Playlist

Recorded

October 28, 2018
You Need Jesus on Your Side - Deacon A. Wilson [from Goodbye Babylon]

each phrase in verse or chorus is a vector of rhetoric, preaching in the structure of preaching

Footnote to Howl - Allen Ginsburg [from Holy Soul Jelly Roll]

hideous human angel ho(w)ly the fourth dimension kindness of the soul

Variations for Orchestra - Elliott Carter - Chicago Symphony Orchestra, James Levine

films projected on all the walls around us
but not always on all or more than one
we seek out wheretoward to attend
balancing systems of rhetorical affect
with systems of pitch

as rhetorical affect is used to clarify the pitch
the patterns of rhetorical differentiation are exploited with the hard edged systemic rigor image

to keep it civilized

clearly
the actual facts of the system
are so many red herrings

Soft Winds - Oscar Peterson, N. H. Orsted-Pedersen, Louis Hayes [from The Great Connection]

playing the recognizableness of a tone
oh that's this
knows he's on to something
but doesn't allow much high art pretension to show

Trust Your Mechanic - Dead Kennedys [from Plastic Surgery Disasters - In God We Trust]

not a happy surfer's surf rock wave
rather a rocket car g-forced blubber face

Banned Rehearsal 83 - Karen Eisenbrey (Meyer), Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

soft ball
some background noise
like a distant subaquiescent engine
softball game
repetition brings comfort
from this stability
we make inquiries
kitchen vicinity acoustic
running water
harmonica and softball shaped clay ocarina
proximity effect as improvised compositional device
at the half house pushing to 100
my tub filling in a microphoned house
running water to which we warble
mitt glove!
sneaks upon one in two
Karen to be always being present as transparent image of presence

all oc
oc mit

improvisation as conceptual multimodular composition thinking
bathtub clangy delight
Neal supplies the "the"
article to which the all is applied
and why

among our finer moments even though talking in it
extraordinarily focused on its soundworld
one channel is where Neal goes to play by himself
a guitar chord plucked?
NO! clavichord tangented
a new sound

Fear Bitterness and Hatred - The Young Fresh Fellows [from Electric Bird Digest]

67ish mini big guitar

"...woe my road is spoken..." 060604B - Keith Eisenbrey

string quartet for robot string quartet
getting there

Dark Star - Youth Rescue Mission [from Youth Rescue Mission]

grownup song
nicely layered backing vocals

Something of Mine - St. Rage [Karen Eisenbrey and Neal Kosály-Meyer vocals and instrumentals, recorded and produced by Keith Eisenbrey - April 2016]

in a can luscious

October 30, 2018
Concerto in G BWV 1049 - J.S. Bach - New London Consort, Philip Pickett

spendthrift rubato
if you want it straight go down the street
3 magic strokes and they appear
lofted free
shadow lines scribble and scribble cleared outside
extra dry tremolo shiver guiro

Finaletto "Di si felice innesto serbiam memoria eterna" - 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)]

over before you know it
time to hit the road

Grosse Fuge in B-flat op. 133 - Beethoven - Alban Berg Quartett

tries an ill-fitting subject on for several sizes
various success
fugue and continuous granular variations
it will never fit
none of it

Trio in E minor op. 114 - Brahms - Walter Barylli, violin; Franz Koch, horn; Franz Holetchek, piano

clearly, this was ripped from vinyl, but by whom?

single thread music
3 distinctly produced sounds become one melodic thread

November 1, 2018
Your Enemy Cannot Harm You (But Watch Your Close Friend) - Edward W. Clayborn [from Goodbye Babylon]

replacement of (words) by (fancily vibratoed high guitar)
rather a bleak sermon

Pent-Up House (excerpt) - Sonny Rollins [from The Smithsonian Collection of Classic Jazz]

head repeat serves a stabilizing function like binary form repeats in classical
especially as here where the phrases skew off meter

Visions of Johanna - Bob Dylan [from Biograph]

cultural imprint
his luck and talent and skill to have hit upon a rubric in which any can find themselves

until you step back a tidge

Just Squeeze Me - Oscar Peterson, N. H. Orsted-Pedersen, Louis Hayes [from The Great Connection]

differentiates threads of tune by how they hang in the swing

Log P - Keith Eisenbrey, Neal Kosály-Meyer [November 1981]

keyboard dueting

perhaps too compatico
nice vibrato on the stop tones though

Adeste Fidelis - London Symphony Orchestra, et al [from Listen To The Joy]

I hope they all got paid.

In Session at the Tintinabulary

October 29, 2018
Gradus 341 - Neal Kosály-Meyer

Playlist

Live

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)

Recorded

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!

not played as THE SIXTH BRANDENBURG CONCERTO
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
rah!

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

playful
glittering

Playlist

Recorded

June 19, 2018
Mona - Youth Rescue Mission [from Youth Rescue Mission]

a tinge of string band and blood harmony
later, the center of sound scatters

Banned Rehearsal 908 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt - April 2016

assembled from Banned Telepaths 47 - Aaron playing Wallace in Somerville, MA; Karen, Steve, and me chiming in at the Tintinabulary in Seattle
sounds' seeming mass
moving air
massive instrument objects
to move air in specific modes
Wallace enters the space
otamatone answers
a trio for two pianos and otamatone
Steve provides essential percussion entwinings
actuation centers wander about the space
light percussion takes the field
copper pipe insulation squeak speak.

A Voluntarie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

an ordered garden path
a path of vistas

Jazz Lips - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

horns dancin' wild

Slippin' And Slidin' - