Saturday, November 10, 2018

Playlist

Recorded


November 4, 2018
Banned Rehearsal 273 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 1991]

I am about
in tone nation
of tempo

sticks to its guns
in the red toad hall
the piano of eliza act 2

hearing J grow before our ears
becoming conscious of one's own sensations
nursery song for the young to join

I'm trying to figure out who's playing what
but the math doesn't work out
pretty certain me on piano, and Aaron on brass
so if Karen is plucking the pluckinator who's holding the baby?

domestica moltissima

a trope of complaint about free improvisation is that it always devolves into increased volume competition
this is the counterexample

a diaper is changed right there on tape

a forest of intervals none heard ever before
we wallow so in the the revel of our mis mal in tone nation

off
in all the ways
off
can be
off

Pressure Drop - the Specials

as the verse descends stepwise
the word repetition spreads
the pressure drops
(clever)

Carpe Diem Carpie - Wes Weddell [from My Northwest Home]

fishy fish tale
that giant golden horse trough in the sky

We Shall Overcome - Bruce Springsteen [from The Seeger Sessions]
Songs from the Voices on Earth - S. Eric Scribner - Ivan Arteaga [from Storm Sound Cycle May 2011]

an ambience created on the fly cooperatively
Ivan's friendly inquiries toward the sound around him
oracular

November 6, 2018
Finnegans Wake Part 2 Chapter 2 - James Joyce - Ollie Evans and Steve Potter and Co [from Waywords and Meansigns]

M Python radio play in a blender
overheard at its rehearsal
overheard at toothbrushing

multiplex the multiplex narratorices
over the backdrone
classroom at attention

such as it may be
studiorum upstarts
to me or not to me

the game goes on
distinctly understuttered
incipit intermissio

from the table
over a book
read by another

November 8, 2018Concerto in G BWV 1048 - J.S. Bach - New London Consort, Phillip Pickett


shuffling through the stacks for
great oh yeah I remember that's sooo cool! things

deep in the stacks
subindexed scary bass (truly)
almost forgot myself

query the first: how might this have sounded then?
query the next: given how it might have sounded then, among those possibilities, how amazing might we make it sound this time?

Quartet in A minor Op. 132 - Beethoven - Alban Berg Quartett

thoughts circulate in contemplation of an enormity or
but we really can't just not
well
meant
(a distracting toy)
seek chapelic comfort

4 Organ Preludes - Brahms - Craig Cramer

the tug-o-war among:
the instrument
the space
the score
the performance
the sheer sound
the recording
the abstraction

[blogger's note: Bach Beethoven Brahms (alphabetical order too!)

In Session at the Tintinabulary

November 5, 2018
Banned Rehearsal 969 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

November 10, 2018
Maple Leaf 181110 - Keith Eisenbrey

I recorded some birds in our backyard this morning

Saturday, November 3, 2018

Playlist

Recorded

October 28, 2018
You Need Jesus on Your Side - Deacon A. Wilson [from Goodbye Babylon]

each phrase in verse or chorus is a vector of rhetoric, preaching in the structure of preaching

Footnote to Howl - Allen Ginsburg [from Holy Soul Jelly Roll]

hideous human angel ho(w)ly the fourth dimension kindness of the soul

Variations for Orchestra - Elliott Carter - Chicago Symphony Orchestra, James Levine

films projected on all the walls around us
but not always on all or more than one
we seek out wheretoward to attend
balancing systems of rhetorical affect
with systems of pitch

as rhetorical affect is used to clarify the pitch
the patterns of rhetorical differentiation are exploited with the hard edged systemic rigor image

to keep it civilized

clearly
the actual facts of the system
are so many red herrings

Soft Winds - Oscar Peterson, N. H. Orsted-Pedersen, Louis Hayes [from The Great Connection]

playing the recognizableness of a tone
oh that's this
knows he's on to something
but doesn't allow much high art pretension to show

Trust Your Mechanic - Dead Kennedys [from Plastic Surgery Disasters - In God We Trust]

not a happy surfer's surf rock wave
rather a rocket car g-forced blubber face

Banned Rehearsal 83 - Karen Eisenbrey (Meyer), Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

soft ball
some background noise
like a distant subaquiescent engine
softball game
repetition brings comfort
from this stability
we make inquiries
kitchen vicinity acoustic
running water
harmonica and softball shaped clay ocarina
proximity effect as improvised compositional device
at the half house pushing to 100
my tub filling in a microphoned house
running water to which we warble
mitt glove!
sneaks upon one in two
Karen to be always being present as transparent image of presence

all oc
oc mit

improvisation as conceptual multimodular composition thinking
bathtub clangy delight
Neal supplies the "the"
article to which the all is applied
and why

among our finer moments even though talking in it
extraordinarily focused on its soundworld
one channel is where Neal goes to play by himself
a guitar chord plucked?
NO! clavichord tangented
a new sound

Fear Bitterness and Hatred - The Young Fresh Fellows [from Electric Bird Digest]

67ish mini big guitar

"...woe my road is spoken..." 060604B - Keith Eisenbrey

string quartet for robot string quartet
getting there

Dark Star - Youth Rescue Mission [from Youth Rescue Mission]

grownup song
nicely layered backing vocals

Something of Mine - St. Rage [Karen Eisenbrey and Neal Kosály-Meyer vocals and instrumentals, recorded and produced by Keith Eisenbrey - April 2016]

in a can luscious

October 30, 2018
Concerto in G BWV 1049 - J.S. Bach - New London Consort, Philip Pickett

spendthrift rubato
if you want it straight go down the street
3 magic strokes and they appear
lofted free
shadow lines scribble and scribble cleared outside
extra dry tremolo shiver guiro

Finaletto "Di si felice innesto serbiam memoria eterna" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

over before you know it
time to hit the road

Grosse Fuge in B-flat op. 133 - Beethoven - Alban Berg Quartett

tries an ill-fitting subject on for several sizes
various success
fugue and continuous granular variations
it will never fit
none of it

Trio in E minor op. 114 - Brahms - Walter Barylli, violin; Franz Koch, horn; Franz Holetchek, piano

clearly, this was ripped from vinyl, but by whom?

single thread music
3 distinctly produced sounds become one melodic thread

November 1, 2018
Your Enemy Cannot Harm You (But Watch Your Close Friend) - Edward W. Clayborn [from Goodbye Babylon]

replacement of (words) by (fancily vibratoed high guitar)
rather a bleak sermon

Pent-Up House (excerpt) - Sonny Rollins [from The Smithsonian Collection of Classic Jazz]

head repeat serves a stabilizing function like binary form repeats in classical
especially as here where the phrases skew off meter

Visions of Johanna - Bob Dylan [from Biograph]

cultural imprint
his luck and talent and skill to have hit upon a rubric in which any can find themselves

until you step back a tidge

Just Squeeze Me - Oscar Peterson, N. H. Orsted-Pedersen, Louis Hayes [from The Great Connection]

differentiates threads of tune by how they hang in the swing

Log P - Keith Eisenbrey, Neal Kosály-Meyer [November 1981]

keyboard dueting
perhaps too compatico
nice vibrato on the stop tones though

Adeste Fidelis - London Symphony Orchestra, et al [from Listen To The Joy]

I hope they all got paid.

