Saturday, June 30, 2018



June 24, 2018
Symphony in B-flat, op. 60 - Beethoven - Berliner Philharmoniker, Herbert von Karajan

Tonality as practiced here is not a set of keys and their relationships. It is, rather, constructed from the dynamic ambiguity of scale-degree functions within contrapuntal web-works: how each pitch within the object of discourse relates to all the others as a polyvalent set of latent scale-degree functions :: as an expressive tool or a box thereof :: here's the power-up: an interval pattern is a thing but it can be set willy nilly within any particular portion of the key.

I appreciate how well this recording is engineered to sound like it is being played in an exquisite place. I'm sure it was, but it even sounds like it was. Great timp sound in the 4th movement.

Skid-Dat-De-Dat - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Was his slow vibrato an imitation of old recording instability / spindle speed variability?

Stranded In The Jungle - The Cadets [from Original Oldies From The 50's Volume Thirteen]

silly? check.
fully realized? check.
variety show comic skit song
vaudeville :: minstrel show
place and history
Jungle :: Town
played as
Primitive :: Sophisticated
equally treacherous

Guitar Pete's Blues - Guitar Pete Franklin [from The Art of Field Recording Vol. 1]

His guitar playing is mostly a right-handed strummy picky sort of affair. A robust relation between his right hand and his singing.

voice: diaphragm | vocal cavity
guitar: lh pitch mix | rh articulation

7 O'Clock News - Silent Night - Simon and Garfunkel [from Parsley, Sage, Rosemary & Thyme]

the mistake was in presuming our own innocence
personal note: I was 7 when this came out. It came into my consciousness not long after, probably through the older kids at choir camp. Howsoever faux profound it is, I succumbed to it hook line and sinker.

Track 4 - Tillicum Junior High School Orchestra [from my mom's tape of a concert given March 3, 1971]

Sounds Haydnish, perhaps Weberish.

Discipline - King Crimson [from Discipline]

guitar strings are drums
long thin drums
long thin drumheads
pitch is a change in the shape of the drumbody
Learn to Play Guitar with Fripp!

Banned Rehearsal 76 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [May 1986]

perhaps we made a pact

tiny sounds only and yet tape machine conglomerate of sounds
piano as recorded intermezzo in the wild
my how they talk
a very Keytian play
part 2
must have been just before the Ben and Jim concert that Neal and I did
circular texts we laugh less controllably
bells and strums Leiermann BOW reference from the old days mash up Leiermann and Hidden Damage overdriven guitar lobs laser blasts at Elvis back carnival game stack-o-decks at its craziest made possible and limited by the Realistic mixer (it was cheap) the spot I'll seek if the hour you'll find there's that Stranded In the Jungle guy to where we began again at the end

pop pop


Blue All The Way to Canada - Moe Tucker [from I Feel So Far Away - Moe Tucker Anthology 1974 - 1998]

caboodle convoy chrysler after chrysler to Canada

Yaburebukero (reduction mix) - inBoil [from Sonicabal 2001]

some uncertainty as to origins
all electro I suppose
makes a wicked rattle of it
to vibrate your whole skeletal
really shake it

June 25, 2018

"...woe my road is spoken..." (midi draft 1 060522) - Keith Eisenbrey

my string quartet in an early finished version
unlike some I have the ability to forget details of my own composition
so that though I know this changed considerably I can't recall precisely at which point it veers
sudden nonsequiturs of harmony-timbre, clearly made segments
all there rudely

You Don't Know - Rachel Harrington [from Celilo Falls]

about as perfect a thing as can be
just guitarplucking, singing, and a wee bit'o'harp blowin' here and there.

Banned Telepath 47 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy [April 2016]

for 908 so long ago
a common aspect of BR has become the easy way we can move around the room, with happy dis-regard, or with focused regard, of where we are in relation to the microphones. I have skewed this somewhat in my current setup: 2 stereo channels, one aimed LR, the other UD (Up Down). It rounds it, but the sounds still move scitter scatter playing squeaky mouse nose right up the camera there restless jitters quick and that is all

June 26, 2018
Overture to The Barber of Seville - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg [from The Barber of Seville (Highlights)]

pre-highlights highlights
something is about to happen kids
pay mind

Sunset Cafe Stomp - Louis Armstrong's Hot Five (with May Alix) [from Hot Fives and Sevens]

Is the sense of what was meant by "Stomp" in this context derived at all from the Southeastern Native American "Stomp Dancing?" If so, how?

That's All Right Mama - Elvis Presley [from First Live Recordings]

false starts for laughs
takin' care of business
beatnik nerves

Scarlet Purple Robe - Georgia Jean Eversole [from The Art of Field Recording Vol. 1]

immediacy inescapable
punk gospel
you've been preached to up close

Psychotic Reaction - Count 5 [collected from Dave Marsh's The Heart of Rock & Soul]

somebody is playing with dials at the board
makes it sounds like rubber bands

June 27, 2018
Track 5 - Tillicum Junior High School Orchestra [from my mom's tape of a concert given March 3, 1971]

neoclassical, and pretty classy too.

Son of Manhasset - University of Washington Contemporary Group Improvisation Ensemble [from a private tape of a concert given at the Seattle Concert Theater in July 1981]

Does anybody remember where exactly the Seattle Concert Theater was?
me on piano I think
it is a mistake to demonstrate, by what we play, that we have heard what another has played.
hear and do, it is enough

Ferryboat Bill - The Velvet Underground [from Another View]

pencil sketch collective

Banned Rehearsal 266 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1991]

some appliance hums and tocks in the back behind guitar mbira ocarina cymbal toy piano (fan in
disresonantly metalictocky
something vanished
drum shaker vocal like an official whisking compounds to make drum corps
funmaker duly introduced
Aaronsbundler tattered away into old radio land
advanced dance calls for rhomboid dancing
empty brain rattle can
where does the sound come from
did he we mean it to sound like that
behind that drum beat beat beat bidi beat beat beat a moil resolving to their drums at tether length
there's that clavichord consorting with toy piano
tuning the last piece he wrote
we filled those cassettes
crammed them

June 28, 2018
Pay Me My Money Down - Bruce Springsteen [from The Seeger Sessions]

hitchin' a ride on another starshine
so that no voice other 'cep'n' his can be heard as an individual

Desert Bloom - S. Eric Scribner - Ivan Arteaga [from Storm Sound Cycle, The Chapel Performance Space, Good Shepherd Center, Seattle, on May 21, 2006]

music like weather
and the ground

ample time for an interval to be a slough

Falling On Your Face - Ravenna Woods [from Alleyways and Animals]

accelerating subtly then de-accelerating ratchet-like through broad but delineated space
four ways to fill the same space altered

Saturday, June 23, 2018



June 19, 2018
Mona - Youth Rescue Mission [from Youth Rescue Mission]

a tinge of string band and blood harmony
later, the center of sound scatters

Banned Rehearsal 908 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt - April 2016

assembled from Banned Telepaths 47 - Aaron playing Wallace in Somerville, MA; Karen, Steve, and me chiming in at the Tintinabulary in Seattle
sounds' seeming mass
moving air
massive instrument objects
to move air in specific modes
Wallace enters the space
otamatone answers
a trio for two pianos and otamatone
Steve provides essential percussion entwinings
actuation centers wander about the space
light percussion takes the field
copper pipe insulation squeak speak.

