Saturday, May 20, 2017



May 13, 2017
Gamelan Pacifica presents
Lou Harrison at 100 Years:
The Seattle Connection
featuring Gamelan Pacifica and Pacific Rims Percussion Quartet
directed by Jarrad Powell
with guests:
Heather Bentley, viola and violin
Jennifer Caine Provine, violin
Paul Taub, flute
Bonnie Whiting, percussion
Maria Scherer Wilson, cello
Wayward Music Series, Chapel Performance Space, Good Shepherd Center, Seattle

May Rain (1941)
Gending Park Chokro (1976)
Threnody for Carlos Chavez (1978)
Pathetan Wantah, laras pelog pathet lima (in remembrance of Lou)
Ladrang Epikuros (1981-82)
Air in G Minor (1947)
Končerto por la Violono kun Perkuta Orkestro (1959-1940)

mix at
certain edge
of the set of overtones

that particular sort of
slowing down we do at
ends - coded differently
as a structural cue

it turns everything
into a microtonal

the parts rely on each
other not just to
keep together but
to be what they
are within what
they are singing

a particular
way with the
sensibility of
how things wander

it is extraordinary how something so ordinary could be so extraordinary

membrane of a soap-bubble lake
flute swallow-fleet
rippling swift across


May 14, 2017
We're Gonna Have A Real Good Time Together - The Velvet Underground [from Another View]

What we want to hear from the cool: "Join the party!"

Banned Rehearsal 245 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 1991]

Jump right in. magnetic tape echo spiral residue reconfigurable membrane morphing drum we can
hear our bodies moving by their occlusion of sound. Hangs in there for a good long time not being music. Try different settings! Fluid transit intention. Now we're plucking and plunking.

My Stuff - Sleater-Kinney [from Call The Doctor]

Female point of view as such, in contradistinction to the more typical pop-sensibility: What from a male point of view the male would love to believe is the female point of view, but probably isn't, at least not straight out, without the slow poison.

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

The third take from the Jack Straw recording session of May 2005. The reverb, strangely, confines the music, envelopes it, gives it skin and face.

327 - Black Horse [from The Funhouse Comp Thing]

In what social context is this appropriate? War? Riot? Steam Letting? The danger of raw emotional evacuation is that the steaming turd has a social effect, and it accumulates.

Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

A recording we made at home in January of last year. What gives the composer in me pleasure is how the accompaniment spotlights the voice, following it closely, like an aura, a glow.

Paradox Bagatelles - Craig Pepples - Sascia Pellegrini

each atom spaced so as to reveal aspects of itself that would otherhow not make impact :: these atoms are all and each clearly about the thing they are all and each saying, spoken clearly :: the sense in which they are a plural of bagatelles is that those animals, those bagatelles, must be all in the sequence, lumpily interspersed, grazing.

May 16, 2017
Die Kunst der Fuge Contrapunctus IX - J. S. Bach - Lionel Rogg

Long tones are short-term drones. A florid fugue plays the surface of a sedate fugue.

Quartet in C Major, Opus 76 #3 Hob. III:77 - Haydn - Amadeus Quartet

Kept safely deep within this very model of a repertoire string quartet (all to be admired and copied): worries, hesitations, concerns. The finale, party crashing, wandered in from some minor key quartet.

String Quartet in F Major, Opus 135 - Beethoven - Amadeus Quartet

Scraps of bits, unaware they are part of any sort of design. Commentary and disagreement. Full of sudden shifts, shortcut modulations, make do with where we have gotten to [in order] to get where we must go. Nothing else quite enflames the soundbox like scribble-bowing, glowing hot.

May 17, 2017
Deep Henderson - Charlie Straight [from Alan Lowe's That Devilin' Tune]

Fat precision. Like a sloppy drunk clearing a pool table to the last spinning ball. No sophistication, but deep for sure.

Easy Come, Easy Go Love - Sunny Clapp [from Alan Lowe's That Devilin' Tune]

Crammed (frat boy phone booth). More fat precision.

Crying Holy Unto The Lord - The Blue Chips [from Goodbye Babylon]

Appropriation of the profane by the sacred, or invasion of the sacred by the profane?

Get Ready for Christmas Day - Rev. J. M. Gates [from Goodbye Babylon]

Digging through the rhythm of language into the substrate of melody - it breaks off just before ignition.

Boyd Raeburn
Over The Rainbow - Boyd Raeburn [from Alan Lowe's That Devilin' Tune]

Runs through more presets than a casio. Every possible arrangement of the tune in quick succession.

It Could Happen To You - Bud Powell [from Alan Lowe's That Devilin' Tune]

Same deal as above, but all by his lonesome. (Chopin!)

My Heart Belongs To Daddy - Peggy Lee [from Black Coffee]

The image of: independence from the beat, as though just talking, except that it never wavers from being exactly where it needs to be. She may be hiding behind the male point of view's desire for what they want the female point of view to be, but she does it while openly dripping the fatal drops into your drink.

Hello Mary Lou - Ricky Nelson [collected from Dave Marsh's The Heart of Rock & Soul]

Star Vocal! Hear it Here! (a blended orchestration of echo effects) Repeat with instruments.

One Of Us Must Know - Bob Dylan [from Blonde on Blonde]

Excuses, excuses.

Vincent - Don MacLean [from American Pie]

Well Don, I'm sorry, but "snowy linen land" is just puke-worthy. Wodehouse had your number decades ago (see "pale parabola of joy".)

In Session at the Tintinabulary

May 15, 2017
Gradus 310 - Neal Kosály-Meyer

Quasi-similar motion (pitch-class nearness by shortest route) as countermotion. Take that, MF! 

Saturday, May 13, 2017



May 9, 2017
The Stampede - Fletcher Henderson [from Smithsonian Collection of Classic Jazz]

The rhythm of our focus is composed into the arrangement - long solos, quick breaks, choruses flipping from instrument group to instrument group (changing channels).

A Lazy Farmer Boy - Buster Carter and Preston Young [from Anthology of American Folk Music]

Drawing attention to our internal presumptions of imminent profanity by the oh so clever near misses. An old trick, still works.

Two Old Maids - Billy Mitchell [from Alan Lowe's That Devilin' Tune]

Among many, another low point in public discourse about sexual orientation: deriding the other as an obscenity.

When Was Jesus Born? - Heavenly Gospel Singers [from Goodbye Babylon]
Mel Powell

Rehearsed so as to sound invented on the spot, but is caught going round and round until it doesn't.

Lover Man - Mel Powell [from Alan Lowe's That Devilin' Tune]

French film noir score, a tone poem with hints of Ellington, Gershwin, or Paul Whiteman.

The Happening - Paul Gonsalvez [from Alan Lowe's That Devilin' Tune]

Nothing fancy in the arrangement, just solo over accompaniment.

Easy Living - Peggy Lee [from Black Coffee]

Wish fulfillment for the 50's man.

February Piece 1961 - Cornelius Cardew - John Tilbury
Cornelius Cardew

I kept thinking how melodious this was, though made of sharp edged sweepings.

Visions of Johanna - Bob Dylan [from Blonde on Blonde]

As in Paul Gonsalvez above, nothing really but poetvoice solo above an accompaniment. Our focus is not to waver.

