Saturday, January 20, 2018



January 19, 2018
Triptet - with guest Stuart Dempster
Gallery 1412, Seattle
Greg Campbell, Michael Monhart, Tom Baker

Grows from the center out
Triptet with Stuart in carefully matched tops
and a rhythm of beards
successively shedding each past against chronospheric abrasian inexorably
seasonal dormancy
alien body antibodies
Stuart joins! late night FM station sea shore sea shell show
bouy bell
kalimba magma man
electronic squeezy wormhole to outer sci fi
Punch (sans Judy) in space toy time


January 13, 2018
Jacob's Ladder - arr. Ernest Kenwal - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of April 11, 1961]

Each verse is arranged to do exactly the same thing in a slightly differently arranged way. He could do this all day. To anything.

Hastings River, New South Wales
Just Like A Woman - Bob Dylan [from Biograph]

A song all scrubbed up and shiny for public consumption, just rightly arranged. Syllables are not set to notes, but to pitch vectors, pitch curves.

Behind Blue Eyes - The Who [from Who's Next]

The Romantic imagination mythologizes itself in order to imagine growing up. No Drums! (til later). The songwriting is blatant in the songwriting.

Stay - David Bowie [from Station to Station]

A careful slicing into a funky rhythm hoping to find whom? James Brown? His solo vocal is a collection of overlays, each complete, each integral to itself and complete. Together they form a composite reading of how the song might be sung. Bowie thinking.

You'll Never Be a Man - Elvis Costello [from Trust]

A simpler version of the same (Bowie) idea. Simpler not in the bad stupid sense, but in the clarified pointy sense. Or, how a single song can render Billy Joel entirely unnecessary.

Banned Rehearsal 69 Part 2 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [March 1986]

starts out somewhere in Late Beethoven Slow Movement Serious Mode, until it gets just out of sight around the corner. An internal psychic anatomy. Back to LBSMSM, i.e. sustained harmony with inner energy that feels as though at any moment it is about to become . . . [never complete] [refrains from] [rather, it slowly deconstructs] its sense of self into another and runneth then over [repeat ] drumming does a number on the clock chime - oh that Bickleton clock chime! - long dim.
My Sweet Euchabibilla Baboo, Electric Garbage, then the Aaronsbundler March in all its pomp triumphal and glory grandiose

nobody, but nobody
pomps triumphally and grandiosally like we does

Territorial Pissings - Nirvana [from Nevermind]

slides knife into its groove

Banned Rehearsal 435 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, and Neal Kosály-Meyer [September 1996]

Even in the decade of chaos we make a remarkable sound. Keeping the rhythm lively - and all while
Karen was nursing the baby right there. Familial. Banned Rehearsal lullaby.

January 15, 2018
Embryonic in the Same Traditions - Dale Lloyd [from Sonicabal 2001]

the human mouth is the cavernmyth of language, dragon's lair.

Banned Rehearsal 699 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [March 2006]

Incongruities joined by a near-common pitch
or by cooperative winding entwining
on the down low barest smallest of sounds
muttering with exactness into the big space around small sounds
guitar (neal) kicking the sound around on the floor
into hot spots where it glows in feedbacklight
improvisation: helping each other's sounds out.

The Chronicles of Dirty Dick Part 2 - Antique Scream [from The Chronicles of Dirty Dick]

Beat invention. Beat elaboration. Part 2 is in Two Movements.

Selections from Music for Wallace - Aaron Keyt [from my recording - Seattle Composers' Salon, January 5, 2018]

I'm coming at these pieces, in part, in my guise as pianist who has read through them often and who plans to work them all up in the next year or so. Clearly they are music. Just as clearly they are poems, thorny poems. Think a Dada Ezra Pound. thinkadada thinkadada thinkadada thinkadada POUND!

January 16, 2018
The Seventh Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

How many voices can be got to be seeming to be doing exactly the same thing, while all the while always doing entirely different things actually?

Birth of the Blues - Paul Whiteman, Ray Henderson, B.G. DeSylva, Lew Brown [from Alan Lowe's Really The Blues]

The Official Whiteman Tour Guide to Rhapsody in Blue, with favorite bits!

Grand Coulee Dam - Woody Guthrie [from Columbia River Collection]

In celebration of the industrialization of the West. "prancin' dancin' stallion". poet he was at that.

Jezebel: Overture - Benjamin Boretz [midi realization]

intimations of repetitions
that never
get repeating
they make
you wonder
if you
heard it right
the first time

Great Day - Vincent Youmans - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of April 11, 1961]

Intricate rhythms nearly obscured by the boomy old tape sound.

Let Her Dance - The Bobby Fuller 4 [collected from Dave Marsh's The Heart of Rock & Soul]

Wisely does not make the song much more than a vehicle for the rhythm. In which the guitar riff neatly invokes a subtle cross-meter in 3.

Won't Get Fooled Again - The Who [from Who's Next]

There are some words in there inside the emphatic locution. How the words are spoken, not what the words speak.

Wild Is The Wind - David Bowie [from Station to Station]

Picture an awful movie, just dreadful
the credits roll disconsolate
past the first credit roll song
everybody leaves
just then is where this song belongs
brilliant unexpected brilliance
"you touch me I hear the sound of mandolins" barfy song lyric lifted into incandescence.
I know he's just showing off, but this is one of my favorites.

Undifferentiated Functions - University of Washington Contemporary Group Improvisation Ensemble [live at Brechemin Auditorium May 1981]

Now with tape wobble! Me, in closet, gaveling.

January 18, 2018
I Know What I Know - Paul Simon [from Graceland]

Third verse wraps the first around crazy high backup singers.

Banned Rehearsal 258 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [June 1991]

All tapes begin with fuss
quite thin the sound of rattling big red bag of fun
with pre-recorded music layered in: My Chart, my Sonatina, Cantus
gentle sounds then the rhythm band cymbals
an apparent harmonic tendency upwards or not downwards
Toad Hall? probably. We'll say so.
my Sonata in 2 Movements
Such Words (must have been Neal's)
we all sing to baby

In Session at the Tintinabulary

January 15, 2018
Banned Rehearsal 950 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

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