A Voluntarie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

an ordered garden path
a path of vistas

Jazz Lips - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

horns dancin' wild

Slippin' And Slidin' - Little Richard [collected from Dave Marsh's The Heart of Rock & Soul]

piano and drums keep it lively for bouncing voice and horn on

Mr. Ed's Theme Song - Jay Livingston

well there it is

A Poem On The Underground Wall - Simon and Garfunkel [from Parsley, Sage, Rosemary & Thyme]

egregious poeticizing
insufficient song

June 20, 2018
Track 3 - Tillicum Junior High School Orchestra [from a private tape of a concert given March 3, 1971]

a little waltz, probably some J. Strauss or other

Two Hymns of Brahma - David Jones - Seattle Symphony Orchestra, Michel Singher [from a private tape]

Americana brash, then going for exotic ala Hollywood, in the service of which we find some pretty nice colors

I Know What I Know - Paul Simon [from Graceland]

He writes this from the sound first, then downward into the song. It is no better a song than it needs to be to inhabit the sound from within which it emerges. PS as groove assembulator.

June 21, 2018
Psalm 23 (meditation, responses) - Keith Eisenbrey - Keith Eisenbrey, Neal Kosály-Meyer

This 1991 score still intrigues me, specifically as it concerns the question of what small part of the
final performance result is actually written down. The score consists of a small book of page pairs. One facing page contains a verse from the Psalm and the other holds two short fragments of written music, the first fragment of which is always the same. In performance I improvised a path from the constant fragment to each not so constant fragment. This particular recorded realization (there have been several) follows my entire clavichord take with an edited version of Neal's reading. I guess, in some sense, this is the (responses, meditation) version of (meditation, responses). Listening to it after all these years I'm thinking I should do more composing for clavichord.

X-Communication - The Sub/Con Group [from Sonicabal 2001]

industrial-like sounds
between sci-fi Foley sound and music sound
unfortunately it wanders into  recognizable beat stuff
if it is a drum machine then it is making a point about drum machines that didn't much need making
if not, then ditto
a paucity of color

Nocturne Interruptus - Brad Anderson [from Dark Energy / Interstellar Pianos]

honest cheap sounds thrills naked non-finesse

Consort of Voices - S. Eric Scribner - Clifford Dunn, Keith Eisenbrey, Matt Kocmieroski, Dale Speicher [from Storm Sound Cycle {private recording}]

the tempo is somewhere in the single digits per minute, and mostly whole notes
some minimalist stratagems wander through to reveal, briefly, the spirit that had hovered throughout
I believe this was the final piece in Steve's 9+ hour live epic Storm Sound Cycle, performed at the Chapel Performance Space, Good Shepherd Center, Seattle, in May of 2011. I don't remember what instrument I was playing.

Animal - Ravenna Woods [from Alleyways and Animals]

interval :: production-distance between overdubbed tracks :: vocal/piano drums/synth :: reverbillumination

In Session at the Tintinabulary

June 18, 2018
Banned Rehearsal 961 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

We gathered on the porch for the first time this Summer.
We note that it is pretty close to the 34th Bannediversary (June 24, 1984).

Saturday, June 16, 2018



June 5, 2018
Psalm 23 (meditation, responses) (vocal take) - Keith Eisenbrey, Neal Kosály-Meyer [August 1991]

I made this quasi-setting of the 23rd Psalm in 1991 for speaking voice and clavichord, intending the
Eastern Washington
finished product to be some sort of recorded rendition. When Neal read the Psalm for me that August I wasn't entirely certain how the text would fit in with the clavichord commentary. Eventually there were two finished versions, the first accomplished with analog dubbing, and the second, realized some years later, with digital. Listening to my verbal instructions to Neal I find that my concept of how texts ought to be set has not changed much over the decades. I want to hear the sound of the words going by so that they mean what they mean, with minimal dramatic characterization or word-painting, and always being cognizant of the poetic structure.

Coffin and a Six Pack - The Boss Martians [from 13 Evil Tales]

vintage sounds

Thirty-Three Seconds - Storrs Barrett Booch-Williams [from Sonicabal 2001]

apparently a Cage tribute track

Shenandoah - Bruce Springsteen [from The Seeger Sessions]

Baker City, Oregon
Of all the various ilks of americana out there, I think I mistrust the overinflated rural-sentimental the most, as it winds so close to icky ante-bellum nostalgia.

Circle Song - Steve Scribner - Ivan Arteaga, Mike Sentkewitz (?) [from Storm Sound Cycle (live on May 21, 2011)]

against a backdrop
augmenting the distance to the lively made sounds

Good Friend - Ravenna Woods [from Alleyways and Animals]

careful and organized arrangement
greeting card sentiment

June 6, 2018
A Fancie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

any passing place can generate all things new
routes kept open
civilization seeps outward

Big Butter and Egg Man from the West - Louis Armstrong's Hot Five with May Alix [from Hot Fives and Sevens]

vocals occupy a lesser place within the song structure
it is a song, but the instrumentals are the show, the vocal bits are present only enough to register

Since I Met You Baby - Ivory Joe Hunter [collected from Dave Marsh's The Heart of Rock & Soul]

another greeting card
an illustrated letter
it is what she wants to hear so it is what you tell her

River Line Blues - Shirley Griffith [from The Art of Field Recording vol. 1]

guitar and voice are one
pitch/meterpoint syncopation // guitarstringtimbre voice word confluence and retrofluence

For Emily, Whenever I May Find Her - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

I can't help but think Paul was as frustrated with Pop as with folk rock - but that the full on blues had been foreclosed by Mr. Dylan. He had to futz around for a bit before he really hit his song-writing stride.

Track 2 - Tillicum Junior High School Orchestra [from a private tape of concert given March 3, 1971]

bass booms out into a time warp
affects not just the EQ but also the rhythm sense, as in organ music

June 7, 2018
Terminal Preppie - Dead Kennedys [from Plastic Surgery Disasters]

feeds off some of the same misanthropic sophomoranticisms as Saint Zappa.

Readings of a Sonata - Keith Eisenbrey - Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

Neal and I dink around with another old score of mine, Sonata 1980
We trade-off readings to use up unused tape footage
We accomplish 3 full readings and the first part of a fourth

It's a graphic score so all the notes and rhythms are different, to varying degrees

sounds great, in that cruddy way we had, all the way

8-Ball Deluxe - 7 Year Bitch [from Kill Rock Stars]

Batman rhythm with a slippery bit
quantitive meter in action as rhythm

C'mon Jenny - The Boss Martians [from 13 Evil Tales]

what surf rock sounds like sitting in the rhythm section

Tokyo Fist - Alex Keller [from Sonicabal 2001]

radio signal morsey sound
(love it!)

Banned Rehearsal 702 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 2006]

geography of inhabiting

how where and across what extent do the determinable agendi specify their place or their vectors or their circulations

never quite settling for a trio for long

though the constant xylophone (all hail!)

sound assembly takes time (give it)

and so delicate

because it isn't what it is without how it got to be

In Session at the Tintinabulary
June 5, 2018
Banned Rehearsal 960 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

June 11, 2018
Yellowstone 180611 - Keith Eisenbrey

I skipped blogging last Saturday because Karen and I were on the road by mid-that-morning to make a week's long loop among the five northwestern states: Washington, Oregon, Idaho, Wyoming, and Montana, in order of our arrival in each. At the Old Faithful area of Yellowstone, on a windy day (hang on to your britches, dear, it's pretty gusty) I made this recording of our footfalls on one of the older boardwalks.

June 13, 2018
Phillipsburg 180613 - Keith Eisenbrey

10 years ago, during a similar road trip, we passed through the lovely little town of Phillipsburg, in
Montana. The memory stuck in my head all these years as "wouldn't it be nice to spend some time here?" So this time we did. After supper at Silver Mill Restaurant & Saloon (quite nice!) Karen and I opened the balcony windows of our room at The Kaiser House (the Mural Room) to take in the fresh air. I quickly grabbed my recording device to pull in the bird songs and the hominine shouts and the motor roars from the magic hour far from home.

Saturday, June 2, 2018



May 29, 2018
Daniel Webbon, composition
Chapel Performance Space, Good Shepherd Center, Seattle
Bridal Veil Falls, Washington - ca 1971

The confessions of Saint Augustine - Ben Sieben, piano, Danielle Sampson, soprano

tones painting a theoretical statement

To square a circle - Sarah Pyle, traverso and percussion

a delicate solo duet
I enjoyed this immensely

An infinite number of others - Emily Acri, violin; Janna Webbon, violin; Andrew Stiefel, viola; Isabella Kodama, cello

into a past evoked by and returning back from . . .

This vast southern empire - Daniel Webbon, piano, melodica, vocals; Sarah Pyle, flute, hammer dulcimer; Janna Webbon, violin; Andrew Stiefel, viola; Abbey Blackwell, bass

. . . a heady melodic sensibility

St. Helena - Matt Carr, drumset; Alethea Alexander, dance

a film of dance chopped up and all the bits and frames rearranged in a shuffle edit


May 30, 2018
Mr. Shadow - Neal Kosály-Meyer [April 2006]

"hey what do you think of this weather?"
thought eliding the blank spaces in the meter
makes for a troubling implication of regularity that isn't and never was

Follow The Leader - Shaprece [from Scatterbrain]

shimmy shimmy dance infection

Stillness, Concentrate (a recital) - Keith Eisenbrey [April 2016]
1. Welcome to my planet. I come in peace. - Eisenbrey
2. Another - Eisenbrey
3. J - Eisenbrey
4. "...such words as it were vain to close..." - J. K. Randall

nice job Keith of the recent past!

Lake Serene, Washington - ca 1971
May 31, 2018
The Tennthe Pavian "Mr. W. Peter" and The Galliarde to the Tenneth Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

intimate space somehow cooked up out of huge polyhedron phrases
more downbeats than one could hope to choose from

If You Follow Jesus - Rev. W. M. Mosley [from Goodbye, Babylon]

let us sing with uplifted voice
arranged > agreed upon > talked through > practiced
but never not uplifted

Simple Gifts - Aaron Copland arr. by Virgil Fox - David di Fiore [from Grand Music for a Grand Castle]

gently done, the sense of meter is most wonderfully an everpresent question
will it land?

Maggie Campbell Blues - Shirley Griffith [from The Art of Field Recording Volume 1]

tilt voice
to fit the slant
of the tunin'
of the bluesin' tunin'

A Simple Desultory Philippic - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

Desultory is right, this joke falls flat.

Track 1 - Tillicum Junior High School Orchestra [from my mom's tape of a concert on March 3, 1971]

a petite and various suite struggling toward pomposity

Corral Pass, Washington - ca 1971
Symphony No. 2 - Andrew Buchman - Seattle Symphony, Michel Singher [from a private tape of a concert in Spring of 1981]

clearly drawn
what it is
nothing fancy
but wanders into clarity
I remember back in the day this seemed so puzzlingly conservative
but now: partial, neo-unfinished

Cuyahoga - REM [from Life's Rich Pageant]

overlapping revolutionary impulses
start over where we always were
I've heard this song many times, and never listened to the words before, and certainly never wondered what the heck he was saying over and over. Now I see it is the title of the song, and of a fiery river. I looked it up.

In Session at the Tintinabulary
May 28, 2018
Gradus 334 - Neal Kosály-Meyer

pitch is a symptom of resonance
resonance conversing with the mechanism
mechanism is the clatterwork qualities of dissonance
dissonance is the size of the reverberent space it creates
as it creates the specificities of its regions

Saturday, May 26, 2018



May 20, 2018
Sellingers Rownde - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

differentiating between the strummy-beat stuff and the fiddly-bit stuff
each goes its way
but the strummy-beat leads the dance
the purpose of variations, here, is not to venture far far afield, but to delight in wit and subtleties
and oh the delight!

Death Might Be Your Santa Claus - Rev. J. M. Gates [from Goodbye Babylon]

Sprechstimme inverted
not song sinking toward speech
but speech lifting toward song

Rollin' Heart - Vaughn Monroe [a Rescued Record]

advice (mixed)
big voice
just enough electric guitar (?) for an awesome solo
and horns!
and backing vocals!
fanfare to end

Milestones - Bill Evans Trio [from Waltz for Debby]

a trio's trio
(not a piano solo with backing band)
a piece for trio solo with occasional spotlights

The Dangling Conversation - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

for the benefit of the music biz
he shows of what he is professionally capable
can songwrite
can sing
can arrange
can mix
can even do a subtle bit of acting there in the singing, like Bowie made a whole career of

Unnamed Track #14 - Tillicum Junior High School Band [from my mom's tape of March 1971]

vigorously triumphal
a bit wooly in the composition department
pointless repeats
time falling flat

Killer - Walt Wagner [from Caprice]

audition sampler tape portfolio resumé
hire me
what I can do
goes around at least once too many times
trying to outcool Bernstein
please don't

Seventeen Prepuntal Contraludes - Keith Eisenbrey [from my recital of February 2018]

Me, back in the day, with what I thought was a nice shirt
I had more bravado in the tempos when I was younger
I play more carefully now
the piano writing is, if am allowed to brag, fab.
I divvied up the pieces so that I could turn the pages myself
this created an interesting set of mini-suites, new to this reading

Jesu Joy of Man's Desiring - J. S. Bach [from Hallmark's Listen to the Joy]

the arrangement is painfully awful
the instrumental sounds fail to earn their place
not even the harpsichord can save it, just sounds antique-y, not authentic

Banned Rehearsal 265 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1991]

only way to get a large legacy
sounds like Toad Hall in the Age of Resin
crud-organ and violin duet
Russian Ouster Overture in light of this week's events
duet with distance
plain as it gets
dirt in the down down in the dirt
low in the crud effect like that of the butterfly but more sublime, universal
the sort of vintage sound one never hears on radio
what the 90s really sounded like
Gorbo's gone Gorbo's back just like that he rose on the third day
mocking percussion solo accompaniment by ROO
this is the other tune
the one not known by Harry Truman
becoming drum circle for comment and prophecy
Literary criticism Howl was the clearin' of his throat
oom ba baby slide whistle ghostings extended vocal duet in tongues
how timely, for Pentecost
buddha baby doo dah boobfood
discourse about scat
sitting up (the struggle)
some dirty limericks

Tombstone Track - The Boss Martians [from 13 Evil Tales]

darkedged beachboys highschool dragrace legendsong

The Magical Fairy Princess - The Bran Flakes [from Sonicabal 2001]

soundtrack for creepy animation film doll toy object person
like a puppy dog's tummy not its tail

Ballin' The Jack - Brad Anderson [from Dark Energy - Interstellar Pianos]

pianistic figurations as blunt object combat
structured like artsy mini psychohorror film with sci-fi tinge

Misc 110518 - Keith Eisenbrey [May 2011]

four seconds of sound scraps I found on my hard drive a few years ago. Two of them are the only bits of sound I was ever able to extract from C-Sound, one is a wee bit of Padme from Star Wars Episode 1, and the fourth is Microsoft Sam. Not in that order. You could listen to it several times in the time it takes to read this.

Alleyways - Ravenna Woods [from Alleyways & Animals EP]

Prince Costello as a baritone

(blogger's note: from Byrd to Ravenna Woods in a day!)

May 23, 2018
Munsers Alman - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

block chords given several species of spins and vectors
each vector and spin given its own several and back again

On Jordan's Stormy Banks We Stand - Seventh Day Adventist Choir [from Goodbye Babylon]

anotomical ecstasy song
prophecy and prayer commingled

Serenata - Walter Piston - New York Chamber Symphony of the 92nd Street Y, Gerard Schwarz

miniature Great Moments
by the book in the middle of the road

Porgy (I Loves You, Porgy) - Bill Evans Trio [from Waltz for Debby]

just one of those things
just one of those perfect things
he sings a song and opens a window and turns back to sing the song
he sings the song

Flowers Never Bend With the Rainfall - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

oh that ever so meaning laden last dissonant tkwhang #so #sincere

Unnamed Track #15 - Tillicum Junior High School Band [from my mom's tape of March 1971]

unidentifiably familiar accelerando dance from further Europe

Now Those Things Are Gone - Walt Wagner [from Caprice]

unable to not overplay his hand
unable to not overact the song

Unlabeled Track 4 - Empire Brass Quintet [from American Brass Band Journal Revisited]

bandstand in the park
of a Summer

May 24, 2018
Banned Rehearsal 75 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [May 1986]

unsightly clavichord hair
the dijeridu
was nu
now she finishes the muffin story
the dangers of conformity
bran' new life
gonna have me a wife
itsa bran' new day
gonna go down
to Californighay
lots of pluck
Strum und Din
honing in on that perfect disintonation
Aku in the back (ground)
winding toys up letting go
Eccliastical Musings screeching away glorioso
all of the old odd faves
(liberated intonation)
sacrificing accuracy in favor of precision or vice versa
all those metronomes Neal and I recorded like a cricket field
vamp to close
never fade

Toast - Infamous Menagerie

pressed into descent
forced down
arm wrestle resistance
what they are saying is for tribal members only

Long Hair Lenny - The Boss Martians [from 13 Evil Tales]

novelty song pastiche
. . . with your wavy curls

Third of Thumbs - atlatl [from Sonicabal 2001]

big bee buzz the floor bass (disturbs cats)

In Session at the Tintinabulary

May 21, 2018
Banned Rehearsal 959 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, May 19, 2018



May 15, 2018
Once In A While - Young Fresh Fellows [from Electric Bird Digest]

using post-production sounds as insert drum beat chord hit
falling apart

Double A Growler - The Boss Martians [from 13 Evil Tales]

music for the geeks of instrumental tracks
but as though made for being partial, never intended as a whole
a track to insert for hip hopping
hipping hop?
sample ready

The Last Train to Kosovo - Sinister Kitchen [from Sonicabal 2001]

state lines wander
cities remain
routes vanish

percussion skeletal public service flesh clinging

Gradus 98 - Neal Kosály-Meyer [March 2006]

A's two three five and six can be and are played all at once, but, when played all at once (several times) there are not four countable things but just the one and so are any played?
or, do any exist as individuals until they are shown one by one to so exist?

composition not a whole built of parts but parts emerging from within a whole
or a whole built of parts
so that
the parts emerge within the whole

long space

long long space

ppppppppp poco cresc. pppppp poco cresc. ppp

the tea kettle whistle pops off in the kitchen
only time for a few last long quiet notes

Tomorrow's Flower - Paul Kikuchi - Jesse Olsen Bay, Stuart Dempster, Bill Horist, Alex Vittum [from Portable Sanctuary, Vol. 1]

robust intonation
nothing fancy
nothing inexact
nor the rain
not inexact

May 17, 2018
Gradus 287 -Neal Kosály-Meyer [March 2016]

playing a flirtatious poke game partly coy partly forthright weight shift into thoughtful considerations
experimental, expressive without indication of it
espressivo senza espressivo
without show of it without the theatrical rhetoric of espressivo
that is
if one were to mark the sheet music espressivo then it would come out wrong
a shift in focus (from):: overtone sonorities ::(toward):: pitch sonorities
not exclusive shift, but point of view
crepuscular (late in the)

In Session at the Tintinabulary

May 14, 2018
Gradus 333 - Neal Kosály-Meyer

enough notes in play that we near an edge across which it would not be plain
that pitch-class limitation
is crucial to identity


by this activity we valorize set comparison
(and set creation)
(and set identification)
as the subject matter of music, which it may not be.
drawing circles around things
(distinction as the activity of listening)
"I heard that" as the sine qua non of consciousness
melody unashamed

Sunday, May 13, 2018



May 8, 2018
A Fancie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

like Spring weather
if you don't like it
wait a few minutes
it will wander into other segments

did Byrd ever write anything that wasn't fancy?