May 11, 2017
Till Tomorrow - Don MacLean [from American Pie]

Not a horrible song, but would benefit greatly by stripping off the strings and stuff, dialing back the reverb.

Suffragette City - David Bowie [from Changes One]

This plays a kind of strip tease with itself, shedding song parts along the way until it's nothing more than its own hook.

AKU (midi) - Keith Eisenbrey

In 2004 I made this midi version of my 1981 synclavier piece. There are a couple three glitches in the sound - alas, I no longer have that midi box to try and fix it. This version preserves the pitch and time schemes, instrument differentiation, and, at times, the curiously uneven way the sound hangs in the room - move your head ever so slightly and the sound shifts dramatically. Something about standing waves, I presume. It loses some of the subtle envelope and overtone differentials that were in the original (though they didn't really come across all that well anyhow). And I suppose the moment in the original where the sci-fi tanks blast through the church walls is (unfortunately) rather more elegant and nuanced here. The balance is not optimal, but it does gain some sparseness and clarity.

Its internal sense of what it becomes as it goes along is cumulative, like the Sibelius of Tapiola, but a better way to put it is that, it isn't entirely unlike that. It is this aspect of it that I, as its composer, find most gratifying.

In Session at the Tintinabulary

May 8, 2017
Banned Telepath 55 170508 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Rumor has been floated that Aaron will send some sound from Anchorage, so the full version of Banned Rehearsal 934 will have to wait. Our local sound is here for all it's worth.

Sunday, May 7, 2017



"So when I ask myself a question about thinking about music it devolves naturally into questions about the relationship between understanding and experiencing: not questions, for me, of either/or, but of hierarchy, of the direction of implication, and, to put it crassly, the most basic questions of personal goals and values. Are the ontologies of understanding-structures intercompatible with the ontologies of experiencing-episodes? Are they contingent upon one another, mutually, or in either direction? In another register, I may ask: is aesthetic perception distinct from extra-aesthetic perception, that is, from what I might call analytic perception?" Benjamin Boretz "fourth and long in Baltimore" Open Space Magazine Issue 12/13 fall 2010/winter 2011



May 5, 2017
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

John Kammerer and Rebeka Ko
New Music for marimba + electronics

They partly construct and partly conjure a wall-less but circumambulatable space. Oh so many crannies, meadows, brooks, and glens to explore!

Patrick O'Keefe
Morning Stroll - Emerald City Saxophone Quartet: Barbara Hubers-Drake, soprano; Molly Pond, alto; Harold Rosenkrans, tenor; Jim Glass, baritone

Patrick tells that this piece is about distractions from a stroll. Personally I think that's backwards. For me this was about scattershot distractions surprising themselves in discovering that it is a strolly sort of thing they are doing.

Jeremiah Lawson
Guitar Sonata in A major

A tender memory of a ragtime intimacy.

(On piano the energy of playing notes is vertical to the string - at an arced near-right angle.The face of the sound comes to us reflected off the lid, we hear it as though in a mirror. But here the energy of playing notes is horizontal to the string - across them at a near-horizontal. The sound comes to us directly from the soundboard. We hear its face directly.)

John Teske
ad;sr (vectorscores) - Neil Welch, Evan Woodle, William Hayes

(a short segment of a long space)








May 1, 2017

Die Kunst der Fuge Contrapunctus 8 - J. S. Bach - Zoltán Kocsis

A triple fugue attempts escape velocity through stretto alone.

String Quartet in B-flat Major, opus 76 #4 - Haydn - Amadeus-Quartet

We are addressed as colleagues and familiars.

May 2, 2017
String Quartet in C-sharp minor, op 131 - Beethoven - Quartetto Italiano

This recording was ripped from 1970's vinyl. (The past and its thwipdips.)

wafting smoke falling silk

the camera pans up to fade

the memory of a quartet

broken linear dreamlogic

the past is the price paid for this moment

it earns its odd threads

by sacrificing so many other paths

Saturday, April 29, 2017



"But the willingness to be oneself, outside any mediation, in the immediacy of presence, comes up against two obstacles: the presence of others and the unpredictability of an unstable act." Jean-Charles François "Variations on and for Daniel Charles" Open Space Magazine Issue 12/13 fall 2010/winter 2011



April 22, 2017
Seattle Symphony
Benaroya Hall, Seattle

Symphony in B-flat Major (#5) - Bruckner - Seattle Symphony, Ludovic Morlot, conductor

Thank you Stephanie and Dave for the tickets!

It has been quite some time since I had the pleasure of hearing a Bruckner symphony live, in an adequate hall. The magnitude of sound in play requires space around it in order to articulate its dynamic range. Recordings are all very fine, but the physical space you yourself, as an auditor, are in, is uniquely essential for these works to address you fully.

But it wasn't the sound that struck me this time around (though the local crew performed magnificently), it was the polyvalent transparency between phrases, between lines of ongoing counterpoint, between beginnings of things and middles of things and ends of things, between the symphony and me, that spoke. It was as though an epic timespan, in mid explosion, had been captured in freeze-frame and conjured into being in order to sculpt of negative sound defined by symphonic shards, an explicit silence.

Joseph Adam
Toccata in F Major, BWV 540 - J. S. Bach
Organ Concerto in A minor, BWV 593 - J. S. Bach
Prelude and Fugue in A minor, BWV 543 - J. S. Bach

We were doubly fortunate to finally hear the organ at Benaroya all by itself. I notice they have stopped referring to it in the program by its brand-name. Did the sponsorship contract run out?

April 27, 2017
Your Mother Should Know
Your Mother Should Know, Sarah Pasillas, Alone In Dead Bars, Sun Dummy
Victory Lounge, Seattle

Everybody was playing "acoustic(ish)". YMSK was, with two performers (Neal Kosály-Meyer and Karen Eisenbrey), the largest ensemble of the night. Alone In Dead Bars is John Maiello of Dead Bars, and "Liz" constituted the whole of Sun Dummy. Sarah Pasillas was without apparent alias. The performing area at VL is nothing more than a few square feet of space in front of the window bench, on a level with what would be the mosh pit if it weren't just a place for folks to stand at the end of the bar. The combination, and the friends-of-the-acts-full audience, made for a lovely intimate feel throughout, and not just in the banter between, but in the warm play of conversation that swaddled the performances. I have confessed before: I am a sucker for guitar strumming she-minstrels, so I was not sorry to be there at all, even though it was late for me to be out on a work night. Sarah plays with a near-yodel break between registers, to potent effect. Sun Dummy lives, I think, to lift her voice into a spot behind the mask that evokes oboe or english-horn timbre, a bit like Courtney Marie Andrews, but a few steps lower - more mezzo than coloratura. Hearing Dead Bars songs in this context, without the neo-punk band armor, brought out their more tender, vulnerable aspects. Kind of a trip, actually.


April 25, 2017
Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [take 2 from a recording session at Jack Straw Productions on May 10, 2005]

Part of the pleasure of writing songs, for me, is that it gives me an opportunity to get my compositional jollies - without the self-inflicted intellectually prideful pressure I find when writing for solo piano. In this case, I find all sorts of ways to confuse one voice with another, and to trace multiple non-explicit threads through an otherwise straightforward texture. Must admit, that just toots my horn.

Gradus 90 - Neal Kosály-Meyer [January 2006]

Due to a data entry error I have listened to this twice this same month. I found myself (still puzzling about Bruckner) thinking about silence. I may be misinterpreting somewhat, but in conversation Neal professes to be aiming, in Gradus, at a Cagean concept of silence. Specifically he hopes that no sound made therein would be amiss in a performance of 4'33". But what I was wondering was whether the accomplishment of this is doomed to failure, not because Neal makes 'musical' sounds but because Cage's silence is particular, personal, unique, to Cage, unapproachable outside of his own ear. His verbal explanations and theories about it are no more capable of guiding us to the actual 'it' of it than any other verbal blurble is to any musical experience at all. It can only point at what can't be experienced, report on wonders irrevocably lost.

The Prairie-Grass Dividing - [from Campfire Songs] - Brian Cobb

Paced at first like Korean court music, it accumulates the sounds of everything stowed in the wagon.

Banned Rehearsal 904 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt [February 2016]

Assembled from Telepaths 43, KK&S here in Seattle, Aaron in Summerville, MA. With fine-tipped crayons we scribble tiny textures. Wallace (Aaron's rented spinet) joins in from afar. Quiet plucking of an evening. Drum a long crookedy line. Busy bugs on a forest floor, scattering gently.

In Session at the Tintinabulary

April 24, 2017
Banned Rehearsal 933 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy

Saturday, April 22, 2017



April 18, 2017
Strange Like Us, Your Mother Should Know, Mud On My Bra

Sunset Tavern, Seattle

Strange Like Us consists of: Kyle Sturner, vocals, guitar; Sadie Alley, vocals, keys; and Arna Garcia, drums, vocals. Darling synth sounds and solid playing all around provide a potent platform for Kyle's weaponized trans girl baritone. Add Sadie in parallel octaves for the KO.

Your Mother Should Know is, of course, Neal Kosály-Meyer and his sister (and my spouse) Karen Eisenbrey. This was their first electric show in quite a while. There were some shaky spots here and there, but they pushed through them. Karen got to try out her new headset microphone, and this may have been the first time I remember being able to really hear her vocals clearly.

We have heard Mud On My Bra (Myla and Aria Mud) before, and were eager to do so again. Aside from their stunningly tight ensemble (at the service of some fancy rhythmic games, I might add) I was able this time to attend more to the songs themselves, and to Aria's voice, within the ping of which I noted a hint of Jad Fair.

All that and our parking karma could hardly have been better: practically right outside the door, and free. Thank you so much to the woman who saw us trying to disgorge drums from the car and let us have her space when she left. And we got home before 11!


April 15, 2017
A Matter of Trust - Billy Joel [from The Essential Billy Joel]

BJ has great control, just no range, or sense of timing. Even the count-off is performed, tamed.

Banned Rehearsal 244 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, January 1991

Consisting largely of a reading of A Cat's Life, accompanied by violin scribbles and quiet ocarinal hootings. Aaron provides extensive, if eccentric, marginal commentary. As much as I enjoy listening to my own music, and I do, inserting such a constructed form into an improvisation is an error. It remains, especially in my ear, separate from the on-progressing activity of making it up as we go along. It is persistently deaf to the other people in the room. When I get done Aaron takes over on the piano (or joins me for a 4-hands improv - recollection fails), and a truly awfully awesome sound ensues. Far superior as a part of the activity than my composition could ever hope to be.

Sunset's Wall
April 18, 2017
Taste Test - Sleater-Kinney [from Call The Doctor]

Rotating pitch collections.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [from Jack Straw recording session May of 2005, take 1]

Each assay of the tune finds a new place within the harmonic-contrapuntal thicket.

10 Penny - Repeat Offenders [from The Funhouse Comp Thing]

Attention is paid to the hollow moment just ahead of the downbeat.

Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [recorded in September, 2013]

This piece demands a more reverberant space to live in than is given here. It needs stone walls and a dome.

Musica Ficta - Sascia Pellegrini - Sascia Pellegrini

It is unclear from the program notes who is playing piano, but I presume Sascia is on the vibraphone. It is striking how 'on stage' the characters are, as they mimic and join, hide and seek, meld and face off.

April 19, 2017
Die Kunst der Fuge Contrapunctus 8 - J. S. Bach - Lionel Rogg

a broad gentle downward slope
a grand mansion overlooking

Symphony in G (#94) - Haydn - Austro Hungarian Haydn Orchestra, Adam Fischer

Cracks in the façade, but not endangering. Rising waters, but not alarming. Yet.

String Quartet in B-flat Major, Op. 130 - Beethoven - Quartetto Italiano
Sunset's Floor

If a quartet is both a unified thing and a suite of several differing things, then disparities of style, affect, and key can participate in a unified thing, and the same techniques with which the participants of a suite of several things can be said to become unified can be said to unify other orders of disparate parts, and each individual participant of a suite can be made of deeply disparate parts. How far can the parts be sundered and yet remain parts of a thing, not alien to it?

Katya Kabanova Act 3 - Janácek - Czech Philharmonic Orchestra, Charles Mackeras, Gabriela Benacková, Dagmar Pecková, Erika Bauerová, Dana Buresová, Eva Randová, Miroslav Kopp, Jozef Kundlák, Peter Straka, Zdenek Harvánek; Czech Philharmonic; Prague National Theatre Chorus;

Ritualized sacrifice, as demanded.

April 20, 2017
Got The Blues - Blind Lemon Jefferson [from Alan Lowe's Really The Blues]

Among many other things, the blues are a medium by which life advice is passed, and the forms and texts are entwined with the society of their arising.

Brown Baby - Eddie Edinborough, Bobby Leecan [from Alan Lowe's That Devilin' Tune]

It's difficult for me to hear what exactly those instruments are. Guitar? If so then it really loves those lower strings. Kazoo? If so, then just possibly the most magnificent kazoo playing ever.

I Don't Want to Make History - Stuff Smith, Johan Jones [from Alan Lowe's That Devilin' Tune]

It isn't just that the singers have been listening to the instrumentalists and vice versa, but they each have also been watching the dancers, and translating the dance into the sung parts of song, and the instrumental parts of song, as well.

Embraceable You - Tommy Dorsey and his Orchestra, Jo Stafford and The Pied Pipers

Lights down low. Something more comfortable.

China Boy - Frankie Trumbauer [from Alan Lowe's That Devilin' Tune]

This one is for the dance floor.

Godchild - Red Norvo [from Alan Lowe's That Devilin' Tune]

Ken Benshoof had a theory about jazz harmony treatises. The puzzlement was that you could read what a practitioner wrote about what they were doing, but it never quite lined up with what they seemed to actually be doing. His theory was that jazz players always played "off" of something: "off" a beat, "off" a chord, "off" a tune. The treatises can only describe beats, chords, and tunes, not the nature of the "off". This is a prime example of the importance of "off" precisely calibrated.

Peggy Lee
I've Got You Under My Skin - Peggy Lee [from Black Coffee]

Skates on the thin ice of a sensibility. The rhythm of her vocals is almost just simply saying the words. There's that ever so precise "off" again. Peggy Lee genius.

