could possibly be composed though there was composition in super-abundance need I only mention the fine sequence of tempi rung by each group like a Haydn oratorio nor the sort of evening that could possibly be planned though there was plenty of planning and plotting and wheeling and dealing in gigs here and there and of course the whole business plan of the venue to stock and staff the bar and kitchen clear the tables turn the sprinkler on just outside the door [¿] how friendly is that [?] the music of the table chatter and dance of the crowded flirting every bit as engaging as and did I mention how much fun the bands were having just being an event or some to which anyone might gather for their own reason what I mean is this sort of evening as an event in itself must simply arise there it is. Gives me faith in music it does.


July 29, 2017

Crucifixion - Arizona Dranes [from Goodbye Babylon]

Within the conventional figurational schema: attention to details, to the balance of registers, to clean articulation.

Concentratin' On You - Connie Boswell [from Alan Lowe's That Devilin' Tune]

Room for a dance number in the instrumental choruses.

Boogie Woogie - Count Basie [from The First Records He Ever Made]

The staccato hits are echoed in the staccato run in the piano. A vocal ornament: quick wide quasi-appoggiatura (3rds and 4ths, I think, rather than steps), it is playfully placed within the meter.

Bebop in Pastel - Bebop Boys [from Alan Lowe's That Devilin' Tune]

A relaxed tempo groove with hints of Count Basie's staccato hits lick, melodically juiced.

Panama - Kid Thomas and his Algerian Stompers [from Alan Lowe's That Devilin' Tune]

The notes within the different chords don't talk to each other across the bars in the way they might in classical tonal works. I'd like to think they do, but that we're not hit over the head with it, but I suspect that's wrong too, and listening that way is simply an error.

Hat posing with Peggy Lee
There's a Small Hotel - Peggy Lee [from Black Coffee]

In terms of musicianship (the alternation of 3 feel and 4 feel) she tends to be a bit of a show-off. If you got it flaunt it.

There's No Other (Like My Baby) - The Crystals [collected from Dave Marsh's The Heart of Rock & Soul]

I can't help but wonder if the engineering of these was done with car radios in mind. Was the point of selling songs to the radio station simply the selling of radios? Quite a nice song though.

4th Time Around - Bob Dylan [from Blonde on Blonde]

Deflecting sense, words become a matrix of they mean what you want them to mean.

San Tropez - Pink Floyd [from Meddle]

It might be trying to be a Paul McCartney song, in the Honey Pie mode.

Dreamboat Annie - Heart [from Greatest Hits]

Being not quite a fast dance and not quite a slow dance, it requires negotiation, like gender.

Untitled Track 1 - Empire Brass Quintet [from American Brass Band Journal Revisited]

Karen brought this album into the family in the form of a trackless cassette.

July 30, 2017

Banned Sectional 21 KEE NWM - Keith Eisenbrey and Neal Kosály-Meyer [February 1986]

We must have planned to start together, Neal and I. (d)(e)-volves into a couple of sudden songs (that being what we were doing at the time) including a version of Ain't No Easy Woman with a verse I don't remember.

running amok - Infamous Menagerie

as if recorded from inside a can in the next bar over. luscious!

August 1, 2017

Banned Rehearsal 426 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [June 1996]

Close surgery, radio beepings are the monitors, one by one they go off revealing at last the flutter beat of a bird's heart. Universal time. At the tone the time will be.

Foundation - Keith Eisenbrey

A midi rendition of my organ prelude based on the hymn tune FOUNDATION. Throbbing and twisted.

Banned Rehearsal 696 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2006]

I introduce the players, and then thunder introduces itself. Rain on roof gentle, as though attempting to make the least sound possible and still be what we do.

August 2, 2017

Here In My Bed - Rachel Harrington [from Celilo Falls]

Not goodbye not hello just the fact of changing. Her vowels thin themselves unexpectedly, drawing you in closer by finesse.

Autoheterophony: Kum Ba Yah - Keith Eisenbrey

Making a new time of a pile of times.

Die Kunst der Fuge Contrapunctus XIII - J. S. Bach - Zoltan Kocsis

Awkward, the voices cooperate under mutual protest.

August 3, 2017

Mildred Bailey
Harmoniemesse - Haydn - English Baroque Soloists, John Eliot Gardiner, Monteverdi Choir, Joanne Lunn, Sara Mingardo, Topi Lehtipuu, Brindley Sherratt, Angharad Gruffydd Jones, Andrew Busher

In which Haydn demonstrates the necessary care to be given to composing each measure. A continually shifting array of forces, the sort of thing that might have made Elliott Carter just give up.

My Soul Is A Witness - Arizona Dranes [from Alan Lowe's Really The Blues]

Voice honed like a knife blade.

Georgia On My Mind - Mildred Bailey [from Alan Lowe's That Devilin' Tune]

I need a word that combines the notions of portamento and diphthong and a fiddler's touch.

Evenin' - Count Basie [from The First Records He Ever Made]

The beat and the meter meet at a slant. Don't stand still or you'll slide right off the edge of it.

In Session at the Tintinabulary

July 31, 2017
Banned Rehearsal 940 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer

Saturday, July 29, 2017



July 23, 2017
Banned Rehearsal 249 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [February 1991]

Begins with righteous plunk on toy piano. Throughout: a microscopic attention to intonation, liberated intonation, bending cymbal pitch by angle of stick. If there's enough of it, it must be real. (Quick Quaker Quotes). If there's enough of it, and it's night, it must be surreal. On radio intonations of Desert Storm, Dark Hole. When all the candles go out the tape will be over.

July 25, 2017
Banned Rehearsal 425 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [May 1996]

Bells of various whistle and guitar through synth (wahwahtech). This band is at work on stuff, dragging a muck rake into low sinking murkwood. CONCH! Deep bass blow. Relax the grip.

Ms. Found In A Bottle - Keith Eisenbrey

A composite 20 years in the making, digitally recorded textsound (Confessions of a Polyphonist) with aged magnetic tape of synthesized sound (the rotted version of AKU). Wobbly flangiform synthesizary diphthongs.

July 26, 2017
Being, Hearing, Knowing Now - Stephen Dembski - Christopher Taylor, piano

Each sound resets, proceeds only from the immediate. As memory intrudes we don't go back. Back just comes back.

Banned Rehearsal 785 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2011]

How: to design an attack envelope for piano reverb.
How: sounds persists.
What: A bestiary with bell kit beast guide.
What: Gathers at the bottom of the beaker.
What: beings to react, and converse.

Your Face - Denise Glover [from Pathways]

A song can be a face of word time pitch time melody time tine time. Is what it says.

July 27, 2017
Die Kunst der Fuge, Contrapunctus XIII - J. S. Bach - Lionel Rogg, organ

Triplets trip the trap. Bits, hints, and teasers.

Die Jahreszeit "Winter" - Haydn - Vienna Symphony Orchestra, Karl Böhm, Gundula Janowitz, Peter Schreier, Martti Talvela, Wiener Singverein

". . . lange dauert." Held back, even the dire chorus building forces underground. Rhythmic hiccups. Nonmotion, a hurried up slowing down. Waiting for, not being at.

In Session at the Tintinabulary

Green Lake, Seattle, July 29, 2017
July 23, 2017
Remlinger Farms Steam Train Ride - Keith Eisenbrey

At a corporate picnic out in the country we took a miniature steam train ride. Too many conversations to post in public.

July 24, 2017
Gradus 316 - Neal Kosály-Meyer

Some are interior spaces, the caverns of swiss cheese. Some are incrustations, barnacles. Some are iron rigid bars.

Saturday, July 22, 2017


Your Mother Should Know
Victory Lounge July 21, 2017

July 15, 2017
Alone In Dead Bars
Your Mother Should Know
Arbor Towers
Victory Lounge, Seattle

John Maiello, the lead instigator of songwriter for and singer in Dead Bars, has been appearing solo now and then as Alone In Dead Bars, often when a gig arises to which the full forces can't be mustered. His songs skew toward the conversational: "this band is way to fucking loud you saw me covering my ears . . ." Story fragments one might overhear at, well, at Victory Lounge, presented at a full tilt holler over the bandblast volume. Art imitates life in situ.

Your Mother Should Know, in their second electric show in a while, tightens up their set. I'm still too much the husband of the drummer to comment reliably in public.

Arbor Towers was lots of fun, with some really fine playing and songwriting. One set and I'm already a big fan.

We were pretty beat from having just been out late a few nights before, and we were sorry to miss the two bands from El Paso: Lunas and Medvedi, but Neal reports they were fine, so I'll look up some sound on the interwebs.

July 21, 2017
Your Mother Should Know
Victory Lounge, Seattle

And there they are again, opening Victory Lounge for the Eastlake Block Party. No longer having been on vacation, and pretty much wiped, we limped on home right after playing.


July 16, 2017
Confessions of a Polyphonist - Keith Eisenbrey

Words are huge. A Textsound piece I wrote in 2000/2001. Listening I thought of an interesting challenge: What are the chances that any particular transcription would hit on the spelling of the score? A homophoniad - or perhaps a homophone-mare, complicated by the names of letters that are also words and syllables within words that are also words. This may be the closest I ever got to a Boretzian 'text that only a composer could write'.

Gradus 92 - Neal Kosály-Meyer

Space to think around each singlemomentnode to linger touch caress lift weight ponder want besotted with each singular that time must be given to grieve its passing.

Castles Made of Sound - Wrick Wolff - Marzena Music Ensemble [from Hendrix Uncovered]

Undulous and otherworldly, in the groovy way.

July 18, 2017
Gradus 284 - Neal Kosály-Meyer

a dry lake bed
an occasional stone
or line


a shift in underlying geology
leads to a more dreamy sleep

July 19, 2017
Die Kunst der Fuge, Contrapunctus XII - J. S. Bach - Zoltan Kocsis

Sensory overload split screen cinematography to the end that just is.

Die Jahreszeiten, Fall - Haydn - Vienna Symphony Orchestra, Karl Böhm, Gundula Janowitz, Peter Schreier, Martti Talvela, Wiener Singverein

This is a well fed music. Oh boy! A hunt! And a dance! Even the passions are part of society's well ordered plan.

July 20, 2017
Who 'Sit - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Is that a slide whistle in there, superbly conjoining with clarinet? Cool!

Joy Bells - Tennessee Music and Printing Company Quartet [from Goodbye Babylon]

My favorite band name this week. Hyper-pingy vowels sung to !pop! on the old-time recording. Wicked fine piano playing back there.

Shoe Shine Boy - Lester Young, Count Basie [from Alan Lowe's That Devilin' Tune]

Proto bebop, a sense of orderly motion still traceable within the too fast to follow figurations.

Serge's Urge - Chaloff Serge [from Alan Lowe's That Devilin' Tune]

The same, but updated, out-done.

Seventh and Union - Hank Garland [from Alan Lowe's That Devilin' Tune]

Wonderfully articulate, flirting just ahead of where you are.

You're My Thrill - Peggy Lee [from Black Coffee]

A stunning confluence of musicianship and sound engineering. You have been taken. Give it up.

Dirty Robber - The Wailers [from The Fabulous Wailers at The Castle]

I'm sure he's saying some words or other in there, but it hardly matters, the sense of the sound is right on.

Absolutely Sweet Marie - Bob Dylan [from Blonde on Blonde]

In accusing another of teasing, exposing his own lyrics as what they are: a big tease with nothing underneath.

10538 Overture - The Electric Light Orchestra [a Rescued Record]

With George Martin-like arranging as a starting point (think Yellow Submarine or Eleanor Rigby), we get this, a dead end.

Babylon - Don McLean [from American Pie]

At least it's short (counterfoil to the first track?). The banjo is nice.

Cook of the House - Wings [a Rescued Record]

A song that's not much more than a groove sandwiched between nouveau Alan's Psychedelic Breakfast fry sounds.

Ein Hundenleben - University of Washington Contemporary Group Improvisor's Ensemble [May 1981]

IN WHICH: Karen and I were in the same room for the first time ever but didn't have a clue what would be in store.

The UWCGIE performed as the last half of Neal's Spring recital, and this, being one of the three pieces we performed, counts also as among the earliest traces of our collective improvisatory collaboration. I'm thinking there must have been 8 or 9 of us, but certainly don't remember everybody's name: Neal Kosály-Meyer, of course, and me, and Stu Dempster, Joseph Bichsell, Dave Jones, Greg Powers, and several others whose names and faces escape my fading memory banks. We had spent the quarter working on tuning into common wavelengths, and it shows.

Coney Island Steeplechase - The Velvet Underground [from Another View]

A test mix of collected contrast bits, mixing room floor scrap sweepings, but not bad for all of that.