In Session at the Tintinabulary

October 29, 2018
Gradus 341 - Neal Kosály-Meyer

Saturday, October 27, 2018

Playlist

Live

October 26, 2018

Cristina Valdés, piano
Meany Hall, Seattle

Klavierstück IX - Stockhausen
Pièces Froides Danses de travers - Satie
Gymnopédie No. 3 - Satie
Ein Kinderspiel - Lachenmann
Douze Notations pour piano - Boulez
Gnossienes No. 3 & No. 5 - Satie
Piano Sonata - Bartók

heaven

Cristina's performance presence ought, to my mind, to be a model for other pianists (and for more than a few violinists)
not shirking in concentration nor elegance one bit
but never bringing attention to itself, as itself, as a distraction, from the real magic that's going on
and magic it is too
say it again
heaven

Satie and Couperin, soul bros in so many ways
and both French!
imagine that

Lachenmann showed up in repertoire culture after I had pretty much given up keeping up with developments abroad
in the sense that, at least in these pieces, he is being a pianists' composer rather than a composer's composer, he reminds me of the late Greg Short

Boulez in these early pieces trying on coats, not quite the one that fits yet

Bartók this barnburner was written the year my Dad was born

Part of the reason I gave up keeping up with developments abroad was the overwhelming experience that was my discovery in 1978 or so, and exploration ever since then, though certainly less so now, of the music of Stockhausen. In a way, after that, I didn't need another or very much more music from abroad. And IX was certainly among the pieces that stuck. The overt severing of the realms, the note playing realm from the resonance billowing realm, cracked a door open in my own work, a door that was already pretty loose on its hinges, truth be told. It is fascinating, now, 40 years on, to hear that wild ass music that riveted me in my seat in the UW School of Music's lower-level listening library, trotted out into the clear air in Meany Hall, right there in public as an ever so venerable hunk of repertoire. I would be more disturbed if Cristina hadn't made it so clear that what it truly is is a poem of bone and blood, awesome magic

And now if you'll allow me an amused aside
about a week ago Cristina had, as a sort of mock-desperate joke, asked if anyone would be willing to write the program notes for her and by the way they are due tomorrow. My not entirely unserious response was to ask if she had ever considered not having program notes at all. imagine then my delight when I sit down to listen and there are no program notes! My dream came true! I must be in heaven!

Recorded


October 21, 2018
Concerto in F BWV 1046 - J. S. Bach - New London Consort, Phillip Pickett

composing to show he can
he overdid it
conception beyond any possible previous experience
see, I can write idiomatically for any and each
what you can expect should you hire me
pre-figure of Pictures at an Exhibition

Quartet in F op. 59 #1 - Beethoven - Alban Berg Quartett

the ground will begin to curve downward or drop or vanish into other grounds
the long groups that eventually seem to repeat are so repletely cross-indexed with their own internal repetitions of patterns and patterns of patterns and inner levels of levels that the grander scheme is uncanny
or, what is it that Beethoven thought a movement was? anyway?
we are being ushered somewhere into some society of some kind a refined kind
but can we trust beauty and a human face?
do we trust where we are going?
we are variously pulsed into and away in waves of envelopments
like falling into sleep

Terzetto "Ah! qual colpo inaspettato!" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

hint: follow the voice closely
get right up in its face

Symphony in A (#6) - Bruckner - New Philharmonia Orchestra, Otto Klemperer

as though overturing an opera
IN YOUR SKULL!!!
even his by the book sequiturs sound like nons
naked quite starkly in his contrapuntal proclivities
a nervous keyboardist's way with figurational counterpoint
in order to proceed properly to Y one must pass through the membrane of X
it hurts but it lasts
never
lots
where you are when you are here
from within everyhuman all planes occupy every where all the time
the action is in the melodies between paired or patterned paired patterns and or patterned pairs: between
the still
within
contrary
the motion lurching through similar the stretching within obliqueness
as succinct as it gets

October 23, 2018
Sonata in F op. 99 - Brahms - Emanuel Ax, Yo-Yo Ma

the face of this collaboration is not always turned outward (usward) nor really even often
loves to linger, hold a thought in its hand, Yorick alas
tunes spill out from their vessels

In Session at the Tintinabulary

October 22,2018
Banned Rehearsal 968 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Sunday, October 21, 2018

Playlist

Recorded


October 15, 2018
Sonata in C minor - Pietro Locatelli - Philharmonia Virtuosi [from Musical Evenings With The Captain]

ornamentation is a supplemental pointer
as is repetition
and scale degree
function

it points

but what is it that points
and ought we to
blindly
and boldly

follow?

Moving On Without Us - Wes Weddell [from My Northwest Home]

told in stanzas
featuring a monolineal refrain

Rat Hotel - Charming Snakes [from The Funhouse Comp Thing]

hot wheels stunt track driver
the familiar push button thrill
the inevitable frustration of which
forces the ear into the tight packed mosh of feedback
for anything to bind it

Songbirds and Stillness - S. Eric Scribner - Ivan Arteaga, Neal Kosály-Meyer [from Stormsound Cycle, May 2011, private recording]

sound floating free of intent, barely anchored to seafloor

kelpish in swaying slumber

gravissimo

October 16 and 18, 2018
Finnegans Wake Part 2, Chapter 1 - James Joyce - Robert Amos [from Waywords and Meansigns]

advertisement
very plain
intro blurb at length

the rhythm of one strand of punnish
the wordless either

did these way wend
they and the world is made free

plain speaking reading or telling

word by word

to the left leans a guitar whose not recently tuned strings being open and exposed are variously reverberated by the word by word formants and resonunciations of the speaker's head

to make a long story badder
apocryphal of rhyme
ear relevance

tongues' promiscuities

curtains

In Session at the Tintinabulary

October 15, 2018
Figure Study 181015 - Keith Eisenbrey


Neal, being deep in rehearsal for Chapters 4 and 5 of FW, couldn't make it to do the Gradus, so I kept the piano company.

Sunday, October 14, 2018

Playlist

Live
Dead Bars, not Counterpunch. 
Showbox at the Market, Seattle, 
October 11, 2018


October 11, 2018
Dead Bars
Counterpunch
The Bombpops
Strung Out

The Showbox at the Market, Seattle

Our long-time favorites Dead Bars opened at the Showbox.

Let me say that again.

Dead Bars opened at the Showbox! Woo Hoo!

We have watched and listened to this fine little band rise from their beginnings as a one-off pick-up band thrown together to play a few songs before Your Mother Should Know came on at the Comet back in 2013 - a great show that also included two of my other local favorite outfits: Rob McDonald's Canals of Venice and Emma Danner's Red Ribbon. It was our anniversary, so Karen and I were delighted to be there as they spread their wings on the ample Showbox stage. They even played Regular, which is one of Neal's songs!

Counterpunch hails from Chicago, The Bombpops, who were down one regular member to attend her sister's wedding and for whom their producer filled in, if I got the story straight, were from San Diego, and Strung Out has apparently been doing their thing since 1989. This is not the first time we have been to a show because the opener was somebody we knew, and in which I had never heard of the headliner.

Recorded

October 8, 2018
Concerto in F BWV 1047 - J. S. Bach - New London Consort, Philip Pickett

subdued trumpet touched to balance flute and strings
outsized no more
each part given its full color and articulation
not a reduced orchestra, but a chamber ensemble of only the players absolutely necessary to cover the parts

Quartet in E minor Op. 59 #2 - Beethoven - Alban Berg Quartett

do not approach directly
it will struggle to break free

a vacancy in its middle

third movement gets stuck in tuneland (which paid the bill) and has to work mightily to sneak out the back corridor

fourth movement
here be the cheerful hero youth to finally grasp the prize
if only there were any end to braggadociations

October 9, 2018
new moon
Aria "Il veccio cerca moglie" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

was setting it in far off Seville just enough distance to pass the censors?

Answer after some research, sort of, but not really. Beaumarchais had spent some time at the Spanish court. What a crazy life he led! What other 18th Century watchmaker's name springs so easily to mind?

Stockyard Strut - Freddie Keppard [from Alan Lowe's That Devilin' Tune]

theory:
before imitators imitated celebrities they clowned types and critters
anything to get a laugh
the act made more money if there was music
so the band learned to imitate the imitators imitating clown types and critters
somebody's tappin'
everything is a show

Howl (for Carl Solomon) - Allen Ginsberg [from Holy Soul Jelly Roll]

would prefer to read without hip static

post holocaustic flagellation
tunes his pitch to the room of words

Moloch
the vast stone of war

oh Victory
forget your underwear

Twenty-Four Tonal Preludes: 9 through 12 - Greg Short - Keith Eisenbrey [June 2009]

I like my playing on these, deliciously reckless
Greg's piano writing is brilliantly orchestrated
Busoni-ish in expanse

Smile - Oscar Peterson [from The Great Connection]

each impact keystroke chord struck
slips so perfectly into the granular swing

dropped from above

such clear thinking!

Intermezzo - Aaron Keyt - Keith Eisenbrey, Aaron Keyt

A story teller tells a tale with tune bits
edges between segments are given room to breathe
by spreading them oddly among the two pianos
(even with the shuffled order of the ultrafamiliar we give it a long line lyricality)
a play
in the form of a dialog
between two pianos

October 12, 2018
Papa Legba - Talking Head [from True Stories]

adds interest by adding sounds rather than by re-arrangement
spend-thrift
gets stuck when there are no more to add that make a difference

Banned Rehearsal 272 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 1991]

Aaron provides music lesson for young
and old beat drum beat drum gibberishpoems
"free space for causeless bliss"
persistent drumming drum must be tapped at all times wolves dontcha know wolves say what
do I hear slinky back there?
we howl at the leaves
missivate to the stars

pa pa hay dn's
dead and gone

but his mem ree ling ers on

in the grave his bo dee rots

these are rhymes
we teach our tots

that was a subtle use of rhyme there pal
nonsense rhymes for the outré 90s dad
absurdist radio play

best cadenza ever
you're welcome

Sunday, October 7, 2018

Playlist

Live

September 29, 2018
Free Improvisation: The Quartets Project
S. Eric Scribner presiding, September 29, 2018, Chapel Performance Space, Good Shepherd Center, Seattle

Aaron Keyt, piano, objects, melodica
Bruce Greeley, bass clarinet
Carol J Levin, harp, electric harp
Ha-Yang Kim, ‘cello
Jim Knodle, trumpet
Karen Eisenbrey, piano, objects, drums (?)
Keith Eisenbrey, piano, objects
Neal Kosály-Meyer, piano, guitar, voice
S. Eric Scribner, piano, percussion, field recordings
Amelia Love Clearheart, bringing what she brought, doing what she does



Mr. Scribner gathered this cohort of 10 to improvise variously arranged quartets while carefully avoiding having too many Banned Rehearsal members all together until the very end when we were all there anyway. Good feelings all around.

Recorded

September 30, 2018
Twenty-Four Tonal Preludes: 5 through 8 - Greg Short - Keith Eisenbrey [March 2007 at University Temple United Methodist Church, Seattle]

5. lively but a bit rushed; 6. crazy man; 7. tender, lovely, childlike, lullaby waltz (delicate piano writing!); 8. tells a whole story complete with corporate lament refrain, a ballad, that is, is what it is

Where Do We Go From Here - Oscar Peterson [from The Great Connection]

a show-off but
o what glory!

a tour through his colleagues' manners
a tip 'o hat to Bill
a say hi to Sphere

Track 5 - Empire Brass Quartet [from American Brass Band Journal Revisited]

brass fandom
another enclave
with its enclave pleasures

Banned Rehearsal 82 - Karen Eisenbrey, Keith Eisenbrey, and Neal Kosály-Meyer [May 1986]


blowing pipes
rattle laugh
third body
imaging itself
as bumblebug balloon rub
elastikissing sticky kiss
rainbow plane
pass over
dog barks
twangchord talks
balloon talks
pipe blows
still guitar strums a while
and also another bell bongs
pipe blows
pluckdrone pipes blow (two of them)
we retreat back to sounds just made before that what
that will now new be made
guitar close in
each
but specific close
not equal
so drumbody
guitarbodydrum
boxword
an utterly other sense of playing well
giving it your voice
in doing so
it allows others
to give theirs their voice
the world is our axe
and laughing box
return to rattle again
sleepy as they are
focus remains

October 4, 2018
Something In The Way - Nirvana [from Nevermind]

interval: between acousticish sound and electroreverberated sound drives it
or
driven: by 2ish note tune then 3ish note tune
intriguing that it doesn't go on because it could

Sonata in G - Pietro Locatelli - Philharmonia Virtuosi [from Musical Evenings With The Captain]

never finish a thought unless thy finish be to pick up another thought
never finish a balanced thought
music before Beethoven killed it dead
two violins and cellopiano continuo
movements arranged not for drama but for social function presumed
else why?
better than whist by far

Ballad of the Whitman Greeks - Wes Weddell [from My Northwest Home]

the city they named twice made famous by a cartoon a story heard having been told to
but unverified
micro-urban myth?

"...woe my road is spoken..." draft 060604A - Keith Eisenbrey

another midi go at my variations for string quartet
playing with just so variation flowing through just so continuity
room to breathe
finding foil and echo in a pitch pattern

Bury Me Close - Rachel Harrington [Celilo Falls]

wrapping words around a place in the voice
the place that lies above and the place that lies below
waters upper and lower
should have seen her dance

Lincoln Beach Park Walking North - Keith Eisenbrey [May 2016]

I accidentally recorded this
pushed record unintentionally

so wasn't careful

saw a seal

latter day dinosaur sound (microphone bump bump) overlays sound of walk and sounds along walk

right left
left right left
he had a good job
and he left right left

rhythm between the relations among the sound from outside our mechanism of walking
the sound of our walking the sound of our talking while walking and the sound of the device hitting and rubbing

sexy flange of wave sough

In Session at the Tintinabulary

October 1, 2018
Gradus 340 - Neal Kosály-Meyer

does the quantity of simultaneously played notes count beyond 1, (2) (many) (lots)? and is that importance commensurate with horizontal quantity?
possibility: composition can resolve or confuse that issue or mediate that resolution and confusion

Saturday, September 29, 2018

Playlist

Live


September 27, 2018
Greg Sinibaldi Trio (Ray Larsen, Remy Morritt, Greg Sinibaldi) / David Pate and Steven Cohn
Chapel Performance Space, Good Shepherd Center, Seattle

DP and SC:

fluid tour through times and joints (of all the)
linger in the back booths
down the long byways
nightish slipping into reverie ways
passing time(')s past time past passing
flung in part from earthbound

largely concerned with the surface between their individual sounds
a wrestle afloat in temporaneity

skin shared
intent skeined
(more'n one way to)

switch instruments but don't change the subject

keep it lively

GST:

tone fills space

giant slam speaking

location projected with weight throb ventriloquized under liquids and corridors
cathedralic culverts

a raft
pipes
rocking swells

imagine a tempo and phase along it
both

hot rod star machines gunning motors

blow bell blow

simple melody writ enlarged

ether ways net work tapped

Recorded

September 25, 2018
Concerto in D BWV 1050 - J. S. Bach - New London Consort, Philip Pickett

its parts show
its cooperations laid bare
all of them

we are aware of awareness

Quartet in C op. 59 #3 - Beethoven - Alban Berg Quartett

straight tone to explain
where it might go anywhere

the sides of each thing are hidden behind what you hear
not until they turn the corner hidden inside

traveling by warp and weave
these parts do not cooperate to fit

they are carved to fit
joined cabinetrically

Sequito del Quintetto "Buona sera, mio signore" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

just taking care of stage business

Hot Mustard - Fletcher Henderson [from Alan Lowe's That Devilin' Tune]

such an easy move from part to part
nothing to it
packed with event but never crowded

America - Alan Ginsberg [from Holy Soul Jelly Roll]

drunken reading
"my mind is made up there's going to be trouble"
"I'm addressing you"

stand-up comedy act

his
"queer shoulder to the wheel"

In Session at the Tintinabulary

Sepember 24, 2018
Banned Rehearsal 967 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, September 22, 2018

Playlist

Preface

"The words we choose to address our musical thoughts and concerns are moral actions. It's not that, by choosing, we have acted in a moral way; nor is it that, by choosing, we act in a way that is good or bad. It is, words are actions, actions that are subject, subject-able, to moral considerations. By choosing words to address our musical thoughts and concerns, we choose verbal language; by choosing verbal language, we choose, willingly or un-willingly, wittingly or un-wittingly, many words, many actions, many moral acts."
Jon Forshee "If Music, as a Music: Three Notions Around the Thoughts of Benjamin Boretz" Open Space Magazine issue 21 spring 2018

Texts

Recorded

September 16, 2018
Forever - Screaming Trees [from Clairvoyance]

twice the tune
twists away from its starting
neenerneenerness
instrumental bit

then twists away again
just to the point of losing
grip

Banned Rehearsal 271 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 1991]

old ice cream
at Toad Hall
advice for adult living
baby talk
inane conversation with sound effects
distraction of infant in the room

lots of pistons

Aaron proclaims that when J became 27 years of age Bruce Springsteen would be president.
that would be strange
opined Karen
not as strange as who is president
now that J is 27 years of age

Sonata in D minor - Jean-Marie Leclair - Philharmonia Virtuosi [from Evenings With The Captain Vol. 1]

contrapuntal weaves were all the rage still
so everything copied it as a model
as later the operatic scene

civilized grace (what else would one expect from a Jean-Marie?)
some instrumental showing off

September 18, 2018
Drifting - Wes Weddell [from My Northwest Home]

free reed harp as one-man horn section
shukashukashukashukashukashu
song of where we landed

Making Hey - Eve Beglarian - Eve Beglarian, Matt Fieldes, Damien Bassman [from Open Space 21]

or was
as in
at as
an or
even was
when that
as in

Night Signals Journey To The Sea - S. Eric Scribner [from Stormsound Cycle, May 2011, private recording]

doing next to nothing for a stretch inflates doing anything from both sides of the performance doing divide
turning in sleep

. . . crickets . . .

woke up the birds

abide next to nothing
doing

abstract literal
(fact as though image)

September 20, 2018
Finnegans Wake Chapter 8 - James Joyce - Mary Lorson and Brian Hall [from Waywords and Meansigns]

on a bed of tones and crickets ALP told all about as a comic dialogue
from the Ginsbergian Beat Voice Sound notion
i.e. music sound upon which to sit
to lie
8 bit hip hop

what men say about women
never the other way

witness we are to conversants' conversant converse

a pause as to shift
point of view

done

In Session at the Tintinabulary

September 17, 2018
Gradus 339 - Neal Kosály-Meyer

6th B up then a 4th above

Saturday, September 15, 2018

Playlist

Recorded


September 9, 2018
Zeitmasze - Karlheinz Stockhausen - London Sinfonietta

not yet
if it ever will be
divested of its operatic flow

a scene of sniping-at-each-other people

irreproachable by design

staining the whole is its forcefully presented Modernity, its Avante Gardity
the purpose of this music is to set the front point of the fashion of music
to get ahead of us'n'all

Try A Little Tenderness - Otis Redding [collected from Dave Marsh's The Heart of Rock & Soul]

magnificent right up to where it gets big and self-absorbed for no particular payoff beyond a merciful fade-out

Younger Than Springtime - Oscar Peterson Trio [from Great Connection]

flits
easily

from texture
to texture

touch
to touch

September 13, 2018
A Pedantic Soliloquy - Keith Eisenbrey, Neal Kosály-Meyer [November 1981]

just post under graduate thinking processing as sonic or aural essay

left
the text
right
the sighs

passed
traded

clap!

chains by x-junctions
bare channel LR composition personhood

bangclankclapwhap reminiscifying a chamber Trans a la Stockhausen

weary feet

we break into anthem

music theory in its performance practice

Live

September 10, 2018
Banned Rehearsal 966 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Saturday, September 8, 2018

Playlist

Live
Like it is


September 2, 2018
CHA Trio - Heather Bentley, Amelia Love Clearheart, Carol J. Levin
Cafe Racer, Seattle

Such a beautiful time this was
CHA Trio is a chemistry found, a rare and precious thing

after their set other threes of us rode their sparkly wake
(thank you for allowing your blogger to join in progjazz keyboardist guise)

Recorded

September 1, 2018
Duetto "Pace e gioia sia con voi" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

conflict is a structural interaction

Rabbit Foot Blues - Blind Lemon Jefferson [from Anthology of American Folk Music]

"bisquits are a little thin"
light quick strummelo

Do blues guitarists often play in A-flat
or has this recording been sped up?

Your Promise To Be Mine - The Drifters [collected from Dave Marsh's The Heart of Rock & Soul]

The vocalist needed a pop guard.
(sweet sax track in the back)

The Great Airplane Strike (remix) - Paul Revere and The Raiders [from The Legend of Paul Revere]

spy sound with a power blues heft to it

Jenny Nettles - Harry "Pappy" Wells [from The Art of Field Recording Vol. 1]

fiddle scribblin' with left hand pizz!

followed by the obligatory "I made some mistakes like I thought I would but that there Jim Davis used to play that awful nice" nuanced self-deprecation

It sounded pretty fine to me.

Strict Time - Elvis Costello [from Trust]

gamelonic flow

Banned Rehearsal 81 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 1986]



Tad Pole - Kosály-Meyer - we continue sudden singing
slip rattle backbeat
several false starts stacked in sequence onto the end bone of it

microtonal study - some people likes a beat

goes on too long in a most peculiar way
part two with vocals and funmaker sneaking in there
quite the sham man there chant there

Kyrie eleison - my vocal plus 'du

more of the sorts of microtonal thinking that only liberated intonation would allow
whipping flames out of that tambourine back there karen!
the between bits composed as to be uncertain for a good long whether one is in which bit of what song

". . . to pick up where we left off" (more stuff under the seat left back there)
one is in or not static stuck but tugged

Karen lofts the date into the epistolarisphere
the rhythm of the pace of writing read as improvised textual crosspointed 3-dimensional poetry

September 3, 2018
Fear Bitterness and Hatred - The Young Fresh Fellows [from Electric Bird Digest]

we hear in excruciating detail some venerable genre of psychedelic surf parking out in a moralizing 60's message board

Duet in D - Haydn - Philharmonia Virtuosi [from Evenings With The Captain]

a pleasant breakfast in the sun room
its own costume drama parody
playing for its fellow wizards

Lakeside Summer Home - Wes Weddell [from My Northwest Home]

its tense: past telling present subjunctive had now been past narrating the present as though from the future

"...woe my road is spoken..." - Keith Eisenbrey [midi draft of June 3, 2006]

disparate times in a row of chained pitch worlds

Great White - Youth Rescue Mission [from Youth Rescue Mission]

coloristic active composite arranged patterned

Something of Mine - St. Rage (Your Mother Should Know) [mix of April 19, 2016]

And we're going to go give blood today too! waddayaknow!

September 6, 2018
Concerto in B-flat BWV 1051 - Bach - New London Consort, Philip Pickett

reveals what is admirably small and transparent
allowing maximum differentiation, the play among individual strings isn't washed out in box resonance
inner overlaps each distinguished

portativ continuo? interesting and quite successful!

not played as THE SIXTH BRANDENBURG CONCERTO
but keyed down so that its intricate address is made plain
its hocket phrases are allowed to remain made of parts made by individual players

no big deal here move along

we can't

See, The Conqu'ring Hero Comes from Judas Maccabeus - Handel - Philadelphia Orchestra, Eugene Ormandy, Mormon Tabernacle Choir, Richard Condi, cond. [from Handel's Greatest Hits]

played for dreariness and all it doth not add
rah!

Aria "Contra un cor che accende amore" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

every moment a theater
a stage made of dynamic moments

High Fever - Coon-Sanders Orchestra [from Alan Lowe's That Devilin' Tune]

patterned sequence of time spans similar
but made not so
by each's display
watch me!

Symphony 1 - Samuel Barber - Saint Louis Symphony Orchestra, Leonard Slatkin

comes on like movie credits of the 30's
must grab NOW
moments of being must be ultraexperienced
in big screen passion

In Session at the Tintinabulary

September 3, 2018
Gradus 338 - Neal Kosály-Meyer

shows its hand as the better idea
recomposed from the ground up

the color of water
protesting singularities

a discussion about wealth
among friendly climes

playful
glittering

Saturday, September 1, 2018

Playlist

Recorded

August 25, 2018
Mossyrock, Lewis County - Wes Weddell [from My Northwest Home]

guitar plucking tenor minstrel
a collective memorial

Kilvert's Hills - Krassimir Ivanov [from Open Space 21]

contrabassoon, I think

turns melody's ear here
there

all been there
never wasn't

a cozy room in the woods

Nature Lives in Motion Part 2 - S. Eric Scribner [from Storm Sound Cycle, Chapel Performance Space, Good Shepherd Center, Seattle, May 2011]

I drew a picture and wrote a poem

August 28, 2018
Finnegans Wake Chapter 7 - James Joyce - Mike Watt & Adam Harvey [from Waywords and Meansigns]

guitar thrum color of page
figures texture of tale
slipping off character intrusion of voice
goes under (done)

August 29, 2018
Hallelujah, Amen from Judas Maccabeus - Handel - Philadelphia Orchestra, Eugene Ormandy, Mormon Tabernacle Choir, Richard Condi, cond. [from Handel's Greatest Hits]

It isn't that he had a tin ear for English, it's just that he didn't care. Settled for blocks of affect.

Requiem - Mozart - The English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir,
Barbara Bonney, Anne Sofie von Otter, Hans Peter Blochwitz, Willard White

accretes and presses down
to rise while falling
all the while a collective endeavor
any given passage traverses solid spans
we never get to where we were
no span remains
or survives a passage

In Session at the Tintinabulary

August 27, 2018
Banned Rehearsal 965 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer

On the porch with
Aaron, chanter
Neal, phone
Karen, autoharp
Keith, ukulele

also sharing a few little bells and a dried leaf

August 31, 2018
University Bridge 180831 - Keith Eisenbrey

cars on grated bridge deck go by

Saturday, August 25, 2018

Playlist

Preface

"Here matter is not what matters, but instead 'mattering' as inter active processes that take place between a diversity of matters, human beings in interactions with other human beings, human beings interacting with other non-human beings, including inert things, producing a diversity of situations in sounds, words, gestures, dances, visual traces, acts, ... Each time the complex layering of active material elements that influence each other in conflicting multidimensional intercourses, gives rise to the emergence of a peculiar situation that can never be exactly repeated, due to different circumstances and agencies. And therefore mattering, even if a stable instituted disposition will be the guaranty that something of importance can emerge, has to do with ephemeral forms of experience, with work in progress without progress, in which matter is continuously revived, far removed from definitive immutable truths." Jean-Charles François "What Matters" Open Space Magazine Issue 21 spring 2018

Texts

Recorded

August 21, 2018
MASS: A Theatre Piece for Singers, Players, and Dancers - Leonard Bernstein -  Alan Titus (Celebrant), Norman Scribner Choir, Berkshire Boy Choir, Studio Orchestra, Leonard Bernstein (Conductor)

It was not my intention to be blogging about this piece on LB's birthday, it just worked out that way. I spent a certain amount of time with this back in the day, and it ends up, frankly, leaving a bad taste. What isn't cribbed from others undermines itself irremediably. And he keeps hammering the Author's Message home. Hammer Hammer Hammer. Then some more hammering. The rotting corpse of Big-Tune Romantic Triumphalism on obscene display. Every possible end point strung together end to end without purpose. It won't help. Larded with ear worms and sodden with gaudily lit up irony. Slightly higher brow Andrew Lloyd Weber. Ugh.

August 22, 2018
Stray Bits - Keith Eisenbrey, Dave Jones, Aaron Keyt [November? 1981]

the tail end of something lame from 1981, left over at the end of a tape re-used to capture something else.

Baby Grand - Billy Joel with Ray Charles [from The Essential Billy Joel]

Bad Bernstein, lame bits, and now Billy Joel. I was not expecting anything remotely as fabulous as this is. BJ does a creditable RC impression both singing and playing - I don't think I could reliably pick out which was which without seeing it done. It's as though Ray were teaching Billy how to sing his own song. So far, hands down, this is my favorite cut on this album.

Banned Rehearsal 270 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 2001]

gently begun til bowing takes off and opens up though never not gentle
spring in a tube
inaverse to playing out loud shaking scraping backforth rhythms restless sleep
JJumpUp?
Ring the Bells! Ring the Bells! Jingle Bong HOI!
oh dear we woke the sprite
eruption of radio
Aaronsbundler shatters apart slipjointedly
someone pitched 104 pitches
back to gently restful with guitar and bells and strikes upon the imperturbable going
on tribes of drums ongoing
we return to spring in a tube

August 24, 2018
Eight Pieces for Violin and Cello - Handel - Philharmonia Virtuosi

starts honestly, tuning up
just enough substance to allow music to be made of it, almost Couperinish, but less overtly sophisticated
bending toward neo-classical phrasing rather than wallowing in baroque interweaving
concerns balance bald - almost Randallian
by the book balance of phrase disturbed by inner disconsistences
or
we deafen ourselves to many things by applying, as the whole point, balance, rather than using it as only a frame of reference within a more twisted aesthetic
how many ways can the utterly stable be not at all stable not at all
within these balanced boxes metrical hefts shift in close pre-Copernicusian dance

In Session at the Tintinabulary

August 20, 2018
Figure Study 180820 - Keith Eisenbrey

Neal couldn't come over for Gradus so I flailed away on the keyboard for awhile.