Bewildered - James Brown [collected from Dave Marsh's The Heart Of Rock & Soul]

A parody of teen crooner delivery taken so far over the top as to enter a new land. Those breaks toward the end are composed just to hear the reverb the engineer let loose around it.

Pledging My Time - Bob Dylan [from Blonde on Blonde]

Another parody of sorts, this time of delta blues. Of sorts because also a pastiche of sorts. Of sorts because also a submission, a sacrifice. The long-held harmonica notes toward the end are straight out of Louis Armstrong's toolshed. Then he does his best to conjure a synthesizer with it.

American Pie - Don MacLean [from American Pie]

This was the first record I owned, a gift from my brothers. Having ripped this from my own vinyl copy, it still has all the familiar pops on it. I find it curious, after all these years, that the first popular music song I took to independently of my parents, and that wasn't by Simon & Garfunkle, concerned itself with the past. The music of my time was the music of a past time.

Ziggy Stardust - David Bowie [from Changes One]

And of course, DB presents nostalgia as a point of view, in order to invent a fictional past.

One Of These Days - Pink Floyd [from a collection of great dance songs]

There is, or was, a class of youth, and I imagine they are, or were, mostly boys, for whom these crazy long spacy tracks were "so much better than that pop crap all my friends listen to" that they truly longed to infiltrate the dance mix at the sock hop with one of these behemoths. To that class of youth, these were indeed "great dance songs", and Pink Floyd was by far the best of their purveyors. In that sense this otherwise incomprehensibly titled Best Of Collection could be considered as perhaps their most archly meta of concept albums.

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

We are being vewy qwiet. Cassette machines sound like ammo lock and load. Gradations of multiple media transference terroir. Literally, mediations. A chorus awakens beneath waters. A cranky slide viewer. How quick the generations to the alien? One? None? The darkly glass. The layered hollows of wind. Crackly undulations. Flames of the fiery furnace. Gloriously spacious, the underlying is revealed. Remove masks. Pluck tendrils. We breathe and allow discussion.

This was side one of a two sided session as we prepared for our third Brechemin outing the next evening. My recollection is that Aaron might have been around, but didn't participate in the concert because he felt that in his absence in Berkeley he hadn't had a chance to properly rehearse. Karen was still living in Tacoma at the time, and wasn't able to come up either. Our second Brechemin show was called "A Short and Simple Concert", and the first part of this new show was essentially a repeat of that one, re-titled as "3 Compositions No Breaks". And that is what you hear on this rehearsal. First, Neal's Hunting and Gathering, then my Trance Butchered Knight for Wurlitzer Funmaker Sprite and tape, finishing with some plucking and singing.

feast on my car - Infamous Menagerie

I'm pretty sure that's the title of the song, but what is sung is clearly "feast on my heart". A manual? A labeled diagram? Every time I hear something by IM they become my absolute favorite band of the 90's.

Banned Rehearsal 421 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 1996]

The Funmaker 10 years later (we start in with what we have at hand and see what it makes) up to its old tricks again. Its cruddy reverb is lustworthy. And the Mighty Wurlitzer at its Wurlitzeriest. This sort of lava is hard on the feet. A near unanimity of purpose among some members is narrowly averted.

In Session at the Tintinabulary

April 17, 2017
Gradus 310 - Neal Kosály-Meyer

Fog dark densely grown. (We may not have enough bread crumbs.)
At sea. Billows, birds, whales. Beacon. Stars. Moon. Phosphor.

Saturday, April 15, 2017



April 9, 2017
Die Kunst der Fuge Contrapunctus 7 - J. S. Bach - Zoltan Kocsis
This is a plug

All about the fugal entrances, and how each one opens a new window.

Symphony in D (93) - Haydn - Austro Hungarian Haydn Orchestra, Adam Fischer

Dramatic pauses and uneasy balances. The fart joke falls flat because it only points out what was obvious throughout anyway: dramatic pauses are the subject matter.

Grosse Fuge in B-flat - Beethoven - Amadeus Quartet

A fugue we enter through a hall of inward facing windows.

April 11, 2017
Katya Kabanova Act II - Leoš Janáček - Czech Philharmonic Orchestra, Charles Mackeras, Gabriela Benacková, Dagmar Pecková, Erika Bauerová, Dana Buresová, Eva Randová, Miroslav Kopp, Jozef Kundlák, Peter Straka, Zdenek Harvánek; Czech Philharmonic; Prague National Theatre Chorus

Listening to this music is like reading the expression of an open-book face.

Chock House Blues - Blind Lemon Jefferson [from Alan Lowe's Really The Blues]

I kept wondering if, as has been suggested of the contemporaneous recordings of Robert Johnson, this was recorded at a slower rpm than we hear as playback. There is probably no way to know for sure, but the possibility of it might be determined by a comparison of other recordings. Did his voice always sound so weirdly high? If you bring it down a step or so does his voice sound more like it does in other recordings? Is it a likely guitar key? Can the probable tuning of the guitar be ascertained by figuring out which notes are on open strings? Are there other recordings of the period that we know were sped up, i.e., might it have been a common practice? Is the weirdness confined to this time period (ca 1926)?

Hard Times Stomp - Red Perkins [from Alan Lowe's That Devilin' Tune]
Sheik of Araby - Milt Brown [from Alan Lowe's That Devilin' Tune]

Lovely, fat, almost clarinet-like guitar sound.

Apollo Jump - Luck Millinder [from Alan Lowe's That Devilin' Tune]
Children's Dances - Zoltán Kodály - Jenö Jandó

Classy teaching pieces. The lesson hidden under the fingerwork is about the deftly shifting attention's focus from one voice to another.

April 13, 2017
Just One Of Those Things - Charlie Parker [from The Cole Porter Songbook]

Breathless momentum, stripped down arrangement.
John Verrall

Autumn Sketches - John Verrall - Kimberly Davenport

The ground is solid rock, but neither level nor even. Up is on a different slant than Down. Any attempt at parallel is doomed from the get go.

Ain't No Use - Sarah Vaughan [from The Smithsonian Collection of Classic Jazz]

Precise placement of voice. She dances inside her instrument.

19th Nervous Breakdown - The Rolling Stones [collected from Dave Marsh's The Heart of Rock & Soul]

An instrumental with a backing vocal for an excuse.

99 Lbs - Ann Peebles [from Original Funk Soul Sister The Best of Ann Peebles]

In the same sub-genre as 60 Minute Man. The song is so brief as to barely get started. Perfect at every moment.

Changes - David Bowie [from Changes One]

An assemblage in lieu of a song. Tactic: garble the narrative.

AKU (cassette version) - Keith Eisenbrey - Keith Eisenbrey, Christopher Mehrens

Realized on Synclavier, courtesy of the University of Washington Department of Systematic Musicology. Chris and I spent hours and hours laying down these tracks. The reel to reel master tape deteriorated into something else entirely, so this is the "safety" copy I kept on cassette tape. There was a certain amount of institutional grief involved trying to schedule a time to play this for the composition faculty at our weekly Friday department workshop. Looking back on it now, I have to wonder what I was thinking, to play this for exactly that group of people? Over 30 minutes long, it pretty much forgoes anything like regular musicality in favor it design. The synclavier could only play 8 sounds at the same time, so in a fit of maximization I decided to base the whole thing on a sequence of 8 numbers. This sequence (I've forgotten what it was) determined the relative amount of time each patch would be present in mix, the relative density of notes within each patch-track, various settings of complexity of wave form and envelope for each patch, and (my favorite) the relative amount of time from the end of each patch-track to the end of the piece. The notes were a hodgepodge of things, quotes of myself and others, "that'll do" doodles, and carefully stacked pitch piles. And then I had to arrange it so that there were never more than 8 sounds playing at once. I had charts all over the place.