In Session at the Tintinabulary

July 17, 2017
Banned Telepath 58 Coal Creek 170717 - Aaron Keyt
Banned Telepath 58 Seattle 170717 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer
Banned Rehearsal 939 170717 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Composing Camp - Alaska

Saturday, July 15, 2017


Black Lodge

July 13, 2017
Victory Lounge / Black Lodge, Seattle
Anxious Arms
Choke The Pope
Pity Party
Listen Lady

I haven't much to say - the sheer number of bands, all playing various versions of that Ramones-y "we're a happy family" beat, ever faster ever louder, overwhelmed my ability to keep track of which memory was which. Lots of fun though! Out among the beautiful people.


July 10, 2017

Peggy Sue - Banned Rehearsal [Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer]

Another post-session "hey let's play . . ." in which I managed to hit record first. It is spirited, but Neal's vocals are lost deep in the fuzz.

At The Funhouse - Fe Fi Fo Fums [from The Funhouse Comp Thing]

It's only a minute forty, but still seems a bit padded.

July 12, 2017

Gradus 186 - Neal Kosály-Meyer [January 2011]

Playing very softly, the highest A natural only emerges gradually as a pitch. Prior action noise could have been most anything.

Deep History - Denise Glover [from Pathways]

A bit didactic, but with a fine and intricate string band behind it.

Die Kunst der Fuge, Contrapunctus XII - J. S. Bach - Lionel Rogg

This is the first of the canons, filling every nook and cranny of experiential space.

Die Jahreszeiten "Summer" - Haydn - Vienna Symphony Orchestra, Karl Böhm, Gundula Janowitz, Peter Schreier, Martti Talvela, Wiener Singverein

Languid near to a fault. Great storm though. Just a few years before the thunder in Beethoven's 6th Symphony - or in Berlioz's Symphony Fantastique, for that matter.

I'm Gonna Gitcha - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Dixieland rhythm but with a focus on LA's solo sound. What an odd sort of act he was: singer and trumpet player, top of the game in each.
Cab Calloway

Kickin' The Gong Around - Cab Calloway [from Alan Lowe's That Devilin' Tune]

Is this the first mention of Smokey Joe? A kind of journalism, giving us a peek at the seamy undersides of society without our needing to go for ourselves.

Derby Town - Old Ced Odom and Lil Hardaway [from Alan Lowe's That Devilin' Tune]

Late night vaudeville wink wink nudge nudge song, veering away from the dirty words just in time.

Don't Worry About Me - Sarah Vaughan, Teddy Wilson Octet [from Interlude - Early Recordings 1944-1947]

The song eases down the scale and slinks back up.

You Tell Me Your Dream - Eureka Brass Band  [from Alan Lowe's That Devilin' Tune]

One imagines this sounding somewhat old-fashioned in 1951, but then it may have been some of those same old dudes playing that same old Dixie they had always been.

Love Me Or Leave Me - Peggy Lee [from Black Coffee]

A study in the careful placement of voice within tessitura. Sounds to me like she was gunning at Sinatra.

Wailers House Party - The Wailers [from The Fabulous Wailers At The Castle]

That completely unmistakable fat guitar with B3 sound. Brilliant.

Temporary Like Achilles - Bob Dylan [from Blonde on Blonde]

The first song on the album that doesn't leave a bad odor in the air.

The Grave - Don McLean [from American Pie]

They were sincere times I guess, but this spends a lot of energy saying words with lots of meaning, then grinding the meaningful into the dirt with a boot heel.

CIA Dope Calypso - Allen Ginsberg, Stephen Taylor, Jon Sholle, David Mansfield, Arthur Russell [from Holy Soul Jelly Roll]

Torn from the headlines! The fun of the word play overpowers the disgust we feel we ought to feel.

Another Brick In The Wall - Pink Floyd [from a collection of great dance songs]

The whole sound sits at a level, like the surface of a lake, like a J. J. Abrams lens flare, nothing beneath, nothing above. Cool and sheer.

Banned Rehearsal 64 - Banned Rehearsal [Keith Eisenbrey, Anna K, Neal Kosály-Meyer]

Cornet overpowers the equipment but not the sound, sheared away, skidded across, re-writing itself
onto the tape from the tape as it cooks on the reel. Steadfastly not entertaining. About 30 minutes in there is a truly wonderful collective chord that emerges with drums and bells, like bootsqueek in fresh snow.

July 14, 2017

Night Of The Subaru - Infamous Menagerie

There is an extra partial beat thrown in there just to knock the whole thing out of plumb.

Sonic Brilliance 16 - Banned Rehearsal [John E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Holden K, Aaron Keyt, Kia M, Neal Kosály-Meyer - May 1996]

Banned Rehearsal spent much of the 90's negotiating our continuance in the face of parenthood. For a while we had the kids join us for a pre-session. This was one of the more successful sessions, because the kids essentially made their own game of it. Life of the Dragon, accordion slain. To say we'll say something is to have done it (for the 5 year old crowd). Then Neal takes them outside but was somehow broadcasting back inside the studio, and interviewing Aaron and Anna from in the house. Too many minors on board to share the sound, but if I were to share a Sonic Brilliance this would be the one.

In Session at the Tintinabulary

July 10, 2017
Gradus 315 - Neal Kosály-Meyer

Neal invited a fellow blogger, Kent Karnofsky, over to listen. He curates Community Noise. I believe his article will be posted shortly before Neal's upcoming {August??} performance {at the Chapel??}.

Neal composes with raw subtleties, pursuing the inflections of distinctions as they arise.

Sunday, July 9, 2017



"And it works; the world works, even if it seems to work in frequently deplorable ways. Without judgment, the world doesn't work; without distinctions, there is no world. But of course we're talking about music; and the question is whether that chaotic disparity of sensibilities which underlies the orderly uniformity created by conventional wisdom is not crucially the realm precisely of the aesthetic; the place where the distinctions are precisely the ones that matter at the heart of the enterprise of creative expression. That the well-tempered effort to hear conventionally, in terms of the givens of musical culture, of the distinctions and judgments ontologized within their defined terms, is in fact sensitivity training in the service of a certain particular register of sensitivities, a powerful homogenizing agent which makes possible the conduct of musical life, its way of sorting out issues of performance, of composition, of description, of opinion, as if they all made mutual sense - and thus enabling the intelligible continuity of the cultural institution that enacts and reproduces itself as music, as the reality of what music is.

But . . ."

Benjamin Boretz The Universe of One, And, the Music of the Other Open Space Magazine Issue 15/16 fall 2013/winter 2014



July 7, 2017
Seattle Composers' Salon
Clinton, Washington - July 9, 2017

Chapel Performance Space, Good Shepherd Center, Seattle

Jessi Harvey - Eden Untamed (selections)

Massive, dense solo piano writing that loosens into an odd narrative || that involves lots of shoving things around, things unwilling to move at all, across surfaces that fight back with dogged persistence.

Jeremiah Lawson - Guitar Sonata in d minor (selections)

The sort of music that speaks high of lowbrow and low of highbrow: Southern Harmony hymnody in slide-guitar arrangement halfway toward dulcimer Appalachian if it weren't so completely guitar, Haydn thinking in the new world.

Jay Hamilton - Out

man with block head wooden seated bare foot on chair || poly-log from speakers voice of neural chaos. Existentially instructive in the language of prosaic doings stop start up down out.

Clement Reid - Theater Piece #2 (selections)

for toy-piano || in the treating seriously of which (which he does) foregrounds the relation of conceptual size across realms: big piece, little instrument. The theater of it for me is the dynamic question of whether the bigness of the piece overwhelms the littleness of the instrument. Even money.

Keith Eisenbrey - Ghosting Doubles (second sighting)

Thank you, Amy Denio, for permitting the use of your tune.

Carson Farley's question hit things brilliantly on the head (thanks! that's probably why it took me aback so effectively) - and I had already chosen the prefatory quotation -  something like (paraphrasing for my own nefarious ends) "why not compose the trajectory from theme to variations, instead of bluntly starting with the finished thingy?"

comment after the fact one: To do so could be another performance of the score. I'd love to hear it.

comment after the fact two: presenting it as I did, in quasi-theme&variations sequence, was an ad hoc decision, since in my thinking about this project all the versions (and others) exist within each other as doubles, ghosts, unperformable as a whole.

comment after the fact three: Scores could be for exploration not performance.

comment after the fact four: Dunno.

comment after the fact five: I didn't.
or less snarkly: This simply was what came out when I started working. Your possibility did glance through my thought process, but this is what finally got written out.

comment after the fact six: In my thinking about composition projects this is a single complex score within a set of three complex scores, which set of three is the eleventh in a set of (probably) seventeen complex complexes of scores named Etudes d'execution imminent upon which I have been engaged for several years now and expect to be so engaged upon for a good bit longer. I take the overarching title of the project with deadly serious intent.


July 1, 2017
Die Kunst der Fuge Contrapunctus XI - J. S. Bach - Zoltan Kocsis

This fugue is being shucked, like an oyster, a strongly resistant oyster, an oyster of many shells.

Die Jahreszeiten "Spring"- Haydn - Vienna Symphony Orchestra, Karl Böhm

A phantasmagoria of kinds of singing and singing groups. As in movies it has special effects: word painting: music bits standing in for representation, representing representation.

July 5, 2017
Dropping Shucks - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

loose bolts on this chassis
jalopy rhythm
bumpety b'bump b'bump

After You've Gone - Benny Goodman [from Alan Lowe's That Devilin' Tune]

first: shambling around the house moping blues
then: celebrating around the house not so blues as you think I'm bluesing

A bit of a comic version of what I understand to be a traditional jazz funeral rite: solemn to the grave, then shout to the skies.

Until The Real Thing Comes Along - Snow Valaida [from Alan Lowe's That Devilin' Tune]

Soloist: "Talk to me, boys". Turn-based conversation as structural stratagem. The titular hook low low in the tessitura each time but the last (see BG above).

I Found A New Baby - Don Byas [from Alan Lowe's That Devilin' Tune]

Water ski pull along thrill speed til flip free and soar.

Weary Blues - George Lewis [from Alan Lowe's That Devilin' Tune]

This music is having more fun that you are.

(Ah The Apple Trees) When The World Was Young - Peggy Lee [from Black Coffee]

Never a shiver of a moment more than she needs to make the statement. Tight as a Scriabin Prelude.

Shtiggy Boom - Leo Diamond [a Rescued Record]

Flutter-tongued harmonica!!!! Yowza!!!!

Most Likely You Go Your Way And I'll Go Mine - Bob Dylan [from Blonde on Blonde]

Another kiss-off song from Bob. Is the whole album like this? They get over it better in most of the songs noted above, or at least with better humor.

Sister Fatima - Don McLean [from American Pie]

Almost too precious for sensitive tummies.

Golden Years - David Bowie [from Changes One]

An undetermined count of songs in there, a broth bubbling roiling them through each other to the surface. DB at his best doing what he does best.

KCBOL (draft studio recording of June 2009) - Keith Eisenbrey

As cockamamie as the scheme was, there are many features of this 1980 piano piece that continue to be of use to me. As originally conceived there is a theater bit that goes with it, involving stacking alphabet blocks and ringing finger cymbals (which idea came back as whacking an oil drum at the beginning of Five Movements as performed at Bard in 1984). The original performers were Andrew Buchman and me. The midmost movement of the five is a two-note piece for piano four-hands.

July 6, 2017
Ride Me Into The Sun - The Velvet Underground [from Another View]

They'd been working on some stuff and this is a page from their sketchbook.

Banned Rehearsal 248 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Bill Meyer, Marilyn Meyer [February 1991]

small sounds close up moments gel but between gel moments fleeting liminal passages

what passes for a steady rhythm here is the jounce of an overladen wagon hugely wheeled downslope in self abandon bump stop in ditch shake

Banned Rehearsal 424 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [May 1996]

The so-called "Acronymiad", intent on filling the space with sound the acronyms are partially effaced.

In Session at the Tintinabulary

July 3, 2017
Banned Telepath 57 Anchorage 170703 - Aaron Keyt
Banned Telepath 57 Seattle 170703 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer
Banned Rehearsal 938 170703 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, July 1, 2017



June 25, 2017
Banned Rehearsal 611 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer [July 2001]

Even as it has been recently, my 1981 synclavier piece Aku, then, was upfront in my thinking-about. Here it is again: playing in the background, an articulate teapot whistle, sizzling along with an occasional recorded pronouncement [from my 2001 text piece Confessions of a Polyphonist]. But again, all in the background. Presence and balance. Balancing presence to those present. Bells pick up pitch material or project their pitches into the prerecorded space || of course it's all prerecorded now || teapots and kazoos comment: a group composition discussing the brought in sound on its own terms,  double sudden amp feedback.

