May 13, 2017
Gamelan Pacifica presents
Lou Harrison at 100 Years:
The Seattle Connection
featuring Gamelan Pacifica and Pacific Rims Percussion Quartet
directed by Jarrad Powell
with guests:
Heather Bentley, viola and violin
Jennifer Caine Provine, violin
Paul Taub, flute
Bonnie Whiting, percussion
Maria Scherer Wilson, cello
Wayward Music Series, Chapel Performance Space, Good Shepherd Center, Seattle
May Rain (1941)
Gending Park Chokro (1976)
Threnody for Carlos Chavez (1978)
Pathetan Wantah, laras pelog pathet lima (in remembrance of Lou)
Ladrang Epikuros (1981-82)
Air in G Minor (1947)
Končerto por la Violono kun Perkuta Orkestro (1959-1940)
timbre
mix at
certain edge
of the set of overtones
that particular sort of
slowing down we do at
ends - coded differently
as a structural cue
it turns everything
into a microtonal
landscape
the parts rely on each
other not just to
keep together but
to be what they
are within what
they are singing
a particular
way with the
sensibility of
how things wander
off
it is extraordinary how something so ordinary could be so extraordinary
drone
membrane of a soap-bubble lake
flute swallow-fleet
rippling swift across
Recorded
May 14, 2017
We're Gonna Have A Real Good Time Together - The Velvet Underground [from Another View]
What we want to hear from the cool: "Join the party!"
What we want to hear from the cool: "Join the party!"
Banned Rehearsal 245 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 1991]
Jump right in. magnetic tape echo spiral residue reconfigurable membrane morphing drum we can
hear our bodies moving by their occlusion of sound. Hangs in there for a good long time not being music. Try different settings! Fluid transit intention. Now we're plucking and plunking.
My Stuff - Sleater-Kinney [from Call The Doctor]
Female point of view as such, in contradistinction to the more typical pop-sensibility: What from a male point of view the male would love to believe is the female point of view, but probably isn't, at least not straight out, without the slow poison.
Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey
The third take from the Jack Straw recording session of May 2005. The reverb, strangely, confines the music, envelopes it, gives it skin and face.
The third take from the Jack Straw recording session of May 2005. The reverb, strangely, confines the music, envelopes it, gives it skin and face.
327 - Black Horse [from The Funhouse Comp Thing]
In what social context is this appropriate? War? Riot? Steam Letting? The danger of raw emotional evacuation is that the steaming turd has a social effect, and it accumulates.
In what social context is this appropriate? War? Riot? Steam Letting? The danger of raw emotional evacuation is that the steaming turd has a social effect, and it accumulates.
Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey
A recording we made at home in January of last year. What gives the composer in me pleasure is how the accompaniment spotlights the voice, following it closely, like an aura, a glow.
A recording we made at home in January of last year. What gives the composer in me pleasure is how the accompaniment spotlights the voice, following it closely, like an aura, a glow.
Paradox Bagatelles - Craig Pepples - Sascia Pellegrini
each atom spaced so as to reveal aspects of itself that would otherhow not make impact :: these atoms are all and each clearly about the thing they are all and each saying, spoken clearly :: the sense in which they are a plural of bagatelles is that those animals, those bagatelles, must be all in the sequence, lumpily interspersed, grazing.
each atom spaced so as to reveal aspects of itself that would otherhow not make impact :: these atoms are all and each clearly about the thing they are all and each saying, spoken clearly :: the sense in which they are a plural of bagatelles is that those animals, those bagatelles, must be all in the sequence, lumpily interspersed, grazing.
May 16, 2017
Die Kunst der Fuge Contrapunctus IX - J. S. Bach - Lionel Rogg
Long tones are short-term drones. A florid fugue plays the surface of a sedate fugue.
Long tones are short-term drones. A florid fugue plays the surface of a sedate fugue.
Quartet in C Major, Opus 76 #3 Hob. III:77 - Haydn - Amadeus Quartet
Kept safely deep within this very model of a repertoire string quartet (all to be admired and copied): worries, hesitations, concerns. The finale, party crashing, wandered in from some minor key quartet.
Kept safely deep within this very model of a repertoire string quartet (all to be admired and copied): worries, hesitations, concerns. The finale, party crashing, wandered in from some minor key quartet.
String Quartet in F Major, Opus 135 - Beethoven - Amadeus Quartet
Scraps of bits, unaware they are part of any sort of design. Commentary and disagreement. Full of sudden shifts, shortcut modulations, make do with where we have gotten to [in order] to get where we must go. Nothing else quite enflames the soundbox like scribble-bowing, glowing hot.
Scraps of bits, unaware they are part of any sort of design. Commentary and disagreement. Full of sudden shifts, shortcut modulations, make do with where we have gotten to [in order] to get where we must go. Nothing else quite enflames the soundbox like scribble-bowing, glowing hot.
May 17, 2017
Deep Henderson - Charlie Straight [from Alan Lowe's That Devilin' Tune]
Fat precision. Like a sloppy drunk clearing a pool table to the last spinning ball. No sophistication, but deep for sure.
Fat precision. Like a sloppy drunk clearing a pool table to the last spinning ball. No sophistication, but deep for sure.
Easy Come, Easy Go Love - Sunny Clapp [from Alan Lowe's That Devilin' Tune]
Crammed (frat boy phone booth). More fat precision.
Crammed (frat boy phone booth). More fat precision.
Crying Holy Unto The Lord - The Blue Chips [from Goodbye Babylon]
Appropriation of the profane by the sacred, or invasion of the sacred by the profane?
Appropriation of the profane by the sacred, or invasion of the sacred by the profane?
Get Ready for Christmas Day - Rev. J. M. Gates [from Goodbye Babylon]
Digging through the rhythm of language into the substrate of melody - it breaks off just before ignition.
Digging through the rhythm of language into the substrate of melody - it breaks off just before ignition.
 |
| Boyd Raeburn |
Runs through more presets than a casio. Every possible arrangement of the tune in quick succession.
It Could Happen To You - Bud Powell [from Alan Lowe's That Devilin' Tune]
Same deal as above, but all by his lonesome. (Chopin!)
Same deal as above, but all by his lonesome. (Chopin!)
My Heart Belongs To Daddy - Peggy Lee [from Black Coffee]
The image of: independence from the beat, as though just talking, except that it never wavers from being exactly where it needs to be. She may be hiding behind the male point of view's desire for what they want the female point of view to be, but she does it while openly dripping the fatal drops into your drink.
Hello Mary Lou - Ricky Nelson [collected from Dave Marsh's The Heart of Rock & Soul]
Star Vocal! Hear it Here! (a blended orchestration of echo effects) Repeat with instruments.
One Of Us Must Know - Bob Dylan [from Blonde on Blonde]
Excuses, excuses.
Vincent - Don MacLean [from American Pie]
Well Don, I'm sorry, but "snowy linen land" is just puke-worthy. Wodehouse had your number decades ago (see "pale parabola of joy".)
The image of: independence from the beat, as though just talking, except that it never wavers from being exactly where it needs to be. She may be hiding behind the male point of view's desire for what they want the female point of view to be, but she does it while openly dripping the fatal drops into your drink.
Hello Mary Lou - Ricky Nelson [collected from Dave Marsh's The Heart of Rock & Soul]
Star Vocal! Hear it Here! (a blended orchestration of echo effects) Repeat with instruments.
One Of Us Must Know - Bob Dylan [from Blonde on Blonde]
Excuses, excuses.
Vincent - Don MacLean [from American Pie]
Well Don, I'm sorry, but "snowy linen land" is just puke-worthy. Wodehouse had your number decades ago (see "pale parabola of joy".)
In Session at the Tintinabulary
May 15, 2017
Gradus 310 - Neal Kosály-Meyer
Quasi-similar motion (pitch-class nearness by shortest route) as countermotion. Take that, MF!
Quasi-similar motion (pitch-class nearness by shortest route) as countermotion. Take that, MF!