Mama's Angel Child - Papa Stovepipe [from Alan Lowe's That Devilin' Tune]

acoustically inflated at the mid/low guitar range
as though the recording set up created a virtual box
with a virtual hot spot
I was rather taken by the wide ranging tune and by how it was referenced between voice and guitar

Roll Over Beethoven (live) - Chuck Berry

more advertisement for the brand
reckless guitar

Some Other Time - Bill Evans Trio [from Waltz for Debby]

duples answer to start
then wander
but always with eyes fixed on each other

the bass player steps a great distance across the strings
one giant leap for a tune
one piece of cake for the plucker

The 59th Street Bridge Song - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

moves along pretty quick for a song about slowing down
over just like that nothing to it

Unnamed Track 13 - Tillicum Junior High School Band, Bob Runyan [concert of March 3, 1971, from my mom's tape]

somebody playing their recital piece on piano

Someday - Walt Wagner [from Caprice]

a mood
you know
for the big screen

Pretty Words - Elvis Costello [from Trust]

hoisting voice up to the chorus from the verse
can't stay long
nor after

Banned Rehearsal 74 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [May 1986]
But first the Overture.
(hey kids let's play this piece I just wrote in Australia [Retrato de Euchababilla] I'll play the funmaker and we can all caterwaul along)
I had completely forgotten
and yet how marvelously grotesque!
We take pains to sort of match pitch
without being overly concerned with actual success
that is
heavy on the sort of
more like a game

Neal's song Electric Garbage pickin' it up by the bushel

song to dance

In Session at the Tintinabulary

May 7, 2018
Banned Rehearsal 958 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Giddy. We were giddy. Aaron's rubber chicken only made it giddier.

May 13, 2018
Who would True valour see - Keith Eisenbrey - University Temple Chancel Choir, Chris Vincent, director

In the late oughts I wrote a number of hymn tunes to old texts. This one was written in January of
2008. The name of the tune is "Bianca Kaitlin," after a niece. The particular impetus was a conversation I had with our pastor at the time, Rev. Mary Boyd, concerning the well known setting "He who would valiant be." I don't remember anything else about the conversation other than that I decided to set John Bunyan's original words. I did make some effort to write the harmony as square and solid as I could. I was mostly successful, though the way the tune ended up going demanded some challenging internal cadences. Our little church choir sang magnificently. Thank you Chris Vincent for asking if I had anything we might perform and also for doing such a beautiful job with it.

Writing hymns is an interesting experience. As a composer you have to get yourself out of the way of so much. It really isn't about you.

Sunday, May 6, 2018



May 4, 2018
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Prelude and Fugue in G Major - Jeremiah Lawson

J thought that there ought to be a slide-guitar fugue by now. And so now there is. We love how he uses our favorite hymn tunes for raw material. I kept wondering how many guitars he was playing up there.

My Muse and Equal Temperament - Jay Hamilton

tales told on the side
music from the performer's point of view (in that he played cello with his back to the audience)
which is the most interesting edge of this music/text piece as a theater: that we are never certain where within the personal we sit - we don't know the whole story, but we seem to be regarded as knowing the whole story, since here we are telling it.

Lyric Piece and Berceuse - Gavin Borchert

its past slipping under its present
the water closes tenderly over

lingers in languorous murk
languors in lingersome dark
each steps
at length

The Magpie's Shadow (excerpt) - Peter Nelson-King

A suite of aphoristic piano pieces embedded within a staged performance

that is, some of the inside-the-piano stuff, and even more of the outside-the-piano stuff, seem just enough outside as to no longer really count as piano pieces, or rather, that they don't seem to care whether that is what they are counted as.

some of these bits come to be like pieces and some stay bits


April 28, 2018
He Started Building My Mansion in Heaven Today - Rachel Harrington [from Celilo Falls]

nearly straight, as though from the song book
adjusting her delivery just enough to own it completely, no more

Focus (demo of March 22, 2016) - St. Rage

St. Rage is the fictional band in my wife's novel The Gospel According to St. Rage. St. Rage is played in real life by Karen Eisenbrey (my spouse above-mentioned) and Neal Kosály-Meyer. A nice performance marred by some unfortunate technical issues with the recording.

Hughe Ashtons Grownde - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

terraced garden
tendrils twine
immersive aspects

the folks hereby dress well you can tell
and ample growndes they are too

I'll Fly to Hawaii - Brad Gowans [from Alan Lowe's That Devilin' Tune]

Recorded in 1926, I wonder if they were still using a single microphone or not. Either way, this is a marvelously captured balance. They pronounce "Hawaii" to rhyme with "fire" (Fie-yuh). 1926. For how long had it even been possible to fly to Hawaii?

Rockhouse - Roy Orbison [from Sun Records Definitive Hits]

repeat name of song to fade
reminder as to what the name of the song is that you just heard on the radio
so you can buy it

My Romance (take 2) - Bill Evans Trio [from Waltz for Debby]

I was hearing the attitude they take toward the ostensible tune as distinctly Byrdish, playing off it, filling it out, illuminating it from all sides. This lends credence to the opinion that dramatic-arch-construction is a fatal infliction upon the lyrical. The harmonies act like vowels, making thick tunes that sound like sung lyrics. That aspect is all Evans.

The Big Bright Green Pleasure Machine - Simon & Garfunkle [from Parsley, Sage, Rosemary and Thyme]

For all the ironic veneer of satirical intent, this comes across as a pretty effective advertisement. B/W Kodachrome.

Unlabeled Track 12 - Tillicum Junior High School Band, Bob Runyan [from my mom's tape of a concert given March 3, 1971]

orientalism for beginning band
the Hollywood sound track concept of exotic

Slide - Walt Wagner [from Caprice]

balanced in everything
stands on its feet knees stiff
dream sequence a la Gene Kelly

April 29, 2018
Mutual Arising - Mark Hoover - Seattle Symphony Orchestra, Michel Singher [from a private tape, Spring of 1981]

somewhere between Shostakovich and Ruggles
(contrapuntal thinking is a struggle!)
so legato

Hey Now - Talking Heads [from True Stories]

The rhythm parts are allowed only the time for their pitch to register on the rest of the mix, then they are stifled, stuffed, allowing a more transparent area to remain for the color parts.

Banned Rehearsal 264 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1991]

recorded hot
so that we would distort

not quite like it was before
the time we got it right

(one of those sessions preceded by a span in which we thought we were recording but were not because I forgot to push record/play or (forgot) to turn up the inputs I forget which)

Aaron goes all Beckett

I haven't got a clue and I haven't got a cue
I haven't got a clue and I haven't got a cue
I haven't got a clue and I haven't got a cue
But I got you

(song that trundled in)

topic: now we are making a tape it is what we are doing
in this tape the dictum to play not an instrument upon which you are able is taken literally and the image of its having been taken literally is forefront

How can an instrument be criticized for the scale it plays?
Aaron drifts off in wordpairplay
rattle me bones
wake the dead

an improvised dada opera

DADA APARA :: the absence of orange

It was that I forgot to turn on the microphones. Now we know.

May 1, 2018
Mean Model A - The Boss Martians [from 13 Evil Tales]

music fashioned old so as to demonstrate how well old fashioned music can be played

Springs of Wright - TCOR [from Sonicabal 2001]

a bit from a batch of bits and pieces for mixing with

Eyes On the Prize - Bruce Springsteen [from The Seeger Sessions]

A retelling of Who would True valour see (Bunyan) sung in singsong whisper

Gradus 192 - Neal Kosály-Meyer [May 2011]

measuring musical distances : pitch (all A nats so PC doesn't come up as differential), dynamic, time between and/or time we have waited since the previous and/or duration of the previous overlain by each of the instant, each time (between and among waited-for durations)

gentle iteration up high pointy pokes down lower
then all out

not, first, to please, but, first, to do, to be, to be doing, to do being, if you please
measured to a distance at which it is not clear that what we hear isn't from several disparate times

The regularity of Gradus's appearance in my listening (live) affects my perception of its less regular recorded appearances, in that the recorded appearances do what the live ones also do: reset, recalibrate.

Takur Takur from Dilwal - Pritam [from Bollygood Volume 2]

lively subdivisions atop a pulse

In Session at the Tintinabulary

April 30, 2018
Gradus 332 - Neal Kosály-Meyer

single tones are outliers
as are the undamped
opening then into both
at once
grip relaxed
wallowing sternly in the low notes
expanse and limit
refrain from going on
senza elaboration

May 5, 2018
Lamb Day A - Keith Eisenbrey
Lamb Day B - Keith Eisenbrey
Barn Wall - Keith Eisenbrey

Karen and I spent yesterday on Whidbey Island, which is why this blog is a day late. We attended Lamb Day at Sleeping Dog Farm, near Clinton, Washington, and I recorded two short segments of sound in homage to J. K. Randall's InterPlay cassette side Sheepshearing in Kingston New Jersey also geese and ducks of April 1982. Then we helped my brother, who lives near Greenbank, lift a new barn wall (just the framing).

Saturday, April 28, 2018



April 21, 2018
She's Creepy - The Boss Martians [from 13 Evil Tales]

Imagine if The Sonics' ur-proto-punk The Witch had been written by Paul Revere and performed, by The Raiders, as though they were The Ventures. How Northwest can you get?

Play Station Central - Orion O'Malley Hughes & Lightnin' John Daley Three Turtles [from Sonicabal Vol. 2]

noise not reduced
mega chalkboard skqqqueeeel

microphone held right up to the crater's edge

Caldero del Diablo - Brad Anderson [from Dark Energy - Interstellar Pianos]

bare figurations from the fount of bare figurations

battle ray guns and shields zip zap zzzzingggg

Banned Rehearsal 792 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [May 2011]

music box joplin picks up where it left off in the last episode
we take pine cone turns to speak until distinction is presumed to talk at once

follow each thought pattern as it puts itself together
center on the most difficult
maintain incongruity in a leveling world

rhythm generation
low tones on electric piano
frame drum wash board suspended cymbal
xylophone various gongs and what nots
tasteful use of the pitchbend on the midikeys

The Humma Song from OK Janu - A. R. Rahman, Badshah, Tanishk Bagchi, Shashaa Tirupati & Jibin Nautyal [from Bollygood Vol. 1]

appropriating cultural appropriation
lots of characters to keep track of

April 22, 2018
The Carmans Whistle - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Imagine the englishy words: "Heare the carmans whistle blowe" or the like, in the likeness of the children's round Hear the Lively Sounds of the Frogs in Yonder Pond, which now I imagine one could use as the basis of a Byrd pastiche.

That last simultaneity is a killer.

Graysom Street Blues - Margaret Johnson [from Alan Lowe's That Devilin' Tune]

following each vocal line find the instrumental commentary

Rock and Roll Ruby - Warren Smith [from Sun Records Definitive Hits]

hold tight to the formula
be sure the brand name is clearly visible at all times

My Romance (take 1) - Bill Evans Trio [from Waltz for Debby]

magical dance of consideration among the trio members

Homeward Bound - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

This is about as tightly written a song as any they produced back in the day. Up there with The Boxer.

April 24, 2018
Unnamed Track 11 - Tillicum Junior High School Band, Bob Runyan [from my mom's tape of a concert on March 3, 1971]

One of those tunes ubiquitous on UHF commercials 100 Favorite Classical Melodies (none of that boring stuff in between)

A Song for Cynthia - Walt Wagner [from Caprice]

off the shelf tune-smithery, pre casio pre-set

Cache Cache - The Who [from Face Dances]

I'm honestly not sure why anyone bothered with this.

Dulcimer Tunes and Anti-Muffins - Karen Eisenbrey [April 1986]

She could have been out partying (I was in Australia) but instead she made this tape. First some tunes then she reads a L'Engle story. Almost finishes it too!

April 26, 2018
Lounge Act - Nirvana [from Nevermind]

It starts with a second or so of Lurchish groan. At the very end is a similarly brief electroid fade-out. These post-production idea bits come across as being distinctly outside the songness of the song (which song I rather like by the by). They are production decisions, or electronic music compositional decisions - in that they force us to take this recording as a recorded object, in contra-distinction to allowing us to accept it as a song that happens to have been recorded for distribution. They echo each other bookend-ishly: a framing device, an Apology, in the old sense, much in the same vein as the arch title. Interesting, but I'm not convinced it does the song any particular favors.

