Saturday, October 14, 2017



October 8, 2017
Banned Rehearsal 617 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [September 2001]

toy boats bobbing in the bay
steady state

low organ throb
indicator measures and creates hidden pulse

(great spring sound!)
intersocial anacrusis

agogic peoples
rhythm is a social event

what shifts in the ear when pitches change
the soil the wind the orbit

bell and drum ritual
lightly touched

October 9, 2017
Banned Rehearsal 697 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2006]

several species of guitar
bucket brigade messages
a triangular circle

or tuning to each other in a fluid sense
lovely how it refrains from shredding
even when louder


(long long protracted)


wanders into the casing

October 12, 2017
The Chronicles of Dirty Dick Part 1 - Antique Scream [from The Chronicles of Dirty Dick]

Pink Floyd fade
up to wide
vibrato capable vocal
seriously uptight brings
the forces together
let go
but slowly piece
by piece relax
to allow full
weight to be
thrown around stops
to start again
Preening Bad Boy.

We Are Climbing Jacob's Ladder (Autoheterophony) - Keith Eisenbrey
Like a chorus o' angles! (Karen's comment).

The Barelye Breake - William Byrd - Elizabeth Farr

Finely tuned adjustments over the phrase, section, and movement breaks. Far more category shifts than simple butt joints would intimate. Early sense of variations, or changes: the theme is not a structure but a thread within possibilities.

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

The fugue is an analytical tool for composers, it is used to pry tunes apart. Surgeon: "Stretto! Inversion! Diminution! Sponge! Suction!"

Sweet Little Papa - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

lipwork ornamentation
big music shaped by minute attitudes of the mouth

On The Sunny Side - Don Albert [from Alan Lowe's That Devilin' Tune]

Don Albert
Lovely glow in his voice as it tails off at phrase ends. Pretty mean trumpet player too.

New Found Land - Woody Guthrie [from The Columbia River Collection]

Living in the light of the morning. One of his better poems.

Don't Be Cruel - Elvis Presley [collected from Dave Marsh's The Heart of Rock & Soul]

A ploy or a plea?
from a genre of personal fictions.

The 95th Psalm - Powell Weaver - The Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from Lake Washington Singers, April 11, 1961]

This features my mom's long-time accompanist and friend, Joanne Deacon, and a fine solo by soprano Kathleen Richards.

Good Lovin' - The Little Rascals [collected from Dave Marsh's The Heart of Rock & Soul]

A rhythmic schema
arising from a lively bed
begets variations

Love Ain't For Keeping - The Who [from Who's Next]

This is quite a fine little song, whose impact is diminished by the commercial necessity of bloating it out to stadium size.

Louie Louie - The Stooges [from Metallic 'KO]

Garbage rock in the sense that it doesn't take much technique to make it happen (compare with the fancy guitar playing of the Ventures, for instance). Nearly indestructible, Iggy makes a go at it.

Intermezzi, op. 117 #1 and #2 - Brahms - Neal Kosály-Meyer [from Neal's Recital Tape May 1981]

One among many distinguishing characteristics of European repertoire music: a complexity in the
Screaming Trees
way it proceeds through a phrase. Everything can be broken into parts. How do you break yours?

You Tell Me All These Things - Screaming Trees [from Clairvoyance]

No padded seat on this old bike, just tractor metal cold in the morning.

(A connection here: Steve Fisk, who produced this record, is a friend of Neal's (my brother in-law) from his days at Central Washington University, before I knew him. Small world of local music.)

October 13, 2017
Frogs 910415 - Keith Eisenbrey

(and dogs)

one mass of frog sound shifted toward the right
one soloist closer, to the left
dog is in the distance or several dogs or distances

a tape hiss
and occasional traffic
very faint with hint of pitch
emerging from the noise as proto-hum

(I recorded this from an upstairs window at my folks house near Coupeville, WA, the morning of April 15, 1991.)

distant howl
world guiro
waves of phasing rhythms in soft focus

kitchen talk downstairs
action on the edge of the sound
tink of flatware clock chime

morning breaks pulsing bulbous
flange of air prop traffic
phasing with frog croak waves
a quivering air


we apes converse in clusters of apeclatter
even from upstairs faint as it is
the room resonance of mom & dad's Coupeville kitchen

one could imagine the frogcroaksound as single oraganism's respiration
or the ripply surface of a pond
a jet's hissy roar goes on a long time
making wavelets in the quiversphere

wind roar
an event in the deep deep bass
(big frog!)

Banned Rehearsal 430 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]

ominous biding banshee
raucus and magnificent wail


the longer the held organ tones persist
the more questionable becomes their intonation

squeaky balloon violin stylings
elephant seal bellow soulfulness electric guitar

whatever this is
it is seriously pissed

drops into conversation mood
just cranky
tarzanyell grim march

off again to wander ferocious

In Session at the Tintinabulary

October 9, 2017
Banned Rehearsal 944 - Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

We were in a bit of noisy mood I think.

October 11, 2017
October 12, 2017
Focus tracks - St. Rage
Distracted Driver tracks - St. Rage - Karen Eisenbrey, Neal Kosály-Meyer

We did the basics on the 11th, and filled in some extras on the 12th.

Sunday, October 8, 2017



October 6, 2017
Sean Hamilton
John Teske

Chapel Performance Space, Good Shepherd Center, Seattle

Loci - Sean Hamilton

Manipulation of resources in deliberate sequence (the activity). The angle of head on neck is crucial and exact. "My approach to improvisation is as a unique moment in time." (I think that's what he said and I spent a certain amount of time working my head around what that might be meaning). There was a moment where I imagined the surface of a moment's sound had suddenly been frozen into a prolonged static noise. It could have been any of them, but it was this one.

Vector Scores - John Teske - Luke Fitzpatrick, violin; William Hayes, guitar; Evan Smith, saxophone; Neil Welch, saxophone; Maria Scherer Wilson, violoncello

topographies, book ii
short segment of long span (ad:sr)

pulsing as breathing in sleep
animate glow within embers

vignettes of topographies
small framed windows looking out to vast 


move on to the trashfire

growlbigbeasts and shriekbeasts
the congress these sounds make is not proper

nor publically appropriate
but personal, adult, intimate

talk amongst themselves predicated on
their individual identities as such

not in any characteristics that could be measured
by language or money or war

the categories have been blown
up and emptied


October 1, 2017
The Galliarde for the Victorie - William Byrd - Elizabeth Farr

Leaning forward in its chair, excited to show the next irrespresible delight.

Die Kunst der Fuge, Contrapunctus XVI Rectus / Inversus - J. S. Bach - Zoltan Kocsis

Yet another evidence of Bach's long fascination with inversion - turning tunes, counterpoints, entire musical fabrics headside footwards, fact and image.

Lonesome Blues - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

It is only a fistful of practices (riffs, guides, frames) but it is enough to tell near any tale.

Triflin' Gal - Jimmy Revard [from Alan Lowe's That Devilin' Tune]

Surely this went on and on, or would have, had it not been necessary to fit it on a record.

Roll On Columbia - Woody Guthrie [from The Columbia River Collection]

Sickening how anymore the verses celebrating Indian killing are elided, repressed, denied, forgotten. It's so easy just to leave them out.

Sweet Lorraine - Frank Sinatra, The Metronome All Stars [from Alan Lowe's That Devilin' Tune]

He descends down his tessitura with style, stopping at each station, making eye contact, again and again.

Stardust - Ben Webster [from Alan Lowe's That Devilin' Tune]

The heart of the rhythm depends utterly on being able to hear his breaths. Good lesson for singing.

Divertimento - Benjamin Boretz

The midi realization forwards the plainness of the material, flat footed, uninflected neo-classical tune bits. The rhythmic gambits seem pasted on, clumsy images of unexpected or exciting texture tokens. It isn't until well into it that we discover that each just so wrongly bent move, each he can't really have meant that adjustment of the tilt, has left us hanging well out over thin air, wingless, far into the unknown, paddleless.

Vere Languores - Tomás Luis de Victoria - Lake Washington Singers, Betty Eisenbrey [from Lake Washington Singers April 11, 1961]

From my mom's tape. I remember as a small child (I was two, then, but many times, also, afterward) being sent to bed while some of the singers listened to the concert tapes in the living room. The laughter and talk of women, and voices and singing and recorded sound.

Gimme Some Lovin' - The Spencer Davis Group [collected from Dave Marsh's The Heart of Rock & Soul]

Were the drums recorded in a stairwell, the rest in a gym? Crazy.

Me and Bobby McGee - Janis Joplin [from Pearl]

Road song, names and places, evoking Guthrie, Ginsberg, Whitman. A song the story of which is the singing of songs.
And so it goes.

October 3, 2017
Iggy Talks - The Stooges [from Metallic 'KO]

And what after all did they pay for, the chance to throw eggs?

Thela Hun Ginjeet - King Crimson [from Discipline]

The drums surround the scraps of overheard disjointed story. A dangerous place, to the narrator, but the group that  jumped and intimidated were quite clearly acting out of fear as well.

Bottles - Aaron Keyt

Glass panpipe pipery shivery breath inflected pitch. I am blowing bottles in a room. hootch hoot bottle pond pondering empty bottles. Lucieric exploration of a space made both by the room and the recording equipment, heavy on the latter, and less fussy about ideal presentation. Not fussy at all, in fact.

Sittin' On A Pitchfork - Young Fresh Fellows [from Electric Bird Digest]

Beerband mock-ironic feelgood anthem. It may be where I am but I wouldn't have it any other way.

October 5, 2017
Banned Rehearsal 429 - Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]
Karen suggests, upon being informed that she wasn't credited in this one, that this may have been the privately legendary session on a beastly hot day (she being great with child at the time so choosing not to enter the oven) after which I flopped myself down into the plastic wading pool. AHH!

