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.

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