A Choice of Weapons - The Sermon [from The Funhouse Comp Thing]

Action movie scene: the guy off the street hero being introduced to the weapons cabinet. This is that music, and it's not just the title.

Banned Rehearsal 784 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer [January 2011]

Tinclatsky puppet theater music. Don't know where that word came from, but I wrote it in my journal
so I thought I'd share it. The Mighty W in its latter days of glorious to the end. Melody in extremis, avoiding exit lingering long on the sense of ending soon.

June 27, 2017
Suspended - Denise Glover [from Pathways]

The rhythmic sense plays with the difference between mass and weight. The mass is clearly present, everything is affected by it. It wheels in Kubrik-ian grandeur, there is simply no earth to which it is bound.

Die Kunst der Fuge Contrapunctus XI - J. S. Bach - Lionel Rogg

Forward at all moments. Forward within all moments. Dogged. Imperative. The cathedral organ just eats this music up, or is it the other way around?

Quartet in G Major opus 76 #1 Hob. III:75 - Haydn

Nothing is hidden, it is all made plain. Life is rich! Enjoy!

Don't Forget To Mess Around - Louis Armstrong [from Hot Fives & Sevens]

Packed in a poke.

Hell And What It Is - Rev. Emmett Dickinson [from Goodbye Babylon]

Murmur like bees beneath singing low murmuring hymns, burners lit.

I'll Be Rested (When The Roll Is Called) - Roosevelt Graves and Brother [from Goodbye Babylon]

Just two voices I think, but each so distinctly rich with formants they frequently confound numbering. A shaker. A guitar.

Thermodynamics - Howard McGhee [from Alan Lowe's That Devilin' Tune]

Fleet and light, pedal to the metal just to the moment before entropy might kick in.

Criss-Cross - Thelonius Monk [from Smithsonian Collection of Classic Jazz]

Ah. Room to breathe! A little english with the hips, airborne.

I Didn't Know What Time It Was - Peggy Lee [from Black Coffee]

The very model of a through-composed performance. She picks you up at the start and plops you down at the end. You have been taken for a ride and never knew it 'til you woke in the ditch.

Running Scared - Roy Orbison [collected from Dave Marsh's Heart of Rock & Soul]

Probably should have studied more how Peggy did it before he tried that trick. He's got a certain amount of power and range, but finesse? Whazzat?

Just Like A Woman - Bob Dylan [from Blonde on Blonde]

Is it just me or does he spend an awful lot of time telling you who you are? Turn the mirror around Bob.

Winterwood - Don McLean [from American Pie]

A pretty voice, but it gets old fast.

Fame - David Bowie [from Changes One]

A cage of rhythm locked down tight, dried vine vocals entwining.

Shine On You Crazy Diamond / Wish You Were  Here - Pink Floyd [from a collection of great dance songs]

Utterly without hurry :: an aspect of PF that continues to endear.

June 28, 2017
Thanks to Steve Kennedy for the images
Banned Sectional 5 AK NWM - Aaron Keyt, Neal Kosály-Meyer [January 1986]

Yowl and hiss. Subtle flange (equipment issue) like wind several walls away. Consistently not leisurely. Busy, but unhurried, intent, methodical, keeping at it, focused. Happy to be a fly on the wall even these 30+ years later.

My Home - Infamous Menagerie

Sample hyper-slowed, joined occasionally by drumming. On some edge between a what-happens-if-we-play-along-with-that and a truly weird-ass instrumental you hear the next morning and wonder what you were thinking. My people!

Banned Rehearsal 423 - John E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Holden K, Neal Kosály-Meyer [May 1996]

Recalibrations and re-collaborations, divergent but mutually visible threads. Wonderful as a struggle, but still a bit of a struggle.

June 29, 2017
Barbara H (cover of Fountains of Wayne song) - Karen Eisenbrey, Keith Eisenbrey,  Isabel K, Neal Kosály-Meyer [July 2001]

Put a push-pin here, partway between drop of a hat covers of Wild Thing to full on full on Your Mother Should Know rock and roll.

Two-Part Invention - Gavin Borchert - Keith Eisenbrey

Gavin's piano music somehow seems conscious of itself, or perhaps its voices are conscious both of each other and of their own processes. Old-soul music.

The Way West - Brian Cobb [from Campfire Songs]

. . . is to regiment forward, to prolong the day ever so incrementally. Sun Chaser.

This Little Light of Mine (Autoheterophony) - Keith Eisenbrey

What is the question to ask of this? What itch does it scratch? Cram the familiar together, wad it up tight, press it hard. Hope to find some aspect of it that is elicited only so. In a sense it's like Lucier's I am sitting in a room, except that the room in this case is a space composed of my music ear and the recording device.

In Session at the Tintinabulary

June 26, 2018
Gradus 314 - Neal Kosály-Meyer

I got to thinking about perfect pitch (I don't have it). Even here where the pitches are few (just four pitch-classes to choose from, named up front) I have to calculate what any particular instance is from the nearby intervals. I can't imagine what it might be like to know a pitch by a name directly, instantly (and I allow how I might be (probably am) completely misunderstanding what having it is like). Plus side: I can hear pitches just fine, but I hear them without name, without category, can divvy them up however ad lib.

Saturday, June 24, 2017



"In short, the composer who has presumed to speak reveals himself in the guise of a speaker who is compelled to compose, with words." Martin Brody "The Age of Milton" Open Space Magazine Special Issue 14 Spring 2012



June 20, 2017
Aku (Bard Chapel Version) - Keith Eisenbrey

Kingston Bridge, ca 1982
Aku exists in several versions, none of them the pristine digital archival copy that might have existed had I had the know-with-all in 1981 to imagine such a thing. The best copy for which I had playback capability was the cassette copy made for me by the listening library folks at the University of Washington. It was this copy that I took with me to Annandale-on-Hudson in 1982 and played for Ben Boretz and my fellow students. Ben thought it could use some space around it so Bruce Huber loaned me the borry of a guitar amp and a second cassette deck, and a couple of hours, so we could play it into the chapel and record the results. By the time I ripped it to digital the recording had deteriorated somewhat, causing a certain amount of wobble.  A long story whose point is simply that Aku, as a personality, seems to actively seek out noise. Perhaps this is why we get along so well.

Exploration of the space-noise continuum. Parts of partials lag behind other parts of partials. Speeds of speaking. The speculative purpose of composition by design is, one hopes, to elicit, out of its designed complexity, unforeheard, undesigned wonders, such as these. Not for the faint of heart. Awesomely cruddy. Puts up a hell of a fight || flicker of light on water || durations hang past rational valuation.

