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]
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
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 image of duration bereft
or innocent or prior to any notion of pulse
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