Saturday, August 18, 2018

Playlist

Preface

"So an activist doesn't transcend time, it invents a new time, in each new now. If each present is an expression of its past - of its histories - then opening-onto-future, as a radical reinscription of the past, is exactly what marks the end of history. Music, for Sun Ra, takes on a heuristic value here. My role as a music scholar as well: there is a great deal of research on Sun Ra, from the perspectives of literary theory, cultural studies, post-colonial studies, and more, but little of it touches Sun Ra's music. Music theory and analysis, conversely, continue to privilege things like coherence and connection and what we might call 'hearing-as' as its disciplinary/disciplining projects. I'm interested in what can we learn specifically from Sun Ra's music; its materiality, its matter(ing) - or from the activist now of any improvised musical expression, or from the relations between musicking human subjects and post-or trans-human sonorous bodies - that can be of value beyond the hermetic world of music analysis. I'm interested, in short, in the ways that music theory - and the ways that it can imagine or reveal relationships between musicking human and sonorous bodies, relationships that, necessarily, transform those bodies through the very acts of relating - might matter."
Chris Stover "Sun Ra's Mystical Time" Open Space Magazine Issue 21 spring 2018

Texts

Recorded

August 11, 2018
For Unto Us A Child Is Born - Handel - Philadelphia Orchestra, Eugene Ormandy, Mormon Tabernacle Choir, Richard Condi, cond. [from Handel's Greatest Hits]

royal triumphalism
utterly misses the insurrectionary tone implied by the list of and he shall be called

Serenata Notturna - Mozart - Capella Istropolitania, Wolfgang Sobotka

a certain amount of bombast must be necessary to wake them up
graciousness propped on sturdy stilts
playful sequence of tempi in the final

Aria "A un dotter della mia sorte" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

the expression is always clearly drawn
the comic stance allows anything to get thrown into the stewpot

I'll Be Rested - Roosevelt Graves and Brother [from Alan Lowe's Really The Blues]

great recorded sound of tambourine for 1926

You Ain't Nothing But A Hound Dog - Elvis Presley [from First Live Recordings]

drumbreak biddabiddabiddabiddabidda
stops
returns in stripper tempo
twice
thrice
shrieks are loving it

Big John - The Shirelles [from The Shirelles Anthology]

lots of airspace
you could walk around in there
an actual stage sized sound

Summertime - Billy Stewart [collected from Dave Marsh's The Heart of Rock & Soul]

extra syllables pile in through the rhythm section and Billy offers no resistance
ends with a lullaby holler

Pacific High Studio Mantras - Alan Ginsberg [from Holy Soul Jelly Roll]

to have been Ginsberg
having become Ginsberg
required playing Ginsberg
as Ginsberg
at all moments

The Quiet One - The Who [from Face Dances]

something in the engineering is off
heavy on the bass strangely thin everything else
they play energetically but some edge of it is blunted

Banned Rehearsal 80 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

a session of Sudden Songs: This Time of Night (Kosály-Meyer), Hey Hey Hey (Eisenbrey) - robust guitar tunin' pretty lick -  I Believe I'll Have Another Cup of Coffee Sir (Kosály-Meyer) - then playing with self narration of intention as subjunctive suggestions taunt - also the string's a might loose - mighty stirrin' sound though - This Here Tunin' Mechanism's All Busted (Eisenbrey), I Was Sittin' In The Car (Kosály-Meyer) - thoughts about strummy type rhythms and plucks 3 clear sounds steadying each other - Hollywood, here I come! - If I Were To Learn (Kosály-Meyer) - the reason BR never resolved in a rock & roll band or jazz band or ought other genre band that plays songs is because when we started to put together songs seriously, that is right away, we already had each one down in all its perfection of momenthood. There was nowhere further to go to resolve. Can't get better than perfect. Wild Thing (a cover of course), Amazing Grace to a Louie Louie beat (we had some discussion the other night about the difference between a cover and a performance - theory: one covers a recording, one performs a chart), Tell Me Lord (Eisenbrey), If You Find an Alligator In Your Bed Tonight (Kosály-Meyer), I Got Dust In My Nose (Meyer) - that is, Karen before we got hitched. This string's beginnin' to peel a bit here.

August 12, 2018
On a Plain - Nirvana [from Nevermind]

short feet face each other
across a break
a list of them with
bits that repeat

(intro and outro thingies are wrong)

Sonata in D Major - Bocherini - Philharmonia Virtuosi

violin and cello duetting demonstrating cooperation to demonstrate how pleasant a thing it is
domestic intimate for family public
not every household could afford Haydn so there was a market for fully realized home sized music

Sunshine Music - Love Princess (Karen Eisenbrey, Keith Eisenbrey, Isabel K-M [May 2006])

some question as to whether the personnel is listed correctly in my index

in which: the young'n age 6 is given an electric guitar to strum
we should get
a taiko drum
refrain boomboom boomboom boomboom BASH!
alto horn and trombone on one set of lips

Monday Boy - Shaprece [from Scatterbrain]

expensive sounding sound
haute couture construction
music as a kind of clothing self presentation
then there is another song after the song

Banned Rehearsal 909 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [April 2016]

we do the things that make the sounds
not expensive sounding at all
not expensive but occasionally puzzling in the sense of how are we making that sound?
what are we doing as we do those things that make those sounds?
drumming cooperative
low piano crossroads ahead
train whistle sucked into synthesizer

August 15, 2018
Hallelujah Chorus - Handel - Philadelphia Orchestra, Eugene Ormandy, Mormon Tabernacle Choir, Richard Condi, cond. [from Handel's Greatest Hits]

excessively beat-y
as a break from beating us over the head
more beating us over the head

Divertimento in F K247 - Mozart - Capella Istropolitania, Wolfgang Sobotka

dreary lackluster
he could churn out reams of this
statement answer
statement non seq
answer

though the moment between statement and non is lively

all about phrase balance
fails to get anywhere in the operatic way he can have
in short the balance between balanced and unbalanced is skewed too heavily toward the balanced

but overnight I had second thoughts

long static stretches of balanced thinking
come in anywhere leave any time
rewards attention without drama
very like high-toned background music
ambient music of another time long past

August 16, 2018
Act I Finale "Fredda ed immobile" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

rolled R's answered by vocal rrrrruns
go!
farce allows a wide range of affectual granularity
effective piccolo use
triangle glitter to close

Le Vieux Soulard et sa Femme - Blind Lemon Jefferson [from Anthology of American Folk Music]

strumbox and squeezebox
free reeds now!

You'll Wonder Where the Yellow Went - The Jumpin' Jacks [a Rescued Record]

mustard in your chili pie
crazy man slang as many as can be got
like patter, man

Telemusik - Karlheinz Stockhausen

a poly-layered list
everything in its order
a study or chamber version of Hymnen
directionality metaphorized into leftrightness
doesn't come across as all that subtle in the end
though: in '66 stereo  play was relatively a new face
tuple channels
the play of filters and presence is better
music for loudspeakers

In Session at the Tintinabulary

August 13, 2018
Banned Rehearsal 964 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Once again on the porch, features a new ukelele and an old autoharp

Saturday, August 11, 2018

Playlist

Live

August 4, 2018
Forest Show - music by John Teske and Neil Welch
Ravenna Park, Seattle

John Teske, bass
Neil Welch, tenor and C soprano saxophone
Samantha Boshnack, trumpet
Ebony, cello
Noel Kennon, violin
Greg Campbell, drums

it is a rare thing
not Ravenna Park
- if one is not engaged at that moment in the performative mode of Choral Singing
just then -
to experience the same
precise
blending sense
of being a proper part of this activity we are doing together

I have been conscripted to battle
that much is clear

(flash scene)
(Gangs of New York)
(Dead Rabbits emerge)

warriors of cosmic conscience and little bells
now relics on the table

battle whom? what?

the clear co-association of each of us with the march, the us, the procession, was enough
we are us
we are the knights who process with bells

fear us

but seriously folks

there was a call, a gathering, a procession, and an anthem
there was preaching and a rite
as though
the blood of prophets
grows up
through us
church arising
through cracks in the pavement

fall you will rise you must

dust of priests fear not tidings
so loved the world
in own image

us

--- Thank you John and Neil and your superb cohort! Joy is a pleasure and joy in music is a particular pleasure.

Recorded

August 4, 2018
Duetto "Donque io son . . . tu non minganni" - Rossini - Failoni Chamber Orchestra (Budapest), Will Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from Barber of Seville (Highlights)]

dumb fun yes
also no moment like any other
conversations and coils and negotiations and journeys

I Want Jesus to Walk With Me - Homer Quincy Smith [from Alan Lowe's Really The Blues]

reed organ and tenor sweet

Why Do Fools Fall In Love - Frankie Lymon and the Teenagers [collected from Dave Marsh's The Heart of Rock & Soul]

before band-ness became what it came to be
as: who and what did that
is: when the group was a group of singers first, accompanying themselves perhaps

Baby It's You - The Shirelles [from Shirelles Anthology]

alarming dynamic contrast in the mix
gives the singer's voice room to get low and sexy

Substitute - The Who [collected from Dave Marsh's The Heart of Rock & Soul]

mixed blatant so that
what is front is front
what's back is back

The Journeyman's Grace - Fairport Convention [from Meet on the Ledge]

the word "I" has almost an "oh" sound to start: "oh-EE" rather than "ah-EE"
an accent that was near to that that returned in the heydays of Brit Punk
England land of diphthongs

Strawberry - Keith Eisenbrey, Dave Jones, Aaron Keyt [November 1981]

one side of a conversation
telepathic feelers
you enjoy your dinner

NB - this is one of the very few bits of recorded sound left over from that proto Banned Rehearsal time

I've Seen Your Face - Julian Lennon [from The Secret Value of Daydreaming]

suffocation saturation sound

August 7, 2018
Banned Rehearsal 269 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [September 1991]

Toad Hall and its intonation of doom and destiny
do not adjust, listen instead
you will have to listen to what this little bird says in order to construe oneself
boogah! boo-gah-loo!
a unique compositional challenge: engage with a protoverbal sentience
nailed it
(easier than with a verbal sentience, especially than with a neoverbal)
a seminar open table conference hearing congress convention
of rhythmic inflection
from inside the tape, any input from outside the tape serves to shrink, diminish, circumscribe
the challenge of any sound is to be more than its fact

August 8, 2018
Caress Me Down - Sublime [from a private mix CD]

a sex brag weaving between Spanish and English
little bit of a Bo Diddley beat

I Love You - 260000 Volts [from The Funhouse Comp Thing]

urge mindless
certainly does not overstay

Nature Lives in Motion Part 1 - S. Eric Scribner - S. Eric Scribner, Mike Sentkewitz [from Storm Sound Cycle, Chapel Performance Space, Good Shepherd Center, Seattle, May 2011]

how it begins
cetacean siren keen feline yowl caw

limn of sky and ocean
was not

a long process begins here
utterly without hurry

time to enter an impersonal space completely progressing clearly in imperceptible increment to space-alien cricket field

never clear whether bird sound is from the can or from the out
disbalanced
what is in the room barely registers over what already persists
our world matters so little

what of it is the use of it as over above what is the other of it, the it of it

the passing squalls have carved the landscape into passing squall impervious hollows
little can happen except in the eddies where flotsam collects

a corner is turned around a ridge line into a furtherscape where we sit and say what we did and what we heard

best get on up the trail

!fun fact: my laptop was used to play back the canned bits

syncretic land/sea/jungle/alpine could be all at once or
rigging creak on ocean ship

70 minutes in a dynamic event with bird tweet or not

August 9-10, 2018
Finnegans Wake Chapter 6 - James Joyce - Maharadja Sweets [from Waywords and Meansigns]

comedy show
from space!
each line a separate dream full formed
folk strum recitativo psalmtone focus
the finessed intervals between each end of line spokesung and guitar refrainingcommentary
as though this were simply sung for y'all to hear
!to Anna Livia!
is each
things enumerated here
focus: size of
riddle me this: range of
reading with specs :|| answer ||: rank of
!! Finn Mc Cool !!
sees of
another silent hiatus
after which the tune bends downward not this not that game show !!! ANSWER !!!
sub basement ward
FIVE
fragmentsed fastjumbleforwardthroughawesomeheap
MS SAM!??? almost
teachermaster filtertransformuliterates into dialogue reported
sequentiated logo layers
the linguas distracted
each from their each
quiver against each other in layerous words

In Session at the Tintinabulary

August 6, 2018
Gradus 337 - Neal Kosály-Meyer

Every piano composition performance should announce itself with equal forthright-ery and detail.
If this is melody
what is the exact nature of it? exact to the absolute? notes emerging into consciousness
after all these years it is easily as much about teaching me to hear piano music one note at a time
as Neal learning to play so
an interview question (hear below)
Do you, when moving from one rung to another during a single double 40 minute session,
think: this is a new thing entirely wipe the slate clean of rung before just preceding
or: now I'm just gonna move some notes around
or: something else entirely?
gap between what it says and what it is
transformation through filter of availability (as a compositional strategy)
downright narrative

Interview Question - Keith Eisenbrey, Neal Kosály-Meyer

I was so tickled to come up with an actual question that I asked it. Neal answers immediately.

August 7, 2018
Oak Harbor 180807 - Glen Eisenbrey, Keith Eisenbrey

I was in Oak Harbor, Washington, on Tuesday, with my brother Glen, who decided to give his car an automatic bath. I recorded it with a phone app.