Hey, Mr. Rain (version 1) - The Velvet Underground [from Another View]

Callling down the powers from above, a rain dance in song. Feature: a far more subtle tempo shift than in Heroin.

Banned Rehearsal 247 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [February 1991]

Near Burns, Oregon 1990
Candles burn in the barn fly attracted to flame becomes the wick stories in rhythm sipping around the edge of rhythm's gloss and falling in drunk being drunk. Radio: not atonement theology, but atonement pornography. The radical onslaught. Though even here a compositional tactic: wait till "A" has been forgot then spring "A" on you again and again, playing with the rhythm of forgetting and expectation. Richly sonorous affront on all fronts to professionalism's hegemony. It is important to cease thinking in marketable chunks, sound bites, convenient 12 packs.

June 22, 2017
Heart Attack - Sleater-Kinney [from Call The Doctor]

Almost perfect! Cut the vocal before the last 5 words remind us what song we are hearing and you've got it. Fine Feature: Chorus has a shrill hook nearly unrecognizable as vocal in pedigree.

In Session at the Tintinabulary

June 10, 2017

Banned Telepath 56 170610 Anchorage A - Aaron Keyt

June 18, 2017

Banned Telepath 56 170618 Anchorage B - Aaron Keyt

June 19, 2017

Banned Telepath 56 170619 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy
Banned Rehearsal 937 170610-19 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Steve's Guitar (one of many)

I tried something a bit different in mixing the telepaths together. Rather than plopping Aaron's contributions down in the middle somewhere I simply looped them over the top of our porch session. All Aaron all the time! I figured they came so far to be here they ought to be given several contexts.

Sunday, June 18, 2017



June 11, 2017
Die Kunst der Fuge, Contrapunctus X - J. S. Bach - Zoltan Kocsis

Sequences establish a rhythm of (usually) stepwise motion, allowing cross-rhythms of modulations and quasi-modulations - as though another music were going by in the background at a different tempo.

I love how the grandness of the denouement is fully established within what is really a quite thin texture. We hear it as grand because, in order to hear its logic, we imagine each note as sustaining at full volume - virtual grandiosity with virtual sustain.

Quartet in E-flat Major, opus 76 #6 - Haydn - Amadeus Quartet

Not sure this is really what's happening, but what I wanted to be happening is a sequence of variations occurring within single iterations of a larger theme and variations - both T and V constructed out of shorter Ts and Vs.

June 14, 2017
Birdwell Blues - Nolan Welsh, Louis Armstrong [from Alan Lowe's Really The Blues]

A tale: police harassment. "You know I been here before." Truth.
Don Redman

Trouble Why Pick On Me - Don Redman, Red Allen [from Alan Lowe's That Devilin' Tune]

Unexpected wonders: that voice, those perfectly executed parallel trills thrown in just for fun, showy tonguing, a tightly organized arrangement.

Woke Up This Morning (With My Mind On Jesus) - Roosevelt Graves and Brother [from Goodbye Babylon]

Keeping it lively, everything is slap. Slap guitar slap vocal.

I'm Through With Love - Sarah Vaughan [from Interlude - Early Recordings 1944-1947]

Nothing wrong with this performance (it's flawless) but it fails to convince me, it never lifts off.

Walking My Lord Up Calvary Hill - Wilma Lee and Stoney Cooper [from Goodbye Babylon]

The Passion according to just folks.

A Woman Alone With The Blues - Peggy Lee [from Black Coffee]

Sung as a single thought, a through-composed line. Tubular bells!

Now Is The Hour - Leo Diamond [a Rescued Record]

Rather bizarre, but it sounds like he was quite an interesting guy - trying to make the harmonica acceptable for the hi-fi crowd. The 45 that found me had suffered considerably, with much of the fi scuffed off the top.

Leopard Skin Pill-Box Hat - Bob Dylan [from Blonde on Blonde]

Kind of a mean-spirited blues when it comes right down to it.

Everybody Loves Me Baby - Don McLean [from American Pie]

In spite of his apparent attempt at humorous self-laceration, this still comes across as narrow and airless.

Young Americans - David Bowie [from Changes One]

Thick and taut, a line pulled past where it ought to break but that just won't.

In Session at the Tintinabulary

June 12, 2017
Gradus 313 - Neal Kosály-Meyer

June 15, 2017
Etudes - Keith Eisenbrey

These are five little pieces from 2000 that started life as clarinet duets: "Coiled", "Fragment", "Dance" "Air", and "Misterioso". I arranged them later as piano fingering puzzles. I was in the early stages of working with mod-17 pitch sets, essentially asking myself the question "What would regular music sound like if the modular interval were 17 instead of 12?" So, yes, this is what I think regular music is like.

Jerseyville Illinois - Your Mother Should Know [Karen Eisenbrey, drums; Neal Kosály-Meyer, vocal and piano]

In anticipation of a hoped-for pro-studio recording project I recorded three demo takes.

Saturday, June 10, 2017



June 9, 2017
Zach Tries To Not Ruin His Masters Recital
Brechemin Auditorium, School of Music, University of Washington, Seattle
Zachary Buker, tenor
with Ingrid Verhulsdonk, piano; Yoojeong Cho, soprano; Daniel Frizzell, lute; Denna Good-Mojab, soprano; Sarrah Flynn, flute; Alessandra Barrett, viola; Isabella Kodama, cello; Tyler Kim, violin; Judith Kim, violin, (and the comic relief crew)

In Alto Mare; Stornellatrice; Nevicata - Ottorino Respighi
Fussreise; Verborgenheit; Der Tambour - Hugo Wolf
Lamento; Testament; La vie Anterieure - Henri Duparc
Odi l'aura - Beethoven
Ich und du- Peter Cornelius
Come Again, Sweet Love Doth Now Invite; If My Complaints Could Passions Move; Can She Excuse My Wrongs? - John Dowland
Wilt Thou Be Gone, Love - Stephen Foster
Torna a Surriento - Ernesto De Curtis
l'Ultima Conzone - Francesco Paolo Tosti
Musica Proibita - Stanislao Gastaldon

We were afraid that a late bus would make us late guests, but we made it just minutes before the start. After an opening Marxist shtick (Harpo, that is, in a broadly Buffo vein, [or Victor B, or Professor PS]) to sweep whatever dustcurdles of pretense might lurk in that storied space, Zach proceeded to inhabit each song utterly. Having rid the event of seriousness, the actual performances stood out in stunning relief. As wonderful as the performances were (and they were) it is this aspect of the evening I keep coming back to - a brilliant idea about how to allow each song to stand proud in its own glory, without drenching it first in concert seriousness.