In Session at the Tintinabulary
April 10, 2017
Banned Rehearsal 932 170410 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy

Steve brought over a little purple guitar and played it.

Saturday, April 8, 2017



April 2, 2017
(I'm A) Road Runner - Junior Walker and The All Stars [collected from Dave Marsh's The Heart of Rock & Soul]

A giant tambourine fronts a precisely on the beat rhythm bunch, around which JW slips.

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

Half trying to be artsy, half trying to be dancy. Pseudo-Prog-Pop. I may be wrong, but I imagine it was mostly the backing sound for some kind of stage spectacular.

Anarchy in the U.K. - The Sex Pistols [collected from Dave Marsh's The Heart of Rock & Soul]

The best part of this is the huge massed sound of the band. As for the preening edge lord, he's best taken in small doses.

(I'm A) TV Savage - Bow Wow Wow [from Love, Peace & Harmony - The Best of Bow Wow Wow]

Begging for an MTV type video. Why else would it be at all?

Banned Sectional 6 KEE AK - Keith Eisenbrey, Aaron Keyt [January 1986]

train whistle high rustling springiness moves to frontal attack pushing hard in magnificent rolling time spans
some Tibetans hang out next door
obo roi
we were never shy about pinning the needles
unrecoverable synth patches

a break :: they return (the Tibetans)

slower mood relaxed, intimate
tune accidentally extracted from music box innards (just the tones that happen to over-resonate)

the Tibetans utterly transformed into another species of other entirely
funmaker in top form

takes its time getting into any spot, but once there it is well and truly in that spot

another break :: for a moaningsoftly drone solo

we re-enter the regular world

Drunken Boat - Infamous Menagerie

Rubberband guitar sound matches the pots&pans drums. An effect akin to that of a toy symphony, but here without any sense of archness or spoof.

April 4, 2017
Banned Rehearsal 420 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 1996]

Image: tuning up, but nothing like actually tuning up.

Neal and Karen, Bickleton, WA 1996
Image: climbing a rocky snow-blown pitch at high-altitude, footing treacherous, air thin, inches gained in triumph. Each sound without tincture of technique. We hunker into camp while the storm rides us out. Something profoundly heavy about how we feel. The earth pulls in sodden gusts. Morning dawns oppressively, but struggle on we must with Mighty Wurlitzer Hero to pull us on and break us through. We feel lighter somehow, the atmosphere fresh and clear, the scene of troubles fades from beneath us.

April 6, 2017
Jeremiah 17:5-8 (midi) - Keith Eisenbrey

The keyboard part taken by midi harphsichord, the voice by midi flute. It is fascinating how midi de-mediates sounds. The layers are not softened by our mutual bodies' compassions.

Gradus 90 - Neal Kosály-Meyer

After a long wait, a few pokes poke. (twice). Quietly responded to, then conjoined. A hint now and then of presence in silence. 3 notes! Such a richness! Low notes fade into the upper partials echoing the quiet iteration of the higher. It doesn't fade into nothing. It is nothing. Then it is not.

Joys of the Trail - Brian Cobb [from Campfire Songs]

A Rhythm Fight Club. Ends with laughter but not happy. Into the future comrades!

Jesus Loves Me (Autoheterophony) - Keith Eisenbrey

Eight of me singing around an old hymn tune/text. I love the play of sibilance, undulating harmony, and the substrate of breath. Stacking the same voice over itself, here, allows the parts of the voice sound to precipitate - or operates like a centrifuge to separate factors.

In Session at the Tintinabulary

April 3, 2017
Gradus 309 - Neal Kosály-Meyer

Bright lights (just a few) across the moggy gloom.
Rung 2 takes time to put things together, but by the end it is clear that it, time that is, was not together before it got put there.

Saturday, April 1, 2017


There is no end to the tuning of guitars

March 28, 2017
Your Mother Should Know
Victory Lounge, Seattle

Neal and Karen are back in action! The set was stripped down instrumentally (that's Karen's entire kit underneath the mic stand - a bodhrán, a tambourine, and a glow-in-the dark skull shaker) but ramped up vocally. Lots of duet singing, and a strong set list with many new songs, including '68 Chevelle and Jerseyville Illinois. The only disappointments were that we couldn't stay to hear the other bands (it was a Monday night), and my recording didn't turn out well (input too hot). I'm looking forward to their next outing at the Sunset on April 18. That's a Tuesday, but I'm on vacation so I can sleep in. They'll be sharing the bill with Mud On My Bra and Strange Like Us.


March 26, 2017
Katya Kabanova Act I - Leoš Janáček - Czeck Philharmonic Orchestra, Charles Mackeras, Gabriela Benacková, Dagmar Pecková, Erika Bauerová, Dana Buresová, Eva Randová, Miroslav Kopp, Jozef Kundlák, Peter Straka, Zdenek Harvánek; Czech Philharmonic; Prague National Theatre Chorus

Register and voice, within the orchestration, model a consciousness from the inside, as its sensibilities and attentions shift. The structural image is like a cranky, but multiply interfolded, or perhaps like a multiply interfolded Möbius Cranky. Had I one, that would be my bardic name.

March 30, 2017
Deep Henderson - King Oliver [from Alan Lowe's That Devilin' Tune]

What's deep is the metric patterning at play.

Blue Rhythm - Mills Blue Rhythm Band [from Alan Lowe's That Devilin' Tune]

Quick boom chick beat. The multiples pile up differentially on the off and on the on beats.

Hesitation Blues - Milt Brown [from Alan Lowe's That Devilin' Tune]

Both the electric guitar and the fiddle find ways of playing each note out in the yard. The beat stays in the house.
Chu Berry

Blowin' Up A Breeze- Chu Berry [from Alan Lowe's That Devilin' Tune]

A terrain to slalom, skis made of clips of hockety fragments.

Junkman Rag - Luckey Roberts [from Alan Lowe's That Devilin' Tune]

Something artesian, or nancarrowish, about the way this spews out, under pressure.

I Get A Kick Out Of You - Charlie Parker [from The Cole Porter Songbook]

CP starts out playing it straight, only falling into bebop midway through. The piano player has to dive in to pull him out and hold him up til they can get to shore.

A Choral Flourish - Vaughan-Williams - UPS Chorale, Thomas Goleeke

Somewhere in the soprano section of this is my spouse, before we were an item. It isn't really possible, given the size of the choir and the quality of the recording, but I could swear I was picking out Karen's particular ping.

A Sermon, A Narrative, and a Prayer - Stravinsky - CBC Symphony Orchestra, Igor Stravinsky, Loren Driscoll, John Horton, Shirley Verrett

I was getting a peculiar notion of those disjointed tunes, as though they were really just a few notes, straightforward and stepwise, but that each note's pitch qualia was unstable, flipping between quantum states. Observing it, it moves.