Forward and transparent, that is to say, loud but clear, each sound seems placed into the mix with considered intent. The violated boundary between loudspeakered and unloudspeakered. ((Time's distance allows the opportunity of hearing without self-consciousness. At the time of making one is so focused on one's own part that the whole of the sound is obscured.)) That must be Aaron's synth back there in ear-purge mode. Long loud acoustic notes shift the filling of space by the electric standing sounds. Cassette tape was our effects pedal.

In Session at the Tintinabulary

October 2, 2017
Gradus 322 - Neal Kosály-Meyer

Specifyable intent activity, morphing, alters the parameters. Starting over without rounding off. Simply stop. Pause. Start over. Doesn't clear the palate, it positions memory as perspective. Not a music for ribbons and bows.

Saturday, September 30, 2017



September 23, 2017
Sahba Sizdahkhani
Ivan Arteaga
Sahba Sizdahkhani
Chapel Performance Space, Good Shepherd Center, Seattle

Strings and Pulleys - Ivan Arteaga with Allison Burke
parsing the holding into vacant space
touch weight sax fuss distance
decision tongue and seamless finger flutter

A thoughtful and intriguing tweezing out of aspects of playing saxophone in public, it was already well underway when Allison, incapable it seems of walking without aesthetic deliberation, adjusted the furniture on the stage.

Sahba Sizdahkhani
his amp says Oahu on it slant
with an eighth-note flag on the "a"

how is repetition accomplished, exactly?

Luscious layered builds, on 104-string santour and percussion played in sequence but kept alive with long loops.


September 24, 2017
The Battell - William Byrd - Elizabeth Farr

Figures on tapestry
music portrays other music
how lifelike!

Die Kunst Der Fuge, Contrapunctus XVI (Rectus) - J. S. Bach - Lionel Rogg

It ties the ear into knots keeping track of it all, but in such a whistle-y carefree way.

Tommy Dorsey
Big Fat Ma and Skinny Pa - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

And it starts with a whistle. Ultra-musicianship being pushed into lightweight shoes. Something has got to give.

After You've Gone - Tommy Dorsey and His Orchestra, Sy Oliver and The Sentimentalists

The arrangement is as hierarchical as movie credits. Leader, Soloists, Rhythm, Choirs.

Oregon Trail - Woody Guthrie [from The Columbia River Collection]

A list of complaints, Whitmanesque, celebratory. How bad they was doin' was why they came.

September Song - Sarah Vaughan [from Interlude - Early Recordings 1944-1947]

She inhabits ever millimeter of those long notes. At the coda phrases are handed down through the ranks, Byrd-ish.

With A Song - Sonny Rollins [from Alan Lowe's That Devilin' Tune]

Horn playing, here, is an expression of the shaping of the mouth's cavity, where sound is rounded.

Der Song from Witwe Begbicks Trinksalon - Paul Dessau - uncertain about performers due to poor indexing on the CD

Ein Bierhallsingspielslied.

Sing Ye A Joyful Song - Lake Washington Singers, Betty Eisenbrey [from concert of April 11, 1961]
My mom, as a teen

Rescued from my mom's tape.

Fa-fa-fa-fa-fa (Sad Song)- Otis Redding [collected from Dave Marsh's The Heart of Rock & Soul]

Fifth item in a row with "Song" in it, not planned. OR carves his vocal into the mix with a deepgrooved chisel. Barely a narration beyond the song structure itself.

Track 1 - Tillicum Jr. High School Band [from concert of March 3, 1971]

Another rescue from one of my mom's tapes. I believe this is a band arrangement of a von Weber concert piece for solo clarinet, played by my brother Paul, who would have been 14.

Cock In My Pocket - The Stooges [from Metallic 'KO]

Aestheticizing sophomoric crudity.

Track 2 - University of Washington Contemporary Group Improv Ensemble [from Neal's Recital Tape, May 22, 1981]

Otherwise known as Undifferentiated Functions. Neal starts center stage, playing the Bickleton Fight Song. I'm in the closet with another piano. When I eventually make my appearance it may have been the first time Karen ever saw me. We were not introduced at that time.

Pink Cadillac - Bruce Springsteen

A riff on original sin, and how the lengths of lines falling into line roll around to find the rhythm of the hook.

September 26, 2017
Banned Rehearsal 253 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 1991]

Our first born, a few week old, makes his taped debut. A distant radio signal finds itself somewhere in the wiring. Frogs and dogs. We pick up an activity and carry it with us to unknown parts, the thread of thought. Wastelands? Burned bare. Dischord wouldn't fit, much like life.

September 28, 2017
Sonic Brilliance 19 - John E, Karen Eisenbrey, Keith Eisenbrey, Holden K, Aaron Keyt, Neal Kosály-Meyer, Kia M [July 1996]

Jumps into the thick of it. You're supposed to be a dragon. Lizard of Oz. Sounds flow right in, undirected. Why do we have all these buttons? A crowded aviary compressed into the space of sound smaller than the studio. Ringing and rattling.

Assembly Rechoired 46 - John E, Karen Eisenbrey, Keith Eisenbrey [September 2001]

Trumpet, piano, percussion. Buzzy.

Come Out And Play - Dead Vampires [from The Funhouse Comp Thing]

Close packed mass physicality. The subject matter is the mosh pit.

Banned Rehearsal 786 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2011]

Shaker crickets
bell traffic
mist snake glides
occupy kalimba
finding the lower limit of audibility
ritual of not disorder not entropy
the chosen moment unyieldingly placid

Along The Path (Dreams of Emptiness) - Denise Glover [from Pathways]

Tuning in time and timing in pitch
The vocal entrance kills
Every time

In Session at the Tintinabulary

September 25, 2017
Banned Rehearsal 943 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, September 23, 2017



September 22, 2017
Fantastical Sounds: Music from Tond
Steve Scribner, author, composer
Tond Band: Phillip Arnautoff (sampled), Molly Bauckham Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer, Carol Levin, Linda Rio, Steve Scribner, and Waterbound (Mimi and Steve Akerman).
Chapel Performance Space, Good Shepherd Center, Seattle

Prologue (Folk Dance)
Reading from Book One
Excerpt from the Song of Origins
Kitál (dulcimer) improvisation
Táluwaa (Dance-based classical piece)

Reading from Book Two
Srakah (classical piece)
Reading from Book Three
Tsajkoo Chaebrwakak (Epic Poem with Music)

Reading from Book Three
The Sherványa Nocturnal Music

As I understand it, this project arose 40 plus years ago as an invented language, followed by (order matters not) an invented culture, an invented continent (Tond), several other invented languages with invented cultures to match, a tale (in three volumes), and, these being humans, musics, and Steve being Steve, a concert of such.

The musics are constructed, it would seem, from a grab-bag of musicological attributes of the sort one might expect musics to possess, culled from here and there: a bit of Japan, a bit of India, a bit of Steve Reich, etc. - Steve (Scribner) being a consummate taxonomist of musics I can't begin to even hint at the range of bits one might find if one took the time to dig.

To me, the idea of inventing a language seems perverse, and that of composing music from general attributes inward equally if not more so, and I find myself, considering what Steve is proposing to do, wondering how it could possibly work, how it could avoid simply being, well, lame. However, it always does work, and it always astounds me just how blisteringly well it does.

We performed with almost no rehearsal, just a quickened run-through that ended moments before the doors opened. The scores are part instruction, part graphic notation, part (minimal) standard notation, and part quasi-musicological stage setting - incomplete: one is never quite certain that a train wreck isn't inevitable. Essentially it boils down to "Here is what I imagine happening. Make it so." As performers we are not so much given agency as we are forced to grasp it for dear life. It just can't work, and yet it does. Every time. It's kind of exciting.

Looked at another way, he is simply inventing possibilities and collecting collaborators. Does it matter whether that is composition or not? Given the enrapturing results, I guess not.

Whatever's next, I'm probably up for it.


September 17, 2017
Banned Rehearsal 616 - Isaac E, John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [September 2001]

inchworm turn by inchworm turn
drum led
the action is in the side-confabulations
patchy and disjointed

September 21, 2017
High and Inside - Keith Eisenbrey - Keith Eisenbrey, piano

Recorded live in June of 2006 at University Temple United Methodist Church, it projects the varieties of acoustically charged stance within reverb resonance that originally caught my ear and generated the piece in the first place || that caught my ear while reading through Benjamin Boretz's O, listening to that final (0,1) simultaneity ssshhhimmer || that final (0,1) arrived at via cycle of diminishing intervals climbing into the keytops || starting there and flipping the cycle but continuing the climb, hanging higher into the keytops || from each ssshhhimmer higher gazing back downward  briefly into the brachiate undergirdings [spoiler: undergirdings made of those notes below, which contain within them the individuals of the high dyadic simultaneity as acoustic partials]: an ad-hoc etude.


Love Emergency
- Shaprece [from Scatterbrain]

The heady imperative of young lust.

Banned Rehearsal 905 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Melody is a structure built in memory, harmony is a structure built from analysis. Music in the wild proliferates dimensions, acting not in but upon our experience of time.

A poly-sentient rattle we pick up now and again and again to shake.
A radio orchestra :: twiddlydials of musical intentions
Shortwave consciousness
Musical thinking as it happens

(as it happens)

Piano plays at either end
Poetry plain as rocks

In Session at the Tintinabulary

September 18, 2017
Gradus 321 - Neal Kosály-Meyer

Sounding like a chord
is a choice not often made
a prolongation of arpeggiated arpeggiation
a line protracted into the abyss

Sunday, September 17, 2017



September 11, 2017
Jim Hurst
Jim Hurst
Fireplace Room, University Temple United Methodist Church, Seattle

I was reminded of keyboard virtuosi: Jelly Roll Morton or Liszt, in the seeming ability to be all parts of an imaginary ensemble at once, and of Arthur Rubinstein in that miraculous efficiency to do it all without moving his fingers. But it isn't just the mind-blowing technique, it's the poetry with which that imaginary ensemble is evoked - Art Tatum quicksilver magic. Thank you Dave Campbell for inviting Jim out to Seattle!

Take-away line: "Edsel still runs but my turntable quit."