Other thoughts: How wonderful to hear such a voice in an intimate space! His comrades in song were wonderful (though Karen thought his bombshell partner for the Foster was going to give me a heart attack - I survived, feeling no pain). What wonderful characterizations! And impeccable comic timing to boot. Another random image: during the Wolf, oddly, I kept picturing him as the Jack Haley Tin Woodsman - something about the pitch of the voice, and the shape of the face.

All that and there were random prizes (though no puppies) scattered liberally throughout. We ended up with three lovely little saké cups held together with masking tape. When we got home (thanks for the ride, Melissa and Adena!) I deftly crumpled the tape into a loose mass, presented it to Obb the cat for sniffing, let it fall to the floor, moved it twice with my finger. It kept the cats occupied all night.


June 3, 2017
Banned Rehearsal 63 - Keith Eisenbrey, Anna K, Neal Kosály-Meyer [January 1986]

Our third live show: Brechemin Auditorium, University of Washington, January 9, 1986. The first part consisted of pretty much what we had done at our second show in the same space the previous July, but rebranded now as Three Compositions No Breaks. The second part was a set of Sudden Songs:

Bickleton Burger [Keyt]
Hey Hey Hey [Eisenbrey]
The Picture On My Wall [Kosály-Meyer]
I Wanna Girl from Venice California [Eisenbrey]
Instrumental [group]
Electric Garbage [Kosály-Meyer]
Tacoman [Eisenbrey]
Quiet Song [Kosály-Meyer]
Ain' No Easy Woman [Eisenbrey]
Wild Thing [a cover]
and a bonus bit after the audience had cleared out:
Aaronsbundler March [Keyt]

Brechemin 1986
We are weaving through the room accumulating the noise of our devices, filtered through the noise of our devices. Clunky and Clumsy. Seamless we are not. We layer thick, and not with clear lacquers but with ill mixed craft paint and dustcrud. We incant to the muses. First part: We know what we are doing but not what what we are doing will make. Second part: We know what we are trying to make our doing do, but not how to do the doing that does that that we are trying to make our doing do. In the midbit between the parts one can hear Neal and I, separately to different audience groups, holding forth on what we are doing. Spreading the gospel. This episode is, neatly, a concretion of the kind of argument Banned Rehearsal is.

We do DIY with a vengeance. After listening to it all over again after these many years all I could think to myself was "What were we thinking!?" And yet, how grand it is. In many ways I am in awe of our youthful recklessness.

June 7, 2017
losing an eye - Infamous Menagerie

A murky slime-infested dive five rooms back of the swamp. But in a really good way.

Banned Rehearsal 422 DAT - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [April 1996]


June 8, 2017
Banned Rehearsal 610 - Karen Eisenbrey, Keith Eisenbrey, Isabel K-M, Aaron Keyt, Neal Kosály-Meyer

We discuss the failure of the engineer (me) to record the first part of the session. A mix of extreme delicacy and extreme blattiness. Depth of field.

In Session at the Tintinabulary

June 5, 2017
Banned Rehearsal 936 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Saturday, June 3, 2017



May 28, 2017
We're Almost Down To The Shore - Jimmie Strothers [from Goodbye Babylon]

tune your banjo
to the thrum of the head

tune your voice
to the beeline precision of the string

that is to say, if you want to sing in tune, this is the gold standard

Flo Flo - Sam Donahue [from Alan Lowe's That Devilin' Tune]

what have we with which to speak?
music is our ticket to public consciousness

When I'm In My Tea - Jo Jo Adams [from Alan Lowe's That Devilin' Tune]

among ourselves our own late night comic songs reasserting the creative imperitive

Dinah Washington
I'm A Fool to Want You - Dinah Washington [from Alan Lowe's That Devilin' Tune]

gives PL a run for her money as sexiest voice ever

It Ain't Necessarily So - Peggy Lee [from Black Coffee]

the words themselves wouldn't strike one immediately as torch song material, delivery is everything.

Little Sister - Elvis Presley [collected for Dave Marsh's The Heart of Rock & Soul]

in our history with recorded music rock and roll is simply among the first that capitalized on the hugely increased horsepower available from amplification 

May 29, 2017
I Want You - Bob Dylan [from Blonde on Blonde]

never had a problem with the 'fact' that he doesn't sing in tune - always figured he hit every note he aimed at - gestural intonation

Crossroads - Don McLean [from American Pie]

a patina of heartfelt worldweary depth - one assumes (probably in error) that there is sense to be made of it

Diamond Dogs - David Bowie [from Changes One]

pushes the studio effects on the vocals to the point of being kind of a mess
far from my favorite DB

AKU - midi with reverb - Keith Eisenbrey

the notion of tempo relies on pulse
the notion of expanse relies on itself

my fling with larger than life
certainly brash certainly complete

I'm Gonna Move Right In - The Velvet Underground [from Another View]

game for guitars jamming in turns

Banned Rehearsal 246 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [February 1991]

orchestral violin frenetic flute kalimba far away [are counterpoints a form of criticism?]

N once posited of BR that we don't know what we're doing, that is, we are doing don't knowing, knowing in doing don't knowing, knowingly we do don't knowing

[mic'd a certain way, sul ponticello makes a pretty good imitation of old-time radio static :: what stations can we pick up on the sul pont?]

If anyone cares, this recording was made on a mid 70's Sanyo cassette tape player (still works). The mics were two Realistik PZMs taped to the wall (they still work too) no school like the old school


I'm Not Waiting - Sleater-Kinney [from Call The Doctor]

love the angles at which the verse and chorus and bridge snag each other

May 30,2017
Banned Rehearsal 609 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [June 2001]

barnacles and shore birds crab hiphopbeatbox on the radio waves :: we find our way out of Kammersymphonieland :: that is a gull or several

4 Midi Pieces - Elaine Barkin [from Open Space 21]

coy little pitch bends
playing the part, in a stage drama, of music
a diversely situated spirit
a gnarly timefeel

Figure Study 7 - Keith Eisenbrey

between waiting for possibilities to evaporate and leaving space for others to attack, caught in a strobeflash frozen into time

Pietracatella  - Denise Glover [from Pathways]

love how the tempo discovers itself established

May 31, 2017
Der Kunst der Fuge Contracpunctus X - J. S. Bach - Lionel Rogg

a platformer in more dimensions than are strictly possible

String Quartet in D minor, opus 76 #2 Hob.III:76- Haydn - Amadeus Quartet

to be sub-titled 'the overtly contrapuntal'

No Foolin' Around
June 1, 2017
High Fever - Freddie Kreppard, Cookie's Ginger Snaps [from Alan Lowe's Really The Blues]

synchronized tonguing

Bandit Cole Younger- Edward L. Crain [from Harry Smith's Anthology of American Folk Music]

cautionary tale
voice from the grave
news clip op ed
how fare the outlaw
in this outland?

O Lord I'm Your Child - Elder Otis Jones [from Goodbye Babylon]

preaching as a collaborative endeavor whipping up to singing

Benny's Bugle - Lester Young [from Alan Lowe's That Devilin' Tune]

more o' that fine tonguing together

Ecuador - Stan Kenton [from Alan Lowe's That Devilin' Tune]

ladies and gentlemen, we now give you dynamic deep focus

Deliverance Will Come - Johnson Family Singers [from Goodbye Babylon]

tight homophony square as square is square pulled back at ends of verse
no solo voice (one voice out of many)

Gee Baby (Ain't I Good to You) - Peggy Lee [from Black Coffee]

vibe and bass solos are killer

Midnight Ride - Paul Revere and The Raiders

self promotion and novelty song all at once, and a seed for Bill & Ted

Stuck Inside of Mobile With The Memphis Blues Again - Bob Dylan [from Blonde on Blonde]

hyper singsong delivery opens up compositional space [see above gestural intonation]

Empty Chairs - Don McLean [from American Pie]
Rick Wright

another one that would have been better off without the strings & other claptrap, but not much better

Rebel Rebel - David Bowie [from Changes One]

different readings of the same character, actorly

Sheep - Pink Floyd [from a collection of great dance songs]

lots of room for light show and Rick on the keys. (Karen liked the picture of Gilmour so much I thought I'd give her some more eye candy.)

In Session at The Tintinabulary
May 29, 2017
Gradus 312 - Neal Kosály-Meyer

hillside contours
that one is off like an alien space saucer into disappearance
the waited silence resonance of the holy
last scent of sunset before evening reeks into night

Saturday, May 27, 2017



May 20, 2017
The Magic Flute
Seattle Opera
McCaw Hall, Seattle

When it comes right down to it, I've probably spent more time trying to make something of TMF than Mozart did. And after all that it isn't much more than a very pretty picture book - sex education in a patriarchy.

May 26, 2017
Beverly Crusher
Dead Bars
Barboza, Seattle

What a wonderful evening for people watching downstairs at Barboza! Karen and I, after a lovely dinner at the Tin Table, (up a venerable flight of steps on the second floor of the Odd Fellow Building, one of the few unmistakably grown-up places to be at that end of the hill) staked a place to sit beyond the bar from the stage. We could see both stage and crowd, the scene at the bar, and through two round windows the faces of the newly arriving coming down the stairs. Fine cinema in the play of the small groups of friends mixing. All the young people so beautiful, so awkward. I got to thinking about how Seattleites dress up to go anywhere. For a punk show on the hill you've got to look just right, but that just right also has to look like you just grabbed something out of a drawer.

The bands acquitted themselves well: BC nailed the tempo shifts from song to song (have they heard the Seeger String Quartet?); DB is ever a joy, bubbling with good feeling; B was a like a history lesson, in a really good way - the influences were there, shades of sounds from all over, integrated with great care; R, I want to say sounded like the 80's, but like the actual lived-in 80's, not the "the-80's-are-in-again" 80's.  One of those nights when the party on the stage and in the room are one.

David Gilmour

May 21, 2017
Jean Genie - David Bowie [from Changes One]

Structure bit: how the little rave-up in front of the last chorus sets up the long rave-up-from-below that ends it.

Money - Pink Floyd [from a collection of great dance songs]

A little something for all those guitar aficionados out there, Gilmour laying it out real pretty.

Banned Rehearsal 62B - Keith Eisenbrey, Anna K, Neal Kosály-Meyer [January 1986]

The next day we were performing at Brechemin, and this was the rehearsal for the 2nd part of the show, consisting of 'sudden songs'. That particular project was at an awkward stage, since they weren't part of the regular sessions anymore and we felt that we were performing something from the past instead of something we were doing then. The last 20 minutes or so of the tape are taken up by some collective soul-searching, which is most of the reason I'm not posting this one on soundcloud.

Immediate Impound Zone - Infamous Menagerie

Heldenalto fronts a glorious noise.

May 23, 2017
Banned Rehearsal 422 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 1996]

Holding a 40 foot long drowsy dragon puppet aloft. Its parts are not solidly connected to each other, so pushing the whole anywhere is cumbersome. Intricate negotiations until it gels and a long winding down.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

This was the last take we did at Jack Straw in May of 2005.

Gradus 91 - Neal Kosály-Meyer [January 2006]

Water dripping in a dark cavern. Silence as discipline, as the act of listening without acting, expounding non-speaking.

May 24, 2017
Missing The Trail - Brian Cobb [from Campfire Songs] - Craig Garretson

Panic! Every strange detail could be an attack.

Banned Telepath 43 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy [February 2016]

Part of what became Banned Rehearsal 903. Scribbling tiny notes on tiny papers.

May 25, 2017
Die Kunst der Fuge Contrapunctus IX - J. S. Bach - Zoltan Kocsis

The slower second fugue makes explicit what we always guessed was going on inside the whole time.

Quartet in D, opus 76 #5 Hob.III:79 - Haydn - Amadeus Quartet

This is intense. One could imagine the late Beethoven quartets as an attempt to do something even half as fine. An insider's music, convulsive, grabs body-mind and wrests it aloud.

Blackville - Hazel Meyers [from Alan Lowe's Really The Blues]

The implicit top-down hierarchy of concert music gets a (deserved) bum rap for its stratification of labor (conductor is in charge, players do what they're told / master and slave). But this more demotic music developed its own hierarchy of function. Rhythm supports melody, everybody knows their place.

I Can't Get Mississippi Off My Mind - The Dorsey Brothers [from Alan Lowe's That Devilin' Tune]

Arrangement as an assertion of control, chaotic forces kept on a leash. Hard high hat cut off.

In Session at the Tintinabulary

May 22, 2017
Banned Rehearsal 935 170522 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer