Saturday, September 29, 2018



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


tone fills space

giant slam speaking

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

a raft
rocking swells

imagine a tempo and phase along it

hot rod star machines gunning motors

blow bell blow

simple melody writ enlarged

ether ways net work tapped


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

"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



"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



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

twice the tune
twists away from its starting
instrumental bit

then twists away again
just to the point of losing

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
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

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


In Session at the Tintinabulary

September 17, 2018
Gradus 339 - Neal Kosály-Meyer

6th B up then a 4th above

Saturday, September 15, 2018



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]


from texture
to texture

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

the text
the sighs



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


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

Saturday, September 8, 2018


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)


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!

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

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


Saturday, September 1, 2018



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

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