Saturday, May 18, 2019

Playlist

Live
hoop trees at the Good Shepherd Center


May 16, 2019
Compassion
Chants by Hildegard von Bingen
Players: Janna Webbon and Sarah Pyle
Singers: Danielle Sampson and Beth Ann Bonnecroy
The Chapel Performance Space at the Good Shepherd Center, Seattle

part sacramentation
or re-sacramentation
but certainly a reclamation of space for use

by worshiping in it

(quatradual →□←  ritual)

service
for each other

I am sorry to have arrived late.
I snuck in behind the celebrants' grand entrance in their Atwood-red robes so I sat off to the side, hoping I wasn't choosing exactly the spot they would need for something. If I did (though I don't think I did) then I'm sorry for that too.

I can not think of a nicer way to have been introduced to Hildegard von Bingen - her chants not messed with as themselves, but set among our presence and our problematicals, still very much alive.

vibrant and relevant

Recorded

May 13, 2019

Sonata in F Major, K. 6 - Domenico Scarlatti - Pieter-Jan Belder

made from the useful parts, not so much of the oink
uses its keys directly, not ever modulating, as such, anywhere

Zillah, Washington - Mt. Adams in the distance
Let Every Heart Be Merry - Lake Washington Singers, Betty Eisenbrey, director [April 1966]

enjoy the party!

Trinkle Tinkle (take 3) - Thelonious Monk [from The London Collection]

a song is:
potential to veer
reckless hot dog water skiing

20 Jazz Funk Greats - Throbbing Gristle [from Greatest Hits]

narrow, peevish strands of extrusia slice and slither
for their own pleasure, not yours

Under African Skies - Paul Simon [from Graceland]

two half songs perfectly matched
verse song :: chorus song
text :: comment

wanders off a bit weird in the fade out

Rebel Rap Family - Geto Boys [from We Can't Be Stopped]

a trailer
for the film
of the legend

Introduction to The Twelve Wild Ducks from The Evil Queen - Seattle Chamber Music Festival [July 2001]

And quite an interesting introduction at that

Once Upon A Time - Bob Dylan [from Key Arena October 13, 2006]
Philipsburg, MT

I'm not enough of a Dylan scholar to know, for the most part, the names of his famous songs. This is the one that starts "once upon a time" and includes "like a rolling stone" and "no direction home."

near to desperate trying to find a new way to sing it just of the map of what he expects we might expect

the instrumental stuff gets eaten alive in that horrible key arena acoustic

The Sow Took The Measles (mass mix) - Train Case [June 2011]

I'm not sure what I was going for, soundwise, on this. It has too much guitar, that's for sure.

I Can't Be Young - Arbor Towers [from In Transit EP]



an interesting meter feel
the drummer and the bass set up some sophisticated metrical thinking
like as if it were a multimovement song
faster bigger song
followed by slower song that seems like it could be a coda, but goes on to return to a faster bigger song

May 14, 2019

Sonata in A minor, K. 7 - Domenico Scarlatti - Pieter-Jan Belder

What happens if you hold still?
What happens if you actively hold still?

Run, Run, Run - The Who [from A Quick One]

The sequence of pitches is less about identity class than about inflection class

I want to make squiggly alphabetical shapes

Pine Cones & Holly Berries - Lake Washington Singers, Betty Eisenbrey, director [December 1971]

a quod libet || above with: beginning to look a lot like Christmas

Philipsburg, MT
Stop Draggin' My Heart Around - Stevie Nicks and Tom Petty [from Bella Donna]

public breakup or near
or personal baggage as
half song (resolutionless)
mix tape filler or mix tape sleeper cell?



Assembly Rechoired 1 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Paul Eisenbrey [June 1986]



I play didj
Karen plays toy piano
Paul plays electric guitar, no doubt the one he passed on to me for safekeeping a few years back.
then I pick up an acoustic (mom's old one from out of the paisley case)
sound and signal and where the processing and how the processing transpires to make exactly this.
we move to postulate a polymusic

You're right. It is a Bovine Horn.
a genuine shaker from genuine San Francisco

We are the catfish of music, the bullhead scavengers hovering above the mud

someone is whistling the whistling solo bit from I Wish I Was A Kellogg's Corn Flake (best wishes Martin)

and an early appearance of the Entertainer music box (the first of two)

[NB - When Neal moved to San Diego, and while Aaron was still at Berkeley, Karen and I continued the Banned Rehearsal project in Seattle. Somehow it didn't seem to be quite exactly Banned Rehearsal if neither Neal nor Aaron weren't also contributing, so we invented a new name - Assembly Rechoired - for improvisation sessions in which it was just Karen and me, but including anybody else that wasn't Neal or Aaron. This was the first. As of this blogging there are 57 of them.]

May 17, 2019
Philipsburg, MT

Igneous - AMM [from The Nameless Uncarved Block]

transparent
holding each other within a serious and circumscribed image of doing aesthetical doings
all within a careful evolvement of a tradition
i.e. if you're standing on the shoulders of giants, don't jump off
long way down it is

Track 8 (The Twelve Wild Ducks from The Evil Queen?) - Seattle Chamber Music Festival [July 2001]

A study in chromatic scales and muscular modes.
Looking back on it as I blog I realize this is probably the introduced music of the introduction I listened to on the 13th.

"...woe my road is spoken..." draft 060709A midi - Keith Eisenbrey

This is the first of five midi drafts I made on July 9, 2006. After the fifth I was done with the last adjustments of tempi and dynamics

deep prying eyes || dyads' eyes
held long || for better prying

while you were listening to that ostensibly charming music
you were charmed right out of your resistance
close magic

we discovered a few things || by prying with our dyads' eyes
into and about || you

Yep, Philipsburg, MT
Isq Risk - Mere Brother Ki Dulhan [from Bollygood Volume 2]

the vocalists all focus their sound within a narrow range within the sinus area
not full on nasal
but bending toward that

even their instruments do that

given: Indian Sub-Continental Music's repute for hyper-extensive elaboration, these songs must seem improbably brief

Gradus 293 - Neal Kosály-Meyer [July 2016]

lots of notes
but in no hurry
to use them up

experience is: our best guess to feed into memory

It is interesting how it is easier
for me to experience extraneous noise
as part of the music noise when that extraneous noise is coming from the same single medium as the music noise - such as a recorded sound file played back on the stereo system - than out in the wild, possibly because mediated music has always had extraneous noise sound as a proper part of it.

