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.

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