Evil Martian - The Boss Martians [from 13 Evil Tales]

Same pre-ambular idea as LA above, but this time straight out of the novelty song grab bag: a sci-fi sound of yore around which a pastiche of yore is woven.

Sphygmomanometer - Mabuse [from Sonicabal Vol. 2]

The opening hit is allowed to inhabit and breathe, inadvertently highlighting the problem with inserts from outside the song such as in LA and EM above: they tend to either outshine or distract, as though the song were not convinced of its own entityhood. Here the insert is the show, with no song to photobomb its glory.

Banned Rehearsal 701 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 2006]
we are waiting for Neal to arrive (he does about 10 minutes in)
me on electric guitar
Karen an various crude bells, whiny wind, washtubbass
there he is, through the door in the left speaker
another guitar amplified, amply modified
lifts Karen back to crude tractor clutch bells
we shred after our fashion
recede to dry bones
scratchy throat

In Session at the Tintinabulary

April 23, 2018
Banned Rehearsal 957 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt


Saturday, April 21, 2018



April 14, 2018
48-Hour Composition Contest - Sounds of Late
Gallery 1412, Seattle

April Showers  - Noel Kennon

As I Sit Here With My Trendy Tea Beverage - Spencer Arias

August Amble, Alaska State Fair - Aaron Keyt

Lullaby - Timothy O’Brien

Minuet in a Minute - JD Davis

Tetractys - Count Constantin Pârvulescu

At The Quiet Limit - Jacob Mashak

Threnody - Jim Knodle

When I Fall - Blaire Ziegenhagel

A lively subset of the younger folks doing their new thing for the community. We were there to hear
Aaron's new piece and were delighted to find that veteran Jim Knodle also had a lovely thing to share. And what fun everyone was having! Nary a clunker in the bunch, lovely performances all around, and the evening ended with silly prizes from the thrift store. DIY is where it's at. I also learned a Chicago slang term for the string bass  - "doghouse" - courtesy of JK.

April 19, 2018
Jaap Blonk
Chapel Performance Space, Good Shepherd Center, Seattle

I was remembered of my introduction, in June of 1982, in the home of Leon Botstein, President of Bard College, to Charles Stein, the protean poet/soundpoet/thought-delver. I was 23, newly dropped onto the East Coast, knowing not a soul for hundreds of miles, still pretty uncertain how the whole find food for oneself thing worked. Ben said "This is Chuck Stein" who stretched out his hand to me and said something very like "djlsji wi! df;focmgkj4 ordkfwsjudpfdjfifi  fififi 'asf;dhslfdsp=-[dgfaf' 1;dap-d da9dre0den,nds;ig'arg ae8id ][dfila;jud dd==gljd;l." Somehow I found this tremendously comforting. My people!

I was remembered of the gibberish stories I told my sons when they were small to make them laugh.

As do many of my favorite people, Jaap talks eloquently with his hands. And his face is an expressive field all on its own.

I was remembered of the scene in Men In Black 2, where K, in amnesious retirement at the Post Office is shown all the space aliens he works with and asked "Why do you think you're so comfortable here?"

and I was quite comfortable here. A joy.


April 14, 2018
Peyote - Bakshish [from Sonicabal 2001]

synthetic didjeridu-ish rhythm drone
over which is added (to complete the picture) a first nations-ish chant
fade out
not unattractive, if somewhat harsh

Gradus 97 - Neal Kosály-Meyer [April 2006]

configurations of pitch sonority sets allowed space to move around and to vanish entirely
receding through the wheels of memory

when sound enters or music enters consciousness it enters a massively complex continually ontologizing organism

and we in turn enter it
because it addresses us

our madly ontologizing consciousness
as a fellow

Stumblin' Man - Youth Rescue Mission [from Youth Rescue Mission]

guitars in the immediate
vocals vary
but generally on stage with the drums

Banned Telepath 46 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [March 2016, for Banned Rehearsal 907]

we woohoo! for Aaron and Jennifer
one strand: a slowly cycling chorale mostly on piano
another: lots of banging on things and lots of things there are to bang upon too!
no sound but isn't precisely drawn in place, transparent to all others
the amplified bits don't overdo their power, but mutter to themselves on the same state
gradations of: pitch <-> noise || presence <-> diffusion || high <-> low || pure <-> complex ||ringy <-> tight ||
intent rubbing audiates surfaces
moan tube gives its what for and enters a conversational space with the atomatone
as the last sounds drift off downstream
as though
but perhaps not
but yes

April 15, 2018
Lord Willobies Welcome Home - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

parts braid filligree with their cherub hands flitting - mind flash on the opening credits of Fractured Fairy Tales

The Downfall of Nebuchadnezzar - Rev. J. C. Barrett [from Goodbye, Babylon]

ecstatic ignition into possession
prophetic proto rap

Rip It Up - Little Richard [collected from Dave Marsh's The Heart of Rock & Soul]

playing the same possession game but with chorus cooldowns keeping it under control

Detour Ahead (take 1) - Bill Evans Trio [from Waltz for Debby]

such a gentleness in everything, a kind-to-each-other music

Cloudy - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

#pop #mood for #feel #good

Unnamed Track 10 - Tillicum Junior High School Band [from my mom's tape of a concert of March 3, 1971]

the sort of comic martial march music one might expect of a mechanism at a fair

Tide - Walt Wagner [from Caprice]

quite the echo on that piano!
tin pan
tune smithery
tune pipes

Echoes - Karen P. Thomas - Seattle Symphony, Michel Singher [from a private tape, Spring 1981]

in a cave with dim lamp sense of dread
as is revealed in several parts
until the whole
flute at end as tale within tale to pass us up the ladder
to our seats

Let Me Tell You - Julian Lennon [from The Secret Value of Daydreaming]

either: so full of himself as to be a monster
or: playing a more knowing game
or: a wall

April 17, 2018
Banned Rehearsal 263 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1991]

readjusting our grip on the world at Toad Hall
fall away to deep sedatory
whose weight will press
nearly disappearing
often doing several things
often not adding up
or falling away from adding up


competitive gibberish critter listing

In Session at the Tintinabulary

April 15, 2018
Fish Distributor b/w Ruined It - Your Mother Should Know [mastered from takes made in March 2018]

To be released on Bandcamp, at some point. Not perfect, but this is Seattle. We don't iron.