Elizabeth Farr
September 10, 2017
The March Before the Battell - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Phrase balancing balanced with energy release in overlapping sequences, each voice taking its turn to unwind.

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

We do not dissipate energy, we exhaust it.

Messin' Around - Cookies' Ginger Snaps [from Alan Lowe's That Devilin' Tune]

More than a hint of that ol' razzle dazzle minstrel show showmanship. Theory: jazz landed in highbrow territory because it was so woke to its roots. Its aspirational trajectory had force behind it. So much of the old practice makes us uncomfortable (as it ought), but the musicianship is for real.

Echo In The Dark - Original St. Louis Crackerjacks [from Alan Lowe's That Devilin' Tune]

Already (1936) moving toward becoming a meta-music, journeying toward the abstract. See Theory above, its roots are its subject matter.

Standing Outside - Wade Maines [from Goodbye Babylon]

The arrangement is absolutely professional showman, but here, where the verbal portion is the point (gospel before music), the music portion sticks more firmly to the demotic, doesn't push forward to become its own thing.

Crazy Arms - Ray Price [collected from Dave Marsh's The Heart of Rock & Soul]

Somewhere back there in time, a singing movie cowboy sensibility.

Tragedy - The Fleetwoods [from Come Softly To Me - The Very Best Of The Fleetwoods]

They nailed this one: overblown teen drama and their patented soft-porn harmonies. A heady mix.
Swingin' Medallions

Double Shot (Of My Baby's Love) - Swingin' Medallions [collected from Dave Marsh's The Heart of Rock & Soul]

Not a heady mix, just good drunk dumb fun.

Bargain - The Who [from Who's Next]

The parts of this song push against each other, far from working together they storm into separate rooms. But hey! they have a synth!

Rich Bitch - The Stooges [from Metallic 'KO]

Using anger words to incite an angry energy then ride the wave. Sorry Iggy, this one just comes across as bad tempered.

Track 1 - Neal Kosály-Meyer [from Neal's Recital Tape]

Bach, Sinfonia from the C-minor Partita.

Adam Raised A Cain - Bruce Springsteen [from Bruce Springsteen and the E-Street Band Live 1975-1985]

Bad boy booster.

September 12, 2017
Banned Rehearsal 252 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [March 1991]
On a personal note, this was the last session before our first son was born. At Toad Hall, a pitchscape of surfaces. Metal. Drum. Bells. Folded. Hinged. Can-bottom Diaphragm. What might remain in that big red bag of fun? The rim of the brim can. Toot Chorus.

In Session at the Tintinabulary

September 15, 2017
Turnbull National Wildlife Refuge 170915 A - Keith Eisenbrey
Turnbull National Wildlife Refuge 170915 B - Keith Eisenbrey

We stopped by in the afternoon to reconnoiter. Mostly it was pretty quiet except for a tiny chipmunk that barked at us for several minutes. Its little tail would jerk out with each bitty bark. Not much got on the recording but general wind noise. I did another recording while we took a short walk but had some audio problems. I'm not sure the B session is salvageable.

September 16, 2017
Turnbull National Wildlife Refuge 170916 A - Keith Eisenbrey
Turnbull National Wildlife Refuge 170916 B - Keith Eisenbrey

Back again the next morning, the birds were slightly more active, and the breeze was less. The B session was also a walk and also has some audio problems here and there, but not as bad as the day before. I think I recorded too hot. Be that as it may, it sure was chilly at that hour! The site is not entirely quiet of traffic noise, but it's pretty darn remote.

Saturday, September 9, 2017



September 2, 2017
Cello Concerto - Frank Martin - Concertgebouworkest, Amsterdam, Bernard Haitink, Jean Decroos

Don Quixote in a strange land, in which he may not be harmless. A metaphor has wandered into the future.

My Baby - Janis Joplin [from Pearl]

Deep feedback growlings in the lower strings.

Gimme Danger - The Stooges [from Metallic 'KO]

An altar call.

Advice from Christmas Past - Dead Kennedys [from Plastic Surgery Disasters / In God We Trust Inc.]

The second page of this poem didn't make it, never had a chance.

September 4, 2017
Banned Rehearsal 65 - Karen Eisenbrey, Keith Eisenbrey, Doug Henderson, Neal Kosály-Meyer [February 1986]

Doug Henderson was in town touring with Resistance, so he sat in. A feedback box is created, becoming a limiter, a cage around everything, inescapable, remanding agency, active global control. Into the warzone. Electric Garbage brings us down to dreamstate. Never is not something going on. There's a story about that one.

Lithium - Nirvana [from Nevermind]

Guess which song just now, as I blog, came up in the big random mix of everything. Yep. Spooky. The end is not its beginning nor its beginning its end, rather it sets up a time loop in which one is always.

Banned Rehearsal 428 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer, Anna S [July 1996]

Somewhere between a simultaneity and a timbre, we construct a music around the soundsystem that will play it back. Wild Thing psychedelic. A break in the middle, a long silence that wakes up on the weird side, in a loud mood. Direct to cassette mastering.

September 5, 2017
Banned Rehearsal 615 - Isaac E, John E, Karen Eisenbrey, Keith Eisenbrey,  Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [August 2001]

Yet another fabulous group performance of my evolving score "Work Architecture Unity And The" begins this, with infant Isabel providing perfect babbling. Eventually the clowns arrive (as threatened). Thickness ensues, relaxes into play of aloof o'er-arch. Try again. Full Stop.

High and Inside - Keith Eisenbrey - Keith Eisenbrey [recorded live in Snohomish, October 2010]

I still think of this as being a fairly recent piece of mine, though it's now over 11. A rock solid thought, in spite of its outdated minimalism.
Paul Kikuchi

September 7, 2017
Faster/Still - Paul Kikuchi [from Portable Sanctuary Vol. 1]

Strikes upon the bellgong are not the point of the sound, but are nudges to their singing pitch bend. A delicate distant rustle more and more nearly withdraws: come in, come in, come in, come in, come in. Was that what about it was?

Banned Telepath 44 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [February 2016]

Each agenda a micro-layer revolving cyclic or shifting big-cyclic-like. Lots of no solos at all. (nearly if not perfect).

In Session at the Tintinabulary

September 4, 2017
Gradus 320 - Neal Kosály-Meyer

Register grouping reinforced by pattern/figuration rhythmic/dynamic composition. Each rung is a key, making possible the notion of transfiguration into the wildly distant.

Saturday, September 2, 2017



"First (1.0) 'a pitch' is stipulated to be 'atomic' - that is, indivisible into components not equivalent to the whole of itself. This designates the 'basic' vocabulary of entities for music, i.e., 'pitches'.

Next (Df. 1.0) two pitches are designated as distinct if there is any third pitch such that one of the two, but not the other, matches it, or if the two do not match each other.

If there is no such third pitch, and the two pitches do match each other, they are equivalent pitches, and are assigned to membership in the same pitch-identity class (1.1 and Df. 1.1; note again that 'pitch identity' is, properly speaking, a relation, not a 'property' - the latter, insofar as it is applicable here, as a notion, is only so in the 'property' of 'being a pitch')."

Benjamin Boretz Meta-Variations: Studies in the Foundations of Musical Thought 1969



September 1, 2017
Chapel Performance Space
Good Shepherd Center, Seattle

Steve Scribner - Untitled Tondish Music

Folk music of a fictional culture, but a real fictional culture, in that there is actual solid fiction (books!) in which that culture arises. Karen and I got to play squiggly percussion in the second one.

Patrick O'Keefe - Sonata for Piano

Like listening to familiar musics through someone else's ears. I hear 30's Stravinsky, some Debussy, some Shostakovich, but not quite the SD&S's with which I am acquainted. Someone else's, and at other slants.

Cole Bratcher - Transit Maps

We visit graphic aspects of San Francisco and Copenhagen. Work in progress on a fascinating project that hits squarely on two of my geek-outs: music and maps. We are all waiting eagerly for Tokyo.

Blake DeGraw - Diler, for strings

Four string players, each playing a single string, attempt to match the pitches of a track heard only by them. See Preface above. Theory hits the pavement. Damn!


Charlie Rich
August 26, 2017
Who Will The Next Fool Be - Charlie Rich [from Sun Records The Definitive Hits]

Relies on vocal charisma to hypnotize. Circles around twice, no more, needs nothing so fancy as a bridge. About a girl or about music? Always a tricky question.

City Midnight Junk Strains (for Frank O'Hara) - Alan Ginsberg [from Holy Soul Jelly Roll]

Bumps around drunk in an empty room.

I Shall Be Released - Bob Dylan [from Biograph]

Trapped by wordmeaning, more interested in rhythmplay, ripples in a pebble pinged pond.

Miama 2017 - Billy Joel [from The Essential Billy Joel]

Prog Joel. Imagines he has more range of personae than he really does.

Music with Or Without 12 Chairs - University of Washington Contemporary Group Improvisation Ensemble [May 1981]

The class of clowns.

Breakout - Swing Out Sister [a Rescued Record]

A totally Vegas ambitious arrangement over funky bass and tight brass.

Banned Rehearsal 251 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [March 1991]

tossing noises into a bucket of noises the cats are concerned. Amnehitabel? Concerned. Anarchy: concerned. we must be picking up from something old ugly floral drapes are mentioned 3 bags full

::] city truck outside as I listen beeping clearing sewers? [::

funmaker staccato hits magnetic ghost reel tape

Thought experiment for sound engineers: imagine the worst, the at all costs to be avoided horror of a soundquality, not just unmarketable but quick turn it off before you vomit bad soundquality. Now, imagine the most sophisticated transparent playback apparatus that money can buy reproducing exactly that same worst horror. Is there a difference? Where, exactly, would the difference lie?

improvisational composition designing with readily apparent qualities cumulating funmaker drone reminds of Frippertronics ah that Wurlitzer button that pulls the pitch down almost but not quite a half step

improvisation: the art of redeeming one's, and each other's, sudden decisions. Falling, a la Buzz L, with style

August 27, 2017
Sonic Brilliance 18- John E, Karen Eisenbrey, Keith Eisenbrey, John H, Aaron Keyt, Holden K, Kia M [June 1996]

intents made together in a room to hear how it goes. A theory of the man in the oat box. Must be hiding.

Banned Rehearsal 614 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [August 2001]

etched with care || a percussion sequence arises
what if we go with it, without regard for redemption?
deep dynamic registers linger languorously

August 29, 2017
Class Notes - Michael Dellaira [from Open Space 21]

Although: barely a minute long
Although: figuration could be any midcentury bebop wannabe piano player in late evening lounge mode
Although: all that and more or less
Rich in: melodic twists of chords
And: Nothing here is quite just one thing

Gradus 187 - Neal Kosály-Meyer [February 2011]

3rd A-nat from the bottom behaving as a point of reference, the high notes, all A-nats, nestled or floating in its active or imagined or remembered partials. Parent floating child; I rattle a rattle! I had forgotten. Are these hiatuses Cage silence or something else? division markers? resets? reminder? absences?

Each A-nat, being itself unhooked from pitch class inclusion renders each of its aspects unhooked to an extent from any sort of class inclusion, i.e. staccato notes don't form a class with other staccato notes, nor quiet ones with quiet ones, nor loud with loud.

2nd rung: it centers a bit higher on a still low mid A-nat.

#2Pretty4Jail - Strange Like Us [from Strange Peeps]

seething writhes around an electrohummy spacefilling wad that squeezes the vocals off to the sides. Immobile, constrained, plea though they plea.

August 30, 2017
Qui Passe for My Ladye Nevell - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Upon these inflections of tetrachordal-metrical correlatives, the ear dances rice on drum.

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

Playful puppy. Weary hound.

How Do You Like It Blues - Art Sims and His Creole Band [from Alan Lowe's That Devilin' Tune]

Mid 20s, getting sound into the grooves was work, or the sound makes it seem so, striving to be recorded, to achieve groove.

I'll Be A Friend to Jesus - Wade Mainer [from Goodbye Babylon]

Formulae stubbornly adhered to. The barest of variance tells.

Save It Pretty Mama - Frank Signorelli [from Alan Lowe's That Devilin' Tune]

In a similar spirit to Art Sims above, but more chill and relaxed about getting it into groove. And yet, very conscious of that 3' deadline at the end of the record.

Signal - Stan Getz [from Alan Lowe's That Devilin' Tune]
Stan Getz

Precisely beveled throughout. Every join tight as tight can make it.

Chorale Variations - Stravinsky - CBC Symphony Orchestra, Toronto Festival Singers, Stravinsky [from The Original Jacket Collection]

The big magic picture book of Chorale Preludes. Each page turn renews.

Little Miss Sad One - The Fleetwoods [from The Very Best of the Fleetwoods - Come Softly To Me]

Weakened by a weak bridge, with a little cliché riff at the end of it (said bridge) as much as to say at last that's over.

In Session at the Tintinabulary

August 28, 2017
Banned Rehearsal 942  - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, August 26, 2017



August 19, 2017
Gradus: for Fux, Tesla, and Milo the Wrestler (318) - Neal Kosály-Meyer

breeze soughed leafy trees released pedal resonance counterpoint thrown back upon listening alone with one head nudges only from the front to take seriously roundabout by proxy but seriously invent a model of seriousness model one's own serious intent on the model of seriousness invented lying in bed as a child and playing how far away can I hear music the more distant sound

move to two notes simultaneous presentation of two one-note things sequential/cyclic presentation of two one-note things and/or joint presentation of 2 notes as a group joined

microphone hair competes with neal hair

more distant sound because the source is within another

to approach composition in microlayers by means of composition in regard of itself

with music of many more than two it is more difficult to isolate the interior strands of each single pitch they tend to glom onto each other glomgroups experimental glomming onto the mathematical quantificational underpinnings of the effectively infinite possibilities of music and of how narrow a subset we have explored

neal writes big


The Trammps
August 20, 2017
Hold Back The Night - The Trammps [collected from Dave Marsh's The Heart of Rock & Soul]

That sound they are all after - just so balance, just so orchestration - is a focus of collaboration. The fact they're in it for the money takes away nothing.

Untitled Track 2 - Empire Brass Quintet [from American Brass Band Journal Revisited]

The wacky bad transfer sound (from vinyl to tape how exactly?) nearly overpowers the music they thought they were making.

The Loft 2 - Keith Eisenbrey, Anna K, Neal Kosály-Meyer, and kids at The Loft [February 1986]

This was the second of two sessions we did at a group home for middle-school aged boys who'd run afoul of one thing or another. We gave them encouraged permission to shout and shriek for 30 minutes. They manage quite energetically for quite a while before they begin to fade back, vocal production being work.

snakepit - Infamous Menagerie

If a tricked out madmax car with all its enormities were a sound.

August 22, 2017
Banned Rehearsal 427 - Karen Eisenbrey, Keith Eisenbrey, John H, Anna K, Aaron Keyt, Neal Kosály-Meyer [June 1996]

fill the tape or else.

August 23, 2017
Banned Rehearsal 613 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [August 2001]

Jug band on the porch banjo guitar frame drum washtub bass blowing things. Twined sounds at rest.

Gradus 93 - Neal Kosály-Meyer [February 2006]

number: countable, graspable
Rachel Harrington

the vastness will never be heard amounting to what may as well be all of what there is given our inability to grasp the ratio

to the point that hearing them playing them any one of them or set of them within a life's span spins those heard into an other sphere alters them irrevocably as observation does of anything could be so fundamentally shifting as to render our hypotheses of the remaining nature dodgy at best

Little Pink - Rachel Harrington [from Celilo Falls]

This song has been knocking around for a good while to be nailed by RH.

Banned Telepath 44 Somerville - Aaron Keyt

Drumming and knocking pitch and resonance narrowly considered, then Wallace the spinet joins the discussion.

August 24, 2017
My Ladye Nevels Grownde - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

A spiderweb music :: once caught you're dead meat. Lutish sensuous delight.

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

Featuring my favorite rhythmic transformation of the subject. Why? Because it is so entirely designed not for it's own sake but so that the music springing from it can do that thing he then makes it do before he ties it up in a fancy knot.

Can't Sleep Blues - The Pebbles [from Alan Lowe's Really The Blues]

Completely overwhelms the recording device, there is much more there than could be captured, just a hint of a pounding upon sharp unyielding skin.

Ahmad Jamal
Shoe Shine Boy - Count Basie [from The First Records He Ever Made]


Up A Lazy River - Benny Goodman [from Alan Lowe's That Devilin' Tune]

All over the map piano backdrop to be answered :: over before you realize what they just have done to you.

Will You Still Be Mine - Ahmad Jamal [from Alan Lowe's That Devilin' Tune]

high and butcher knife heavy accents bright with bite.

Canticum Sacrum ad honorem Sancti Marci nomines - Stravinsky - Los Angeles Festival Symphony Orchestra, Igor Stravinksy

Every note tells.
In which: loins are girded.
Gaining entry ain't easy and ain't gaining either.
Each approach, though nearer, is less nearer than the last or any.

In Session at the Tintinabulary

August 21, 2017
Gradus 319 - Neal Kosály-Meyer

B[ ]ginning. Or H, I suppose.

Saturday, August 19, 2017



August 13, 2017
Die Kunst der Fuge, Contrapunctus XIV - J. S. Bach - Zoltan Kocsis

Two roles: fast note role / slow note role. The voices switch. The action is all in the handoff.

Schöpfungsmesse - Haydn - English Baroque Soloists, John Eliot Gardiner, Monteverdi Choir, Ruth Ziesak, Bernarda Fink, Christoph Pregardien, Oliver Widner, Susanna Spicer, Peter Butterfield

Within the larger ritual of any mass are subrituals of affect: where the fugues are; the play of solos, ensembles, and chorus; what sort of music the et incarnatus is; how to set up and word paint the et resurrectus. Haydn had this stuff down cold and played for keeps. It is this example, no doubt, that kept Beethoven looking over his shoulder.

August 15, 2017
Count Basie, most righteous hat
He Likes It Slow - Louis Armstrong's Hot Five with Butterbeans and Susie [from Hot Fives and Sevens]

Yep. It's about sex.

Business in F - Gene Kardos [from Alan Lowe's That Devilin' Tune]

This one too, but on top of the fine playing is a subtly organized harmonic rhythm.

Lady Be Good - Count Basie [from The First Records He Ever Made]

Suggests the tune, then riffs on the suggestions as though they had been the song all along.

Lady MacGowran's Dream - Woody Herman [from Alan Lowe's That Devilin' Tune]

Prog jazz? Classy and upscale at least, nothing jolts. A table in this joint will set you back friend.

Denial - Miles Davis [from Alan Lowe's That Devilin' Tune]

No past for lingering, no time for it. This boat moves.

C.T.A. - Art Pepper [from Playboys]

Harry Partch, as a beat
Sound so dry and studio controlled it's as though there is no room in which this music sounds. Kind of creepy.

Water! Water! - an Intermission with Prologues and Epilogues - Harry Partch - Gate 5 Ensemble, John Garvey

It strikes me that HP is, as a theater composer, heavily invested in the Wagnerian ideal. The music and the theatricality are irretrievably intertwined zusammenkunstwerklich. That and he clearly wants this music to transform you, radicalize you. He fairly shouts it. He offers music criticism in the form of music theater. The subject matter is everything classical, everything of which he is ostensibly not in favor. And it's fabulous too.

Sad Eyed Lady of the Lowlands - Bob Dylan [from Blonde on Blonde]

Playing the jongleur, quite well too.

Echoes - Pink Floyd [from Meddle]

The anthem that could have been subsides into bluesy noodles, not unpleasantly, but it strikes me now as distinctly less weird than it did back in the day. Boys taking their gear out for a jam.

In Session at the Tintinabulary

August 14, 2017
Banned Rehearsal 941 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

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