Noise is Media
Media is Noise

in a quasi-Cagean sense

Improvisation is the practice of being deliberate right where the rubber meets the road, at the most granularistical decision point

staying put
and going back

moving on is a struggle

In Session at the Tintinabulary

May 13, 2019
Gradus 348 - Neal Kosály-Meyer

does the earmind
within which these cohere
know it is a singularity that coheres?
how?

it does cohering

to say that it is off the beat
is to suggest there is a criterion outside of itself
that matters to the image of its being

Postscripts

in the which i do by nature which is
looking out 11 tells you that that
hill and some next sights are if a lady

clouds arrive
as threatened
the wizard

Sunday, May 12, 2019

Playlist

Preface

"It seems clear that music never asks us either to make or experience it: in fact, it is helpless (indeed nonexistent) without us. We make music, because we need yet other ways to talk (to manifest more than our mere existence, as Herbert Brün would have said) and to enhance our physical and mental environments. Anything from the idea of music as political tract or personal rant to that of music as architecture or ecosystem - (cathedral, sermon tantrum, wolf-pack or rainforest) - may serve to both initiate and elucidate its complexities. . . .but"
Robert Paredes "Might Never Have Been: To and For Benjamin Boretz" Open Space Magazine issue 19/20 fall 2015/spring 2016

Texts

Live

May 10, 2019
Three Fingers
Camarones Orquesta Guitarristica
Ramona
Dead Bars
at The Kraken, Seattle

This was so much fun!

Neal - Many thanks for the ride to and from!

COG is from Brazil - BRAZIL!!! - a guitar orchestra led by the electric bass and the bass player and her swinging hair
Karen thinks they may have heard The Ventures, or if they haven't they ought to

The others are local or started local back to visit to join the party to celebrate Dead Bars album release. They all put on a truly enjoyable party in the oven that is the Kraken on an unseasonably toasty May evening baking us in a multitude of carefully calibrated variations of the old Ramonesy we're a happy family punk beat.

which: is there to create a springboard floor upon which to pogo slam and slosh about in the moshing up front so then
Karen and I moved up to the front row (but at one end because we're not stupid about being old) for Dead Bars' set to let what freak flags we have fly and to enjoy being part of the mosh slosh. One might not think it from the outside, but everyone up there is looking out for everybody else, gently guarding the possibility of vulnerability.
physical but quite aware of contact's context

Recorded

May 4, 2019
Sonata in G minor, K. 4 - Domenico Scarlatti - Pieter-Jan Belder

local tonality clarified by its mode of suspension within the figuration patterns
and vice versa

All The Dearly Beloved Together Forever I Do! I Do! - Harvey Schmidt - Mary Martin, Robert Preston [from I Do! I Do!]

the passage of Virginia Woolf's Orlando wherein marriage is the mania that sweeps all things Victorian portends
a response to a cultural cataclysm

there will always be a reaction
given a cataclysm

from piano plunking to full tutti scoring Broadway glitz and glam

Trinkle, Tinkle (take 2) - Thelonious Monk [from The London Collection]

this time
every keystroke
tells

White Girl - X [from Wild Gift]

plot the ratio of female vocal
to male vocal
in terms of duration allowed

the social picture of who absconds with the story
like measuring screen time in frames
counting lines and words

Janie Don't You Lose Heart - Bruce Springsteen [from 6 B-sides]

pop music as a service industry
providing comfort in convenient packages
strong unfussy songwriting though

one should studio fade a comfort song because that gives time for the comfort consumer to wish it would go on for ever

Sedimentary - AMM [from The Nameless Uncarved Block]

suspended but brought down through the echoed deep
a process of tiny things invisible adds up in the dimmest murk light
approaching the darkness of beneathness earth descends to carry earth upon its back
earth upon earth upon earth

heaven's burden is light

crabs on caffeine and all that pounds down upon us
and the relentless solar wind

Whispering Ancestors - Dean Evenson [from Native Healing]

ancestor worship
a projection of filiality into the void
they of the past in our future abode

culture question: Is there a general connection between this continent's indigenous culture's music and the function of healing, or is it a more narrowly held shamanist practice?

Liebeslied Amended - Keith Eisenbrey - Keith Eisenbrey [recording of June 15, 2010]

From my very first sight read through of Ben's original piece I wanted it to lilt a little
why?
I suspect now that I was wrong
or: in which I demonstrate the sense in which I immediately and continuously heard this as a Tristan piece

this time the repeat is a simple surprise
and it is a luscious score for damper pedal enthusiasts

The Sow Took The Measles C Reverb - Train Case

Karen and Neal are sounding pretty good there

The Great Silkie - SeaStar [from Never Go Back]

sounds like the Velvet Underground doing Fairport Convention
Canals of Venice would dig this

May 5, 2019
Sonata in D minor, K. 5 - Domenico Scarlatti - Pieter-Jan Belder

so graceful in its pivots
liberated from obsessive
no fuss just do it
obligatory elaboration

Eyes Of My Beloved - Lake Washington Singers, Betty Eisenbrey [April 1966]

motet arrangement
for groups
because that's what folks did when they got together
so arrangers were required to produce entertaining activities such as the singing of motets

Pat A Pan - Lake Washington Singers, Betty Eisenbrey [December 1971]

with recorder! an instrument that my Mom was to have a long and happy relation with for decades after

Halloween - Dead Kennedys [from Plastic Surgery Disasters/In God We Trust]

straight line
then divergent
independent strands provide a place to dance
different bounce in the floor boards

The Kosály-Meyers 1 - Anna K, Neal Kosály-Meyer [June 1986]

we begin the long era of separation as Neal and Anna are now in San Diego
Aaron was still in Berkeley
just Karen and I left here in Seattle
(good thing we got married or folks would have wondered)

tape epistles link the coast
one could hardly get further apart along it than S and SD
His didgerido does a buzz bee swarm effect as he circle breathes and moebially waves the du end within magnetic range of the channel poles
or indeed the recording device is doing it or this is just its failure

then the ritual I am where I am dance

Neal wanders restless the knock on soul's door

we are having an explore
it is one thing until it is another
a song by Neal
Can't Hear The Words

Shaker Suite - Canadian Brass [from Red, White & Brass]

a gift
to be

Track 6 - Seattle Chamber Music Festival [July 1991]

domestic scenes
the children used
to make up theaters

"...woe my road is spoken..." Keith Eisenbrey [midi draft 5.2 of July, 2006]

getting very close to the final version
definitely a Liebeslied influenced piece but through my chart a journey to where the blue milk's lullaby

number and pattern in action to freeze a span

Is It Serious? - Joel Gressel [from Milton Babbitt: A Composers' Memorial]

electronic
digital
more malleable
organ

glow-eyed aliens in clean room console arrays
goofing off

the simultaneous display of all the far distant instances of a communication seen from within their glowing eyes

May 7 and 9, 2019

Swarm + Stew - Neal Kosály-Meyer - Loren Kiyoshi Dempster, Ione, Neal Kosály-Meyer, Pauline Oliveros, Margaret Sunghe Paek, Greg Powers [recorded live at the Chapel Performance Space, Good Shepherd Center, Seattle, July 2016]

30 minutes before the show the sound check was insurrected by the performers
a plea for that silence which is the absence of inappropriateness
compositional prolongation of the decrescendo of hush that precedes the ceremony of musical expression
extended maximally

lonesome train country blues
in the back of what arises
a congregational breathing coalesces
or joins
bone to bone sinew at this sunset

a starter drug
a permittor

(language mistrusts music, fears it, co-opts attention)

dangerous dancers
Stu Dempster reunited with the infernal racket bulldozer, his old friend

In Session at the Tintinabulary

May 6, 2019
Banned Rehearsal 981 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer


we convened on the porch

Postscripts

according to harm tear in wants order
against these because others give it up
prayer works so that they abandon prayer

increment
through matrix
trace result

Saturday, May 4, 2019

Playlist

Recorded

April 28, 2019
Banned Rehearsal 100 Side B - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]



how long can it begin to be
can it hold
beginning
edging backward
into the earliest beginning
to possibly begin

in order

a low spinet tone joins up
keyboard talk
how very Inter/Play of them (us)
east coast Crumar and Baldwin grand
west coast Wurlitzer (?) and Baldwin Acrosonic
plays a chord
then another and again

but have we begun
or begin we still

cymbal announcement from just at the limn of beginning
drum roll please It Has Begun! (soon)
we Aaronsbundler step steady march step
Fantastic Variations on it

3 characters each interpreting the goings on to their own purpose
toys with ending
so coy

My Country arises in glory
'tis of thee a patriotic moment
Flag Day after all
after our fashion
we playfully play

now waddle it be?
wad dull it be?
Electric Garbage not yet
we should all leave singing for the time being
and now a Hymn

Bickleton Burger sung in Bickleton
we carry on despite frequent incursions from Knitters
everything what ever was has been a riff upon the old march we do
and several
we tune as though about to
drift off



Red Dress - Jad Fair [from Kill Rock Stars]

'tudinal meta-sophomoric
color me the ages of seduction

Spirit Wind - Dean Evensen [from Native Healing]

rhythm guitar with help
very like a psychic reading
spread your guesses wildly
reel them in one hit at a time

Liebeslied Amended - Keith Eisenbrey, after Benjamin Boretz [recorded March 30, 2007]

my touchstone
amulet
an am
on om
anamonom
I play to see where I
am that I am

which fingerprint of mine is most firmly etched here?
my additions or my ear editions
auditioned

:: a note about the big repeat of the whole at the end: it prompts the repeat iteration to sound as though it says let me try that again ::

-Ben: I've been thinking about this piece, and our relationship, recently, as expressed in this piece, in the gift of the pencil score to me from you, your gift of offer to allow recomposition
as in
start here
it is yours

Thank you

Interlude - Claire Sykes [from Hendrix Uncovered]

delicate // unreconstructable

Banned Rehearsal 913 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt [July 2016]



on the porch fire cracker works
slow march let the tree sough free of tree
a march grimly determinated

we discover and work through new slants using all available old slants
Mahlerian the bird I need a word or two with you
come down here says the bird one need do so little
the night is magic about now

April 30, 2019
Keyboard Sonata in A minor, K. 3 - Domenica Scarlatti - Pieter-Jan Belder

excessively intricate balloon animals twisted out of duration and incipience

O Thank Thee Not - Lake Washington Singers, Betty Eisenbrey, director [April 1966]

choral strophes stress feet and lines

Trinkle Tinkle (Take 1) - Thelonious Monk [from The London Collection]

within the imprecision of this approximation
an impression of focused intent
bluesing a note by flutzing the lead ins

Track 9 - Empire Brass Quartet [from American Brass Band Journal Revisited]

lives in a vague mudness of repetition and unassuming newness
within strict bounds

The Flowers of Guatemala - REM [from Life's Rich Pageant]

two-part instrumental bridge to chorus repeat to fade
final verse the backing vocal moves closer up
ding!




Grand Circus Fantasia - Canadian Brass [from Red, White & Brass]

clowns of brass
they play glorified kazoos after all
the theater show of skill and juggle

May 2, 2019

Track 5 - Seattle Chamber Music Festival [July 2001]

Brahms, I believe

Track 4 - Bob Dylan [from Key Arena October 13, 2006]

unafraid to allow his expressive imagining to overstep his available technical range
he knows he won't hit it and won't be heard but goes for it anyway
taking care of business
always musical
the spirit speaks through the body

The Sow Took The Measles C - Train Case


I think I was working on the balance between the vocal parts

Let Today - No Rey [from Contradictions]

We heard this band at The Josephine back in the 2013
big baritone voice
acoustic guitar rhythm
narrow pitch affect
8 syllable lines
phrases move one to another
from well enough but seem constrained
within their meter, their phrase, their
careful tune

In Session at the Tintinabulary

April 29, 2019
Gradus 347 - Neal Kosály-Meyer

what is in your flask of notes? subflasks?
determined
inflicted with endness

indeterminate as to || fallen apart soon to be assembled || or include pull in in clude ink l'ud enclued
clued in (k)

Sunday, April 28, 2019

Playlist

Preface

"Whereas in everyday speech we tend to use words and syntax more than we savor them, passing through language in order to communicate or glean a message, when w listen to music we tend to attend differently: individual moments, and successions and interactions among these moments, are what music is, they are why we listen."
- Dora A. Hanninen "Words, Musical Organization, and Boretz's 'Thesis'" Open Space Magazine issue 19/20 fall 2015/spring 2016


Texts

Recorded

April 23, 2019
Sonata in G Major, K.2 - Domenico Scarlatti - Pieter-Jan Belder

short term
balance

is a
system

to game

a cloak
for the large scale tricks to play beneath

I'm Only Sleeping (take 1) - The Beatles [from Anthology Vol. 2]

jangleguitar and dead aim vocals
a bit of shaker

The Man I Love - Thelonious Monk [from The London Collection]

TM thinks like a singer
and that singer's ideal accompanist

:: to what extent
moment by moment ::

to let the chords carry the song
and exactly when and how precisely, to be sure the tune is played straight

From a Whisper to a Scream - Elvis Costello [from Trust]

watchspring
woundtight
flabs out

In Session at the Tintinabulary

April 22, 2019
Banned Rehearsal 980 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


Postscripts

doch klimmt sie in oben stand es binden
die drei zum felsen auch die jungfrau sprach
in dem soll herz wird munter er sterben

violets
the numbers reduced irretrievably
to little dots that flash

Sunday, April 21, 2019

Playlist

Preface

"While parallels between THESIS and ARGUMENT abound, distinctions between language and music are conspicuously revealed. With and in music, 'meaning' lodges elsewhere and differently than in language; in music, what joins and follows next is what there is, is how music 'becomes'; if grammar or reference or syntactic structure-like back&fore&middle-ground concerns of 'meaning' crop up as I hear a music, at best they are sui generically pertinent to the particular work; music is always now and here; attachings and reference emanate from within, thens attach to and make nows, but if and as I struggle to speak of them I'm transliterating; music doesn't need what language depends on; 'meaning' and reference within do not need to give rise to reference without in order for music to be. Music as music, as recreation of experience, is totally liberated and wild and free."
- Elaine R. Barkin "reexperiencing Language ,as a Music revisited"  Open Space Magazine issue 19/20 fall 2015/spring 2016

Texts

Recorded


April 13, 2019
Narrow - Mecca Normal [from Kill Rock Stars]

oh all
that is strong

oh each
that is specific

oh so
much that is irrepeatable

a pirate legend of the mean teen seas

song doesn't get much better
than this

the Earth is Calling Our Name - Dean Evenson [from Native Healing]

it stays put
saturated smoothed lacquered

Liebeslied (Amended) - Keith Eisenbrey [recorded at the Tintinabulary, June 15, 2010]


patiently edging out into exposure
the small timing flaws just prove it's handmade
the Chickering's palette/timbre allows the emergence of lines to be clear inside the chords
I doubt I'll ever play this better or more patiently

Ik Junoon Paint It Red - Zindagi Na Milegi Dobara [from Bollygood Volume 1]

swing with an accent
hunky hunky chunky chunky

April 14, 2019
Banned Rehearsal 912 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [June 2016]

The 32nd Bannediversary on the porch
wash your eyelids
crows squabbling and sniping on the left
scrape and poke like archaeologists

traffic events: locatable gusts of wind
a band plays in the distance

We play a benefit for the bugs and critters gathered under the maple tree beside our porch

Sonata in D minor K. 1 - Domenico Scarlatti - Pieter-Jan Belder

sequences extend just a bit longer into iterationality here and delighted

I'm Only Sleeping (rehearsal) - The Beatles [from Anthology Volume 2]

mostly vibraphone and some drums
rather attractive

Go Tell It On The Mountain - Lake Washington Singers, Betty Eisenbrey, director

fun arrangement how it starts by building the bed of the harmony of the tune we know

the artifactual bass boom almost makes it sound like they have a tuba back there

You - The Who [from Face Dances]

femme fatale too late
the ultradiscrete tracks work pretty well here
to hear what the players are playing

The Gift of Love - London Symphony Orchestra [from Listen to the Joy]

Pops as in The Pops
concert series for arrangers to showcase to and of publishers
taking care of business

Reaper Song - Witchy Poo [from Kill Rock Stars]

artsy
but entertaining standing laughing

Track 4 - Seattle Chamber Music Festival [from a private tape, July 2001]

could be Weill I would believe it
for a while but moves into another more magical garden
(((never trust, quite
a magical garden)
tells a story
(does not narrate a story, tells it)
happy endings)
full of feeling)

Summer Days - Bob Dylan [Key Arena, Seattle, October 2006]

Unsure of the title, not being a Dylanologist
rockabilly - the South's equivalent of Surf of the West

The Sow Took The Measles B - Train Case [Karen Eisenbrey, Neal Kosály-Meyer]

pretty tight ensemble for a multi-tracked recording
(it's that blood harmony bone rhythm)

The Motherfucking Bus Part I - Chaotic Noise Marching Corps [from Zero to Lizard Man]


a sound cue
or an audio-graph as one might take a snap shot of a moment

In Session at the Tintinabulary

April 15, 2019
Gradus 346 - Neal Kosály-Meyer

highest B-nat
highest B-nat and highest C-sharp
pianissimo and on down the hammer sound
predominates over the string sound
especially when the rest of the harp is damped

April 18, 2019
Yellow Line (3 takes) - Your Mother Should Know
Candy (3 takes) - Your Mother Should Know
Don't Know How to Start Over - St. Rage
Summer Girl (2 takes) - St. Rage
Regular (2 takes) - Your Mother Should Know

In about an hour and a half, including set-up: eleven takes for two bands, six tracks each, two PZMs taped to the wall, one decoupled stereo condenser mic down near the drums, one wide diaphragm con-mic for Neal [Kosály-Meyer] to sing at, one headset con-mic for Karen [Eisenbrey] to do same. It's a good thing both bands are the same two people. I'll be working at finding the treasures of these over the next few weeks.

A note from your ever so humble recording clerk: The titles of the YMSK songs are my placeholder titles, not the official song names.

Postscripts

and naked ran out hair screaming might suck
breasts dry with want o mother husbands give
us the heart give us body and soul speak

an embodiment of the absence of itself
an image of duration bereft
or innocent or prior to any notion of pulse

Saturday, April 13, 2019

Playlist

Preface

"But, what time are we discussing? That is, whose time? I ask because if it's a matter between my descriptive time and the piece's time, then the issue is not time and temporality but rather the spacing between the two times and someone's (my) desire to minimize that spacing, or redescribed, to align or otherwise match the times, with the assumption that a closeness of fit in some sense matches or otherwise accords with human closeness, that is, that pieces and people can communicate as people and people communicate, and that communication is the utopian moment in these texts."
- Scott Gleason "A Group of Listenings" Open Space Magazine issue 19/20 fall 2015/spring 2016

Texts

Recorded
Philipsburg, Montana fixture part


April 7, 2019
Eleanor Rigby (strings only) - The Beatles [from Anthology Volume 2]

like finding someone's old shoe

Something In Blue - Thelonious Monk [from The London Collection]

as voice leading, treats small alterations in the interval of parallelism as a change in motion type, a juncture

Kind of Woman (remastered) - Stevie Nix [from Bella Donna]

song as greeting card
proxy serenader
surrender serenader
what might want being said but better by the avatar
mix tape inclusion possibility

I See Stars - Screaming Trees [from Clairvoyance]

high energy pressure applied at certain wavelengths like a mouth shape or accent shape

N.O.U. Cooking With Gas! - The Nation of Ulysses [from Kill Rock Stars]

in glorious demo quality
an instrumental with weird echo balance
bass! drums sax vibraphone
a near jazz experience

"Mrs. Ramsay rose. Lily rose." - Keith Eisenbrey - Keith Eisenbrey [composed 2001, recorded March 2019]

bits share gestures or echoes of gestures
but not shapes, except, perhaps, the shape of dissipation
Ken & I: that the notes go away is the piano's true strength, an automatic theme
very much a thinking like Ken Benshoof sort of piece
in this sense: Ken is sensitive to the sizes of and trajectories of affect/figuration time spans
i.e. musical material hunks
it was a regular theme of our lessons lo these many decades past
my sensitivity to them doesn't have the same flavor as Ken's
but how could it?
but it is indisputably there

Philipsburg, Montana fixture art
Cowboy Waltz - Earl Murphey, Bill Ashley [from Art of Field Recording Volume 1]

guitar and fiddle
plucker and scraper
played so as not to allow the bodies playing to be lost in the played out to us body song

Sow Took the Measles All Tracks - Train Case [June 2011]

each track in a row
yup, internet
he says
first everybody guide track
then just guitar
as chords change tones are reborn
then after pause
the guitar again
another pause
before Karen sings
and nicely too
then Neal sings his harmony as a kind of psalmtone song
he wants to do it one more time
always the intro wait wait wait space
but is a better take at that
then another guitar track

Battle Cry - Crystal Beth & the Boom Boom Band [from Yugen 3]

cinematic Valkyrie schrei

(if you escape
with our bones
all in your bag
you will be fortunate)

harpies
the scary kind
root magic

April 9, 2019

Hallelujah - Lake Washington Singers, Betty Eisenbrey [April 1966]

not that one
but another
trumpety

Santa Claus and His Old Lady - Cheech & Chong [a Rescued Record]

knowledge and remembering
kicked out of the projects

connection with other persons requires connection with personal history
you need, if not to speak their language, to hear it

Stranger In a Strange Land - U2 [from October]

moves indoors to big room sound to a smaller room sound
the space around us, joining us, shifts volumetrically

April 11,2019
Banned Rehearsal 100 Side A - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

Karen at the Blowout, near Bickleton, WA, in the past
we have done it
but first the patriotistical hymn

whew that's over
we have in deed be gun
the apple is criticised
a few toys and Karen's drums chime to begin be gin
what did we do with the pow'r chord?
Outpost Bickleton Manse (the one Karen moved into after growing up in the first one)
easily we enter into session sessile mode (we sit) and or metaphorically

at drums me
at piano Neal
at harmonica Karen?

difficult to rememorize at this rememove
when it becomes so focused of a sudden falling into

Karen reads the paper

food registration due Friday
guitar and drums left off the little half guitar
they went into classrooms ate hot lunch and came home
Grandview School District is currently accepting applications
for one half Kinder Garten teacher
ukulele?
lunch menus
Mabton School District and milk

last day
Sunnyside School District
hey hey hey

sudden song
Philipsburg, Montana just for nice
when the time comes where you gonna be who'll be right who'll be left when a strummy breathy breathing strumming poem
the Sudden Song project persisted throughout 1985-86
quiets down fierce

In Session at the Tintinabulary

April 8, 2019
Banned Rehearsal 979 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Postscripts

here is polenka tell in french well brought-up
punch yes sing you keep standing get money
that will be much for that's quite a lullaby

would draw thunder
the lion in my wall
unravel

Saturday, April 6, 2019

Playlist

Preface

". . . what is the 'music-ontological core' of musical experience, and how do we reach it? The answer resists discursive felicity; it is a multiplicity, always in motion, involving flows of intensities between experiencer and experienced object—as experienced, but in a way that is sensitive both to the kinds of meaning-generative flows from the object (as both a temporally-constituted and -constituting musical reality), and to the knowledge that one's experience is situated and incomplete, that every effort to contact the music in its putative wholeness only reveals new transcendental lines and new epistemological possibilities."
- Chris Stover "Walking Up and Over, Approaching Boretz's Qixingshan" Open Space Magazine issue 19/20 fall 2015/spring 2016

Texts

Recorded
Maryhill Stonehenge


March 30, 2019
Cheyenne's Song - Dean Evenson [from Native Healing]

from under the warm snug blanket
release tension release ease
tummy full

Liebeslied (Amended) - Keith Eisenbrey [from a home recording of 3/1/2007]

my bits (added to Ben's now withdrawn solo piano piece Liebeslied (for a pianist alone))
schematically interlaced with his bits
in order to underline the schematic image within his bits as my bits unlace them

for me: it gave me a performance version (for a pianist among others)
this was a pretty strong performance, one of the last I made on the 6' Yamaha my folks bought for me when I was in high school
necessary time is given
but it doesn't lag either

Light It Up - High Class Wreckage [from a pre-release copy of High Class Wreckage]


pumped for mayhem

Loser - St. Rage [June 2016]


St. Rage is a fictional band in my wife's novel The Gospel According to St. Rage (soon to be re-published by Not A Pipe Publishing). They are played here, as always, by Your Mother Should Know, which is my wife, Karen Eisenbrey, and her brother, Neal Kosály-Meyer. I did the honors behind the recording device and final mix.

nice job guys!

Yellowstone National Park, Wyoming
Taxman - The Beatles [from Anthology Vol. 2]

once each track could be recorded clean the parts could be treated as replaceable, optional, swappable. ultimately, it swaps the compositional focus from an arrangement of chords and tunes performed by folks to an arrangement of tracks laid atop chords and tunes

Nutty (take 2) - Thelonious Monk [from The London Collection]

loose and playful

Some Other Time - X [from Wild Gift]

expression on face: grim, stiff, determined

Radio Head - Talking Heads [from True Stories]

toy orchestra in lego land

Make You Come - Kicking Giants [from Kill Rock Stars]

we do love our guitar players round these here parts

Track 3 - Seattle Chamber Music Festival [July 2001]

artifacts of nasty splatters
nothing like digital to point out its own flaws
made me jump every time

No Condemnation - Thee Emergency [from Can You Dig It]

just the blues
the blues almighty
and with a bonus song as part of the track

Sow Took The Measles (A Reverb) - Train Case [June 2011]

If I did put any reverb in there it is nicely minimal
Train Case is also Karen and Neal, in a more acoustic homegrown idiom

Wave, Beach, Pebbles Large, Close Extreme, Surf, Storm, Foam, Ocean Roar, Intense, Sizzle, Crash, Impact Puff - Pete Comley [from Ocean Ambience Rocky Coastline Vol 1_1]

This was all of 2" long. I'll need to rethink how to listen to this album so that I actually have time to sit down after pushing play.

March 31, 2019
Little Lamb Who Made Thee - Lake Washington Singers, Betty Eisenbrey, director [April 1966]
Baker City, Oregon

a really nice setting of Blake's poem
it captures some of its divine innocence
even in its Hollywood style

Ruby My Dear - Thelonious Monk [from The London Collection]

superb brushwork back there on the skins and pans Mr. Blakey!

Planet Earth - Duran Duran [from Duran Duran]

the eighties
when they manufactured a sound
to be an image of blatantly manufactured sound
robotics

Banned Rehearsal 99 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

Petrushka country fair in the Horse Heaven Hills
we are recording on a boom box at the Bickleton Pioneer Picnic and Rodeo
mostly, in intent, to memorialize the calliope of Meyer family legend, the calliope reborn from recalcitrant scrap, its erstwhile melodies having been re- and re- permuted into a gleeful quilt of melody parts set free of their prior moorings

tape is running
you have been immortalized

Carousel of the Calliope of Legend
that calliope, it explains so much

oh no, we're staying in Seattle for ever
giddy with penultimatricidal tendencies
Carny Vater of the Prankmaker
shacks and bunkers
but honestly, what gender is any of this?

to correct the calliope
is to silence the oracle
chaos divine incipit
how it Klings and Klangs
Kling Klang
(I guess this fits, do as well as any)
getting some pie on tape
by laws
in the sense that there are none

April 4, 2019
My Red Self - Heavens to Betsy [from Kill Rock Stars]

flipside or formerside or pastside or stillinside
of Kaley Lynn Eaton's Poem in Praise of Menstruation as heard recently at Salon
attitudes surrounding the cultural taboo received slapback into culture's face
strong and straight with a no nonsense blatancy to it like my friend Jill Borner's My Baby Left Me

Cedar Flute Love Song - Dean Evenson [from Native Healing]

It is required that it be muddied by loop echo and smudged with bird song.
Do they make flutes with cedar? Wouldn't it be splintery? Dunno.

Liebeslied (Amended) - Keith Eisenbrey [from Preludes in Seattle Part 2, March 2007]

see above and elsewhere for what this is
I didn't manage to improve it (nor play it very well for that matter) so much as point out some if its, and my, problems. A project far more essential to me to have done than to do for any else

Hendrixesque - Henry Guiazda - Nathan Davis, cello [from Hendrix Uncovered - New Music Inspired by Jimi Hendrix]

more loops for repeating with
mirrored halls
distant doors
hidden
(locked anyway)

The Drink I Didn't Have Last Night - St. Rage [June 2016]


Here they are again.
late night rough
wrinkled plenty

In Session at the Tintinabulary

March 31, 2019
"Mrs. Ramsay rose. Lily rose." - Keith Eisenbrey " [assembled from parts recorded March 29]

I wrote Mrs. Ramsay, its title taken from Virginia Woolf's To The Lighthouse (I liked how she framed
your blogger ca 2001
Lily with roses), in 2001. It was my first large-scale composition since Slow Blues. Slow Blues was structured like a set of variations, each iteration exactly 12 bars long in a slow 4/4 meter, and each successive variation based on the same sequence of mod-17 pitch sets arcanely related to the bare-bones blues sequence I I I I | IV IV I I | V V I I, cycling through the 17 M-transforms available in mod-17. For Mrs. Ramsay I played a similar game, but the structural segments aren't all the same size or shape, vary more widely in affect, and, if I recall correctly, the various M-transforms are re-ordered according to some rule I have long since forgotten. I performed this just once, at an early Seattle Composers' Salon back when they were held at the Mennonite Church in Lake City. Tom Baker may have a dub of that performance, but until I recorded it last Friday I did not have any recording of it for my own reference. In practice this means that I really didn't know how it went from outside of playing it. And so I am ever so glad to finally make its acquaintance.

Frankie and Johnny - Keith Eisenbrey [assembled from parts recorded March 29]

Karen under Jail
For several years now, and interrupted by a self-imposed indifferently observed sabbatical, I have been working on a sequence of etudes. Big surprise: there will probably be 17 of them all together, if I should be so fortunate as to finish. Frankie and Johnny is the 13th and most recently completed. I think of it as an opera, an opera in which the main character is the traditional song itself, which is written in the score with approximate, unstaved, pitches. The piano part is a sequence of 3-note groups written as, but not intended to be played as, whole-note simultaneities. I had been practicing for about a month, trying on all sorts of voices to sing with and tinkering with various schemes of approaching the projection into figuration space of the 3-note groups. In the end I sang it in a nearly straight folk style, and improvised the figuration in the real time of the recording. Since I stopped to shuffle pages between each verse I had to piece together the takes of them, but even with that, first take best take.

April 1, 2019
Gradus 345 - Neal Kosály-Meyer

development, as a received notion, is a sequence or group of varied by related ideas
related by repetition of some kind of some aspect or set of aspects

we pick up a thought and turn it over in our ears :: of as many aspects as can be held in mind, while following the variations
it is where our focus shrinks to the immediate

Saturday, March 30, 2019

Playlist

Recorded

March 24, 2019
Puyallup, WA ca 1966
The Witch (Live) - The Sonics [from Boom]

somewhere in the back of the palate of those wailing shrills is an emulation of Screamin' Jay

Nice Work If You Can Get It - Thelonious Monk [from The London Collection]

so he's a singer at one with rhythm
a Satie-esque end game

New Lace Sleeves - Elvis Costello [from Trust]

this song's kind of all over the map

Fire - Bruce Springsteen [from Bruce Springsteen & the E Street Band Live 1975-1985]

odd bridge
an out of affect experience
briefly
it jars a bit I think

Immediate Impact Zone - Infamous Menagerie [from Kill Rock Stars]

its implied architecture
repetition structures
social inventions
mini ritual

about as great a thing as it could be

Dudley's Song - Dean Evenson [from Native Healing]

not completely without merit in the pitch play department
though rather enclosed, as in a vitrine

Sweat Sex - Thee Emergency [from Can You Dig It]

comin' on like The Who and all
full stadium roar
an altar call

Sow Took The Measles - Train Case [June 2011]



I take pride in the fact that I convinced Karen and Neal to record the songs they were playing for their Mom. 

Opus - Jon Forshee - Joshua Charney, piano [from Open Space CD 36]

playful figurations
downright melodramatic!
all riled up

a really tremendous solo piano piece, probably some several gradations over my technical abilities. {frowny face}

Mt. Rainier National Park
March 26, 2019
Got To Get You Into My Life - The Beatles [from Anthology Vol. 2]

bared of orchestra

organ, bass, drums, vocals
lifted from the mix
or the rest of the mix leached away

how ideas are tried

Child of Heaven - Lake Washington Singers, Betty Eisenbrey, director [December 1971]

from my Mom's private tape

Track 8 - Empire Brass Quintet [from American Brass Band Journal Revisited]

another unnamed track that came into the mix through Karen's family

Banned Rehearsal 97 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]


chorale tune is the thing
shabby by this time with no rehab done
correcting part work or grading

we spin some disks
let's shout

sight singin'
somewhere in this book is a good chord
sorry
false alarm

March 28, 2019
Laugh or Cry - The Vagabonds [a Rescued Record]

somewhere between the Buzzcocks and Simon & Garfunkel
this 45 was found in a box

Lost Tracks - Dean Evenson [from Native Healing]
Mt. Rainier National Park

piety without content
mood mix

so seeming mistrustful of what it could be
of what any bit could be
form lines reverberated out, dissipated

Liebeslied (Amended) - Keith Eisenbrey [Chapel Performance Space June 5, 2010]

When I returned to Seattle in 1984 Ben Boretz gave me the original pencil score of his (now withdrawn) unfinished composition Liebeslied (for a pianist alone) - composed in the early 70's. I copied it (in ink on vellum, and later with engraving software) and performed it several times over the next couple of decades. At some point Ben suggested that I re-compose it. Liebeslied (Amended) was by first go at it, my amendments consist of making a half-hearted but personally intriguing stab at drawing out the opening section, and revoicing a few of the big chords in the middle. This was not a particularly successful performance, due to my usual chronic rushing - and I still have trouble getting my paws around those big crashy chords.

Hammer in a Bag - Pouch

Sean Delaney's go to move is a Godzilla shriek 
containing multitudes
as shrieks go, high class indeed

Huge Guy in the Mosh Pit - St. Rage [June 25, 2016]


And it's Neal and Karen again! Your Mother Should Know impersonates Karen's fictional high school garage rock band. This recording benefits from being turned up loud. Sloppy but earnest.

March 29, 2019
Hear Us - Era of Peace - Lake Washington Singers, Betty Eisenbrey, director [April 1966]

the choral first person
as an operatic invention
derived from the congregational first person
the creepy politics of combinations
subversive anti-individualist propaganda

Nutty (take 1) - Thelonious Monk [from The London Sessions]

playing a polyvocal game with a sensibility that concerns where within phrase length spans one can play loose and off and where one is to play flat and plain
in order to play at platformers or web slinging
on the audio grid

The Emerald City (from a broomstick)
Forest Fire - Dead Kennedys [from Plastic Surgery Disasters - In God We Trust]

grown men impersonating 10 year old boys
as they thought themselves 
bethinking themselves
besmirched

This Is My Day - Julian Lennon [from The Secret Value of Daydreaming]

this arrangement is crying just crying for a big orchestra and a 100 voice backing choir
those synths just don't quite cut it

Loch Ness - The Velvet Sidewalk [from Kill Rock Stars]

some musics are sudden floriations
others are the belowground parts of the soil fungus
we rot music

Track 2 - The Seattle Chamber Music Festival [July 2001]

oh such glorioso amateur intonations! so robust! spritus maximus.

discointonations
dis-co-intonations
disco into nations

a half reeler silent accompaniment
morally upliftingly 

Workin' Man's Blues - Bob Dylan [Key Arena, 2006]

playin' the old guy 
playin' the old tunes

does anybody believe in this anymore, what he's saying?

Sow Took The Measles A - Train Case

When I first started recording them I kept a bunch of versions. this is one.
Karen has a superpower. She can sing.

The Ship - Brian Eno [from The Ship]

the soundtrack
to the film
of the finding
of the ship

das Rheingold's anacrusis

instrument of death to all
its sepulchral nature even at birth

vowels shaped at liminal register deep
epitaphony 

reverberance plucked by cotton candy tongue out
the after wave

And Your Bird Can Sing - The Beatles [from Anthology Vol. 2]

you can't see me
the poster child of isolation recording

Echo Song - Lake Washington Singers, Betty Eisenbrey, director [December 1971]

works it out nice
within its chamber 

the layers of media transfer 
as they successively disengage

Untitled Track - Throbbing Gristle [from Greatest Hits]

like something Pete Comley might have said

Banned Rehearsal 98 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]


heart felt cry of bluesy oh city to ope
sprite at its funmaker makiest
"It Hurts" - Neal's sudden song

when we aim we are dead on laser bent
we are the generatoration 
that shreds the past
we are the past shredders

Port Macquarie, New South Wales, 1986
"this is banned rehearsal number ninety eight / the last banned rehearsal in this house for a long time"
actually probably the last ever full session
karen and I made some assembly rechoireds and some telepaths, but by the time there was a quorum again we had moved to the Front House, in front of the Half House, Greenwood, where we were

this hits on a large quantity of cylinders heretofore never known
intervals energize persistence
a sister worthy shaman fellow

accuracy presumes rectitude
precision does not
we dredge down
on
one 
to
one

(funny that karen should worry about echoing in her books the girl boy boy dynamic of Harry Potter plots, when banned rehearsal was all of that long beforetimes)

Love's a Hard Game to Play - Stevie Nicks [from Timespace]

a sexy viola register there Stevie
pretty hot

In Session at the Tintinabulary

March 25, 2019
Banned Rehearsal 978 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


I played piano because I just had it tuned and because it's fun

March 29, 2019
"Mrs. Ramsay rose, Lily rose." - Keith Eisenbrey
Frankie and Johnnie [from Études d'exécution imminent] - Keith Eisenbrey

Port Macquarie, New South Wales, 1986
Karen has been in Portland for a conference since Wednesday, so Friday morning I took advantage of the relative quiet of a morning with nobody else up and about to record some takes and tests. Mrs. Ramsay (yes, it's from Virginia Woolf) is a piece I wrote shortly after Slow Blues and that I don't have a solid studio recording of yet. Frankie is an opera that comprises the 13th Etude of my work in progress Études d'exécution imminent. I hope to work on patching these together tomorrow to see if they tick. 

Saturday, March 23, 2019

Playlist

Recorded

March 16, 2019

Psycho (Live) - The Sonics [from Boom]

dip dap digi digi do || Waoww!

My Melancholy Baby - Thelonius Monk [from The London Collection]

an opportunity to touch exquisitely
articulate press and delicate release

Daily Records - The Who [from Face Dances]

stage confessional
stage in life
soliloquy

you
are at a show

Banned Rehearsal 96 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

no rush getting to session mode
your blogger, Neal, and Karen, 1986
but when we do it is done

I have a place
I read Intermezzo V with a ukulele at my belly

Neal has a high regard
of the arranging of my tapes in three neat little stacks
a hero's task

a journey
everything cold
and now slowly open the eyes

Some Things Have Holes (a sudden song by Neal)

then two thirds of us wander off session briefly
drum beat pitched on 3 and 1 (in 3)

I'm So Sorry About That (another one by Neal)
tracing excuse to repentance to silliness of not my fault, reverts to blaming the victim
Karen, finally, has had it

March 17, 2019
I'm Waiting for the Man - Moe Tucker [from I Feel So Far Away - Moe Tucker Anthology 1974 - 1998]

like slow dance nothings whispered in your ear

Symphony #1 - Beethoven - Philharmonia Northwest, Roupen Shakarian

no feathers ruffled here

one might re-argue the familiar critique of this, i.e. that it isn't a Symphony it's a piece for wind band with strings, in terms of: it uses too many resources for the type of piece it is. It tries to goose the style just by noising it up. Too many out-of-doors instruments in-of-doors for what is still pretty much an in-of-doors piece

Coming Home - Dean Evensen [from Native Healing]

I hate being snarky about this, it's just my tone.

the idea is that if music is [A] Healing, then you will feel [B] Better
and that there is a cause and effect relationship between this music and Healing

but I may be misunderstanding the relationship completely
A does not cause B
but brings B within A
i.e. feel Better by being here in Healing where we feel fine

Banned Rehearsal 704 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer

on the porch
Mt. Rainier National Park 2006

we sure been doin' this a long time hain't we?
steady on the quiet water
it's never the same jungle out there on the drifting banks as the drifting banks drift by

we pluck back at the quiet evening
now and then we get all excited about something and run off to scribble

but we return

for Milton - Samuel Adler - Michelle Ross [from Milton Babbitt: A Composers' Memorial]

enters fully into the whole concert piece mode

Half a Bus Closer to Home - St. Rage [June 2016]


St. Rage is the fictional band in my wife's soon to be second editioned debut novel "The Gospel According to St. Rage." In this recording they are impersonated by Karen Eisenbrey and Neal Kosály-Meyer, both of Your Mother Should Know, and were recorded by me. My favorite part is the angelic teen chorus in shiny "Homework!" harmony.