April 16, 2018
Gradus 331 - Neal Kosály-Meyer

there is a time it takes for a pitch to speak
different for each note
different also
in kind of time
to the duration of each note
and different also
among the various registers
because at the low end and at the high end there is the separate time of each pitch locating itself
as well as their respective times of speaking
and if several are considered together
struck or not together
do the intervals precede the pitches in experience?
and then there are the gradually revealed sonorities of rolling tones
humming space

Saturday, April 14, 2018



April 7, 2018
Banned Rehearsal 439 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [December 1996]

a whisper of white noise cushions immediate immersion
nothing is far away
there is no such far away

soft roof

not playful but earnestly filling
that is
there is no mistaking the intent to be making music
though without sense of curatorial anything
sounds meant to mean, not to exhibit
(it presumes presentability)

(in the last days of our analog recording)

pressure applied firmly with vigor and force

ice hanging high in the cavern ceiling

a resonant wooden chamber, or any other, can be struck to sound in a wide range of manners
and through a full spectrum of vibrational nodes within the resonant chamber's prior soundings
each of which is like a mouth's vowel shape
specific to the household (domiolect)
which is how me make them, the chambers, speak for us
as us

language exploded view
press out upon the shell of our medium
ear scrubbing high power mass build up
Petrushka carnival soup

bang the chimney bang (really go bang at it) slappy whap WHAAM whop
the chimney's fundamental, though low in the mix, is a lovely rich warm hum

Minmax Dub 13 - Carl Juarez [from Sonicabal 2001]

wacked out polymeters in large scale poly beats
then it drives off the beach side

Dad's Cars - Carl R. "Dick" Eisenbrey, interviewed by Keith Eisenbrey on April 16, 2006

my fave: the putt putt car (a Nash Metropolitan convertible). Cows would look over the top at us.

April 8, 2018
Waiting - Shaprece [from Scatterbrain]

parts of the same voice strand of monologue thought layers as they construct themselves into selfconsciousness and lust driven volition

Banned Telepath 46 Somerville - Aaron Keyt [March 2016]

a gentle harmonica spinet duet, and all I need from one and more, with space heater grounding sound grounding the sound. This became part of Banned Rehearsal 907.

Have With Yow to Walsingame - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

How large is this tune as it hangs in the room? Upon the answer hangs the ability of the ornamentation to extend into accumulating dimensions
gone like smoke in lights and stances

same melody in a different chair

White House Blues - Charlie Poole and the North Carolina Ramblers [from Anthology of American Folk Music]

a going down the road feeling bad type tune

Red Headed Woman - Sonny Burgess [from Sun Records The Definitive Hits]

too much fun to fit in that tiny studio of legend

Waltz for Debby (take 1) - Bill Evans Trio [from Waltz for Debby]

rhythm schemes falling in from elsewheres (spilled out of Byrd, perhaps?)

Patterns - Simon & Garfunkle [from Parsley Sage Rosemary and Thyme]

a screenplay in stanzas
rather grim if you could believe him

Unnamed Track 8 - Tillicum Junior High School Band [concert of March 3, 1971, from my mom's

leering stripper swing

Dove - Walt Wagner [from Caprice]

scenery and stage arrangement filler soundtrack style
expansive enough for a dance number to close out the reel
never not nice

Seventeen Prepuntal Contraludes - Keith Eisenbrey [at the Seattle Concert Theater, July 1981]

I may be the only one hearing this inside of these pieces, but I always did have a knack for hymnodic melody.

Standing On the Edge - Screaming Trees [from Clairvoyance]

the panels are large
it's time for a light show

April 10, 2018
Banned Rehearsal 262 - John E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Holden K, Neal Kosály-Meyer, Marilyn Meyer, William Meyer [July 1991]

a gathering as the Kosály-Meyers visit from Outpost San Diego so that the cousins can be introduced.
yellow tape folk song soundtrack oh dear what can the matter be as the age of chaos sets in the full scale invasion in the deep background Pastorale our improv becomes a confusion wafting through
a tunin'!

my chart drifts past Marilyn Poppins

now it is just the three of us
and the two dinosaurs
ought eight four (it weren't neither that which hadn't been yet anyway)

a roaring distant din at the back
you say 'Banned' (two syllables, see British Highway Code below)

X-2 - The Boss Martians [from 13 Evil Tales]

fan fiction, as though constructing loopables

Morningspeak - Ffej [from Sonicabal 2001]

neon sign for a parts factory add this for Ffej! parts for the man

My Oklahoma Home - Bruce Springsteen [from The Seeger Sessions]

old timey disaster blowed away
a great song, I wish he hadn't treated it so like an artifact
tried so hard to mimic a character he forgot to sing the song

Banned Rehearsal 791 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 2011]

Yamaha chameleon (not new to the family, but new to the Tintinabulary)
dayglo camoflage
spoons: an eloquent dispensation
player enter tainer
do not mistake this for lame
the discard pile as poetry
table tennis orbs tossed about

The Breakup Song - Pritam [from Bollygood Volume 2]

an "ah" vowel pushes its rhyme forward through a thicket with dropped in English words like "breakup" and "relationship".

April 12, 2018
All In a Garden Grine - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

drapery tumbles in enrapturing simultaneities sliced thin to view at subsequential angles

Dead Man Blues - Jelly Roll Morton [from The Smithsonian Collection of Classic Jazz]

Vienna and New Orleans - cities famous for sloppiness as a front for something else

Right Behind You Baby - Ray Smith [from Sun Records The Definitive Hits]

another stalker anthem

Detour Ahead (take 2) - Bill Evans Trio [from Waltz for Debby]

miles to go before we land on both feet together

British Highway Code - The Master Singers

proscripted pedestrianation with maximal syllabification

funny the first time for about 30 seconds

Untitled Cut 9 - Tillicum Junior High School Band [concert of March 3, 1971, from my mom's tape]

all roar no Charleston
New Orleans party town

Wedding - Walt Wagner [from Caprice]

prog-lounge (ticking clocks)

Rejoice - U2 [from October]

playing to the arena from the get go, at least that's how it seems from this distance

Karen's First Solo Tape - Karen Eisenbrey [April 1986]

While I was in Australia to glimpse Halley's Comet, Karen made this tape.
awesome dulcimer tuning! hand made mountain lap roots
ukelele - first person field recording of Dominos, and Mr. Abstractor (twice)
Hum, hum de hum, hum de hum

the clock is broken - Infamous Menagerie

inverted balance leaving space for vocals to space out on the verge of, but never beyond

Solos - Banned Rehearsal - Karen Eisenbrey, Aaron Keyt, Anna K, Neal Kosály-Meyer [December 1996]

Ten years after KFST, in preparation for our last Brechemin show ever, which would be in January of 1997, a session of four back-to-back solos to be used as part of the background mash of noise coming from multiple cassette tape play backs to play at our backs as we played. Neal finds a stupendous distortion on cornet.

In Session at the Tintinabulary

April 9, 2018
Banned Rehearsal 956 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt