December 1, 2018
Allemande - William Brade - The King's Noyse [from Mascharada]
closer to clearly a dance than any of Bach's Allemandes are
step kick step kick
do they all stem from the same root dance as the Polka?
King Arthur Act III - Henry Purcell - Le Concert Spirituel, Hervé Niquet
Purcell liked the noise of it
up to his elbows in liking the noise of it
a shake (ornament) on shake (word) - very clever, Henry
wordpainting as blatant as possible, visceral even
as though that were so completely the point
but also distracts some from the little seminar the notes are engaged in, as notes
and then there's a Wind Machine!
to reprise is to vary
the activating symmetries
we suspect the non sequiturs
are not so non as all that
a lull? a lulling? a trap?
(left hanging in the attentive lurch)
definitely a trap
pizzicati ex machina
Caprice - Henryk Wieniawski - Itzhak Perlman, Janet Goodman Guggenheim [from Itzhak Perlman
Live in Russia]
a remnant of the old Music Is For Fun vogue
East Arkansas Shout - Sammie Lewis [from Alan Lowe's That Devilin' Tune]
picked that up (the vogue above)
a draft or older version of the land of a thousand dances
pre mashed potato too
Carabina Trienta-Trienta - Epifiana Sanchez and group [from The Art of Field Recording vol. 1]
There is a slow flange quasi-arpeggiation effect concerning the placement of the strum sound upon the strings within the presence of the recording. tape wobble or intent?
December 4, 2018
Don't Be Afraid of the Dark - The Sonics [from Boom]
a reimagined throwback
Punk and its progeny being a back to the roots music, from the very root of it arises a propensity to revisit older songs and goose 'em. From this trope comes some of my favorite covers and moments: The Stranglers Walk On By; The Dictators I Got You Babe; and (live): Peterman I Can't Help Falling In Love With You; and Red Ribbon That's All Right Mama.
stripping the sheen from the 50's
bringing it home
Chordially (Improvisation) - Thelonius Monk [recorded in London on November 15, 1971]
thinking with his hands
not a finished thing and clearly not a thing intended to be finished
melody notes perched uncomfortably on lumpy chord chairs
Eliza Act I - Keith Eisenbrey, Dave Jones, Aaron Keyt [December 1981]
oh golly this goes back
in the year between my graduation from the UW and my wandering off to the East
Aaron, occasionally Neal, Dave Jones, and I would gather in the basement of Dave Jones's place north of the University and record improvisations. Over the course of several such session we improvised an opera named after one of the characters in Kurt Vonnegut's Slapstick. The result is easily not all that wonderful, but it has its moments and anticipates many of the activities that came to dominate Banned Rehearsal a few years later.
intoned trombone, bass clarinet, conch? ceremonial solemn
If improvisation's purpose is to elicit pieces of music then we explode that idea by trying to elicit a particular known genre of music, demonstrating just how far off things can get. And it isn't due to us choosing the wrong kind of music to elicit. We do it in numbers.
we didn't have amplification per se to play with so we moved the microphones around instead
all of a sudden I realize
hey I'm in control here
December 6, 2018
Diamonds on the Soles of Her Shoes - Paul Simon [from Graceland]
fancy melismas and choral drums
Banned Rehearsal 275 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 1991]
a piano, so, Toad Hall
thumbpiano mixed to have presence
J operates a spring contraption and is cyclically quite amused
drum and brass with flabby lip
the organ transformed suddenly into The Show
or was that the Aaronsynth?
going on for the cause of why not go on
or drift more
fat finger tunes
some tiny whisper whistles imitating cassette ghosting
J squawks discovering agency
double double reed thingy designed for the desire to be at two with one's self
squeamish should turn their ears aside
diaper is being changed
In Session at the Tintinabulary
December 3, 2018
Banned Rehearsal 971 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt
December 4-5, 2018
How Firm a Foundation - Keith Eisenbrey
I wrote this chorale prelude-ish arrangement of the hymn tune Foundation in July of 2001, the last of three little organ pieces. For the last decade plus now I've been going through all my keyboard pieces to be sure I have acceptable recorded documentation. They all work pretty well for piano too, though this one requires some carefully applied sostenuto pedal in three or four spots.