In Session at the Tintinabulary

March 26, 2017
Maple Leaf 170326 - Keith Eisenbrey

Spring is leaking into Seattle slowly, so I set out a device in the backyard early in the morning and listened to the tall tales the tall kale told. And crows. And a jet. And other birds. And midway through, someone singing in the distance.

Saturday, March 25, 2017



March 24, 2017

Floating in the high cold air - Lori Goldston (with friend)
Chapel Performance Space, Good Shepherd Center, Seattle


feedback of the box :: an additional hyperbow with which to pull each string's particulars into relief. Geologic. Ample. Generous as a long prairie drive.

LG wFriend

silent harleys flocked wheeling :: floating west to the foggy gray sea
roadless road trackless track pathless path
the deep pressed feel of pressed deep

smeared cyclic rhythm abstract :: surface of an ad hoc medium
elicits out of nowhere a baritone saxophone solid as amber
mind body spirit pull away

shore side
an anthem


March 21, 2017
Taking Me Home - Sleater-Kinney [from Call The Doctor]

Delivery on the flat line, punk nouveau.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [recorded live at University Temple United Methodist Church, Seattle, on November 6, 2004]
Mt. Rainier National Park - ca. 1975

I'm perhaps inordinately pleased with how delicate and transparent a thing this turned out to be.

Cell Block 21 - The Hollow Points [from The Funhouse Comp Thing]

A cinematic chorus from a punk rock musical. Our hero lands in prison. Video unnecessary, it's all there in the music - though perhaps if Busby Berkeley tried it . . .

Xtet: Last Dance for Milton - Elaine Barkin [from Milton Babbitt: A Composers' Memorial]

clear lines
clear abruptions
episodes of interruptions
stabilities flourish here and there
but persistence is not deemed necessitous

It makes perfect sense now that I think about it, remembering all those crazy pages of scrawl-doodled commentary {(Igor's goriest, etc.), how like precision scores they are, as in: play this tune exactly so, at an angle to the page, hand drawn, fanciful, from the idiolect} that Ars Antiqua and its "proprietary squiggles" would appeal so deeply.

Self-Righteous Fool - Denise Glover [from Pathways]

Curve balls so subtle you'd be past 3rd base before realizing you had struck out.

March 23, 2017
Die Kunst der Fuge Contrapunctus VII - J. S. Bach - Lionel Rogg

Collisive. A time-scale shredder. Armor up before listening.

Symphony in G Hob. I:94 (Paukenschlag / Surprise) - Haydn - Academy of St. Martin-In-The-Fields, Neville Marriner

If the image of the music is the exploring of the most pleasing aspects of something, what is the something we are exploring the most pleasing aspects of? A discourse of the spaces between sets of tunes?

And herein we find that brilliantly square one fingered tune (Pa-Pa Hay-Dn's Dead And Gone) that lurks behind Beethoven's Eroica variation theme.

String Quartet in F Major op. 135 - Beethoven

A telescope extended and collapsed at once, in networked dimensions. And waddayaknow? There in the midst of all that "Es muss sein!" is PPHDDAG inverted, in three quarter profile!

In Session at the Tintinabulary

March 20, 2017
Banned Rehearsal 931 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Yellowstone National Park, 1998

Saturday, March 18, 2017



March 11, 2017
Katya Kabanova - Leoš Janáček - Seattle Opera
McCaw Hall, Seattle

The plot and characters are strong, but it's the pitch work commands attention. Similar in approach to Debussy's Pelleas et Melisande, but with sharper edges.


March 12, 2017
Sweetheart O' Mine - Jelly Roll Morton [from Alan Lowe's That Devilin' Tune]

JRM plays a Lisztian trick with his pianism, in that it sounds like a transcription of music for a much larger ensemble.

Shout Sister Shout - Boswell Sisters [from Alan Lowe's That Devilin' Tune]
Boswell Sisters - Hats!

They arrange their voices like a horn section.

Oh Baby Maybe Someday -  Ivy Anderson [from Alan Lowe's That Devilin' Tune]

Arrangement, orchestration, song-writing, and composition, are all identical activities. The only difference is social attitude.

Loose Lid Special -  Tommy Dorsey [from Alan Lowe's That Devilin' Tune]

Big massed sound choirs. The instrumental soloists imitate singers.

This Subdues My Passion - Charles Mingus [from Alan Lowe's That Devilin' Tune]

I kept getting the feeling that the band was manipulating (lip-ipulating?) the sound of their instruments to imitate the sound of older recordings.

I've Got You Under My Skin - Charlie Parker [from The Cole Porter Songbook]

'On the beat' in the sense of there being a sheer dance floor between his sound and the beat he's on. Crazy break-dance too, and not even a shred of effort is heard.

Symphony - Stefan Wolpe - Orchestra of the 20th Century, Arthur Wesberg

Imagine a troop of jugglers performing multiple game-based jugglings simultaneously, each juggler juggling not just what whirls in the air but their specific interior gang of characters, one for each game.

Beginnings are beginnings. Endings are where what it is happens to get lopped off.

The Mountains High - Dick and DeeDee

The development of electronic amplification allowed live sound to begin to duplicate what was only possible in the studio before - and for live sound and studio sound to imitate each other, inventing themselves along the way. Pretty fancy singing back there too.

Cinque Variationi - Luciano Berio - David Burge

Ann Peebles
The piano writing reminds me of Art Tatum, in its melodic superabundance, and of Thelonius Monk, in its unblinking clarity. Melodic variations at heart, but standing in for a single melody is a thicket of tunes, and of sets of nuanced weights and subtle angles.

I'm Gonna Tear Your Playhouse Down - Ann Peebles [from Original Funk Soul Sister The Best of Ann Peebles]

A political knife attack from the past. Damn she's good!

Concerto - Walter PistonSeattle Symphony Orchestra, Juilliard Quartet, Gerard Schwarz

I believe I recorded this off the radio some many years back. Its 'concerto-ness', that is, the sense of its contrasting sounds, is not a contrast of opposition, or of vying equals. Rather, the quartet provides a new sound region within the orchestral sound, now hidden, now revealed - and further in each quartet member reveals individual smaller regions within the quartet sound region within the whole sound. It's also got some lip smacking pizzicato passages.

Revereware - Keith Johnston, J. K. Randall - [from Inter/Play]

Reed and no reed. That old familiar Crumar sound slowly molding the bend. There is a sense of proximity play. Each sound source exists in specific relation to the listening mic. Hide and go seek. Each proximal node carefully nurtured for coexistence. Didjeridu makes the Seattle Stu connection, I presume. If one had a choice in all the world's musical history for who would be the best person to be in charge of your pitch-bend wheel, it would have to be Jim. Were pitches ever bent to so vivid a drapery of sound?

March 16, 2017
Graceland - Paul Simon [from Graceland]

Attributions jumbled and uncertain. Who says what when? The instrumental rhythm, oh so impeccable, appears to be solvable, but then one wonders.

Banned Rehearsal 243 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 1991]

Recorded hot, small instruments scraped banged and rummaged through. Clearly not great music, but just as clearly intently engaged, and in the clear intent of being only and purely intently engaged.  || the Jaymar before it fell apart!! Ah how we miss thee!! || Getting to a place where, in music, if it were speaking it was doing, would be speaking in tongues.

In Session at the Tintinabulary

March 13, 2017
Banned Rehearsal 930 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Steve constructs a tiny set of drums on top of the xylophone. Karen revisits the bug guitar. Keith roams about what catches his eye. Aaron provides treble trombone talking points. Neal cuts it up in pieces.

Saturday, March 11, 2017



March 9, 2017

Honey Noble and Carbon Quartet

Chapel Performance Space, Good Shepherd Center, Seattle

Carbon Quartet consists of Rulon Brown, soprano sax; Nick Torretta, alto sax; Kevin Nortness, tenor sax; and Chris Credit, baritone sax. They performed pieces by Astor Piazzolla, Jun Nagao, Eugene Bozza, and Nikolai Kapustin.

This concert was, to the best of my recollection, my first experience with a live saxophone quartet, and I found myself comparing the sonorous qualities of the ensemble with other instrument-choir groupings. It compares favorably with string quartet in many aspects, perhaps falling short in the subtleties that arise among the specific colors of each string. But the dynamic range is wide and supple, and the articulation palette is rich. The sound has focus and authority, each instrument clear in its timbre even while blending into an unmistakably choral unity.

They were obviously having a blast negotiating the quick, complex arrangements, to the point where my perverse imagination wondered whether a really slow tempo would be socially successful. I know slow notes are hard on wind players - especially in the upper registers. Would it simply not be fun enough to bother?

Honey Noble, a singer-songwriter project of Katie Jacobson, performing with a large crew of electrified musicians, dancers, actors, lighting, and projected video, presented The Monster, a play / song cycle / dance / light show that struck me as eminently worthy and crazily promising, but unfinished. What I was digging the most were the multiplicity of axes along which it extended itself, the relationships among the planes of its exhibiting. Onto the Big White Wall in the back a frenetic video was sometimes projected, a dancer in a beige body suit stood nose right up close to the said BWW. The various electrified musicians (I recognized Greg Sinibaldi with his electric wind instrument) draped in ugly hospital gowns, sat circled around the back of the stage. The short bits of acting took place stage front, as did most of the singing. The dancer and two supernumeraries (minions? acolytes?) invaded the audience space down the center aisle and around the back to either side. All in all an attractively active setup. Katie sang mostly from front and center, which, considering the dramatic themes (self-obsession, self-possession, self-destruction, self-integration) worked just fine.

What struck me as perhaps unfinished were the joints between things, which could, to my mind, go either way - toward accepting them as such, stepping out of character, setting each up like a new tableau, "thanks for your patience guys while we reset the stage how you doing tonight"; or finessing them so that each seam lives in its own gut wrench, choreographed, composed, inevitable.


March 7, 2017
String Quartet in C-sharp minor op. 131 - Beethoven - Amadeus Quartet

In the land of sentient sequences, the fulcrum of movement and stability remains contingent on self-generating hair-triggers.

In Session at the Tintinabulary

March 6, 2017
Gradus 308 170306 - Neal Kosály-Meyer

The newest G-natural. A tool of pulling, a tool of hammering on the side of itself to loose the recalcitrant rod of itself plunged deep into the heart of itself.

Saturday, March 4, 2017



March 2, 2017
James Falzone & Bonnie Whiting
Utterances - music based on text, spoken word, and translation
Chapel Performance Space, Good Shepherd Center, Seattle
Bonnie Whiting: percussion
James Falzone: clarinet, piano, shruti box, bells
with special guests:
Beth Fleenor: bass clarinet
Ivan Arteaga: alto saxophone and clarinet
Neil Welch: tenor and soprano saxophone
Steve Treseler: tenor saxophone and clarinet
Eric Vanderbilt-Mathews: alto saxophone and clarinet

Prelude - Bonnie Whiting and James Falzone, 2017
Amazonia Dreaming - Annea Lockwood, 1987
Sighs Too Deep For Words - James Falzone, 2017
Exercise No. 4 for Hands Right, Left and Deserted Mouth - Susan Parenti, 1984
The Room Is - James Falzone, 2013
Perishable Structures That Would Be Social Events, IV. Varése - Bonnie Whiting, 2017
White (part 1) - James Falzone, 2013
Your Thoughts While Listening - Richard Logan-Greene, 2015
White (part 2) - James Falzone, 2013
Toucher - Vinko Globokar, 2013
Grace and Chance (at the same time) - James Falzone, 2015
Postlude - Bonnie Whiting and James Falzone, 2017

The event as a whole wholly subsumed its constituent parts. Not that each part was not utterly distinct in its own integral event-ness, but that each part gave itself up wholly, in all of each of its integral event-nesses, to the passage of the event as a whole. That is, each event's moments were lifted into a status within the whole event that outshone their narrower moment-hoods. This doesn't just happen. Serious lifting was involved.

One hell of a band too.

March 3, 2017
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Sheila Bristow :: two songs: Strong Wisdom and Leap Into Love, for mezzo-soprano, piano, and cello. Melissa Plagemann sang, Sheila played piano, and Meg Brennand was her usual magnificence on the cello. Sheila has been working on this set for some time now and we have heard earlier versions of at least one of them at other Salons. I admire her straight-ahead, get out of the way of the text, illustrate clearly without over dramatizing things approach to song writing. Although her style is nothing like my own, the attitude is like, and refreshing. The entire cycle will be presented at the Chapel on April 8.

Steve Eric Scribner :: Tree and Stone (Artificial Version), for paper tree parts and chair stones (performed by the audience); and The Sherványa Nocturnal Music, for piano, harp, and other plucked instruments (peformed by Steve, piano; a harp player whose name I was too dead tired to remember to write down; and Karen and me on miniature kora (bug-guitar) and three-string ukulele). I was involved - in the sense that I plucked a few notes quietly through most of it - so my only comment is that I think I had the best seat in the house. The paper sound from the audience was luscious.

ComManD :: Thaumaturgy, for percussion, saxophone, dance, and electronics. Being, as I say, pretty much dead tired from a wicked week at work, I didn't manage to catch all the names, but Ivan Arteaga operated, to some extent, as spokesperson. They are working on some fancy computer-enabled ideas of collaboration, interaction, and mutual sound manipulation. The image that struck me strongest was the dancer, tricked out with accelerometers at wrist and ankle, somehow being both marionette and string-puller at once. Weirdly fascinating.

Blake DeGraw :: Electronic Quartet for Humans, for four saxophones. I recognized Jeremy Shaskus, but the other two names escaped my enfeebled note-taking. Adam and Justin was all I got. Bursts of sound from four sides projecting an image of a surrounding space. Bursts of no sound from all sides projecting an image of a withheld space.


February 28, 2017
Die Kunst der Fuge Contrapunctus VI - J. S. Bach - Zoltan Kocsis

This stands in front of you several times over all at once. Resistance is not futile, it is presumed, vanquished. Nothing like music as usual.

Symphony 95 - Haydn - Austro Hungarian Haydn Orchestra, Adam Fischer

First the overture. A domestic crisis with fatherly advice. Fatherly advice activated, public acclamation follows. Wrap it up.

In Session at the Tintinabulary

February 27, 2017
Assembly Rechoired 56 170227 - Karen Eisenbrey, Keith Eisenbrey
There was rain. There was snow. There was thundersnow. And then came the overturned propane tanker on I-5. Traffic was beyond a mess. In honor of our compatriots trapped in traffic Karen and I carried on with noise. Since before our marriage (the first two were in June of 1986) we have called any improvisation session with just the two of us and no other Banned Rehearsal regular an "Assembly Rechoired". This is #56. Karen played the Excelsior and I bumped around several noisy items, at the end pouring all the ping pong balls out of the bucket into the chimney. And back.

Saturday, February 25, 2017



"Meaning and sound, as Nancy describes them, both share the same 'form, structure or movement': they are comprised of a series of infinite referrals, a sending-away which returns, only to be sent away again, ever anew. The return penetrates the sending, 'all simultaneously,' producing a dispersal of bounds and rebounds without end. This applies, for Nancy, equally to the actual physics of sonorous reverberation as well as to the infinite circulation of meaning and reference. Meaning and sound share the 'form, structure, or movement' of resonance." Brian Kane "On Reading Listening" - Open Space Magazine Issue 12/13 fall 2010/winter 2011


Mud On My Bra!

February 24, 2017
Café Racer, Seattle

Mud On My Bra!
Merchant Mariner
The Snubs

What a great evening all around.

MOMB!'s jawdropping togetherness was a masterclass in perfect ensemble. It's more than technique, it requires a personal sympathy that can't be bought. I was seated around a corner from the stage so I couldn't see the whole band, but had a wonderful view of the drummer's expressively intelligent face, totally in it. MM spilled off the stage (seven people in a space that three makes tight). We were surprised and delighted to recognize an old friend from another part of our life playing violin. Hey there small world! TS wore masks like bandits and ripped out Black Flag-like song bursts. Good feeling all night. Thank you!


February 19, 2017
Way Down Old Plank Road - Uncle Dave Macon [from Anthology of American Folk Music]

Attempting to answer the age old question: how many times can whoop-diddle-iddle-iddle-oo-bedop-day come up on a 3 minute banjo scrub?

Merchant Mariner - the electric ukelele player
I'll Be Satisfied - Bryant's Jubilee Quartet [from Goodbye Babylon]

An easily gracious a cappella phraseology, breath-based. The singers don't blend so much as give up just enough of themselves to allow the others space to do likewise.

Satisfied - J. E. Mainer's Mountaineers
[from Goodbye Babylon]

Same song slightly different feel. This one adds banjo and fiddle to provide a table for the singing to stand, and a commentary like wine to pace it.

The Star Spangled Banner - arranged by Stravinsky - London Symphony Orchestra, Michael Tilson Thomas

MTT takes a broader tempo than Stravinsky's recording does, and eschews the chorus. Revealing of some truly sweet voice leading.

A Hundred Years From Today - Sarah Vaughan, Georgie Auld and His Orchestra [from Interlude - Early Recordings 1944-1947]

Suave take on a Shakespearean ploy (why wait? no one will care what you did). You can hear the expression of her eyes in the tang of her voice.

My Heart Belongs To Daddy - Charlie Parker [from Cole Porter Songbook]

And here you can hear the words CP is singing with his axe. He plays like a singer. Must have been listening to Sarah.

Lonely Avenue - Ray Charles [collected from Dave Marsh's Heart of Rock & Soul]

Arranged wth a capital A. RC sings like an instrument, articulating time spans with pitch-words.

The Lion Sleeps Tonight (Wimoweh) - The Tokens [collected from Dave Marsh's Heart of Rock &
The Snubs in masked action

So close to yodeling you can smell the cowpoke camp smoke.

(I Know) I'm Losing You - The Temptations [collected from Dave Marsh's Heart of Rock & Soul]

Putting it all together, strands wound strong as rope.

Baba O'Riley - the Who [from Who's Next]

New toys! Not just the synths but also the whole stadium filling hugeness of it. And yet the final instrumental could be a hoedown from anytime.

Frankie and Johnnie, Twenty Froggies Go To School - Margaret Kummett [from Art Rosenbaum's The Art of Field Recording Volume 1]

Which is the more accurate memory device? Recordings or brains? When an elder pulls out songs sung in childhood the memory has been ripened, fermented, purified.

I Fall Down - U2 [from October]

A confessional. There is a hint of Ray Charles (see above) in the way he fits words to a note-y tune, almost like a mallet instrument here and there.

Note to reader: Cue up all of the above on whatever song performing software you have. You won't be sorry.

Banned Sectional 20 KEE NWM - Keith Eisenbrey, Neal Kosály-Meyer, January 1986

Using cheap consumer stereo gear to turn half the little house in Greenwood into a mailbox. Neal, still relatively new to Finnegans Wake, reads from it lickety split, on psalm tones. (Joyce: comic vocabulist, propounds an Eruditerad.) I am playing the mailbox room, at the end making a train with windups and feedback whistle. One of my finer moments if I do say so myself.

February 20, 2017
Fired Up - Moe Tucker, Lou Reed, Daniel Hutchens, Sonny Vincent, Brian Ritchie [from I Feel So Far Away - Moe Tucker Anthology 1974 - 1998]

What's left of the bare outline of song structure is pounded into submission, a massy pulp.

Banned Rehearsal 419 (Speakeasy Set #) - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer, March 1996

A roar gathers slowly in the high places. Bit of a blast fest at the sound-work shop. Hammering a plate of noise into shape (see MT, above). Big fat blobular trio of sax cornet electric guitar naked obesity || shh it's almost sleeping || Armor On! Now hold still! War Drums. Overpower the recording equipment (not a bad plan of attack). The pluckystrings help clean up what's left of the oily mess. Alarms sound, they're marching back to ecstatic dance village. It goes on too long several times over, each time worth the effort of going on too long again.

Jeremiah 17:5-8 (050517A) - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

Recorded by Doug Haire at Jack Straw as part of the 2005 sessions in which we recorded all of my then existing Gathered Songs. This one seems stronger to me every time I hear it. A set of double variations, or perhaps of angled adumbrations on a lyrical habitat.

February 21, 2017
Roll Call - Aaron Keyt

Lift the rocks, show all that lurks there. Kick-ass untamable acidspitting malevolent staring glimeyes and unearthly Tierschrei. A curated bestiary. What DIY can lead to, given an actual aural sensibility. This is about as fabulously raw an hour of sound as I can remember.

Too Slow - Newton Armstrong - Mark Knoop [from Milton Babbitt, a Composers' Memorial]

A solid body called into presence by the gentlest of indications. here. here. and here.

Ivan Arteaga & Keith Eisenbrey 160202 A - Ivan Arteaga, Keith Eisenbrey, February 2016

We tell tales at each other.

In Session at the Tintinabulary

February 20, 2017
Gradus 307 170220 - Neal Kosály-Meyer

What if there were a way, equally methodical, of working through all the rhythmic/metric/dynamic/agogic combinations as well?

February 23, 2017
Your Mother Should Know Acoustic Demos - Karen Eisenbrey, Neal Kosály-Meyer

Although they haven't been out and about for a while they have been working on songs old and new. Time to set up some microphones and record an acoustic demo of a bunch of songs. For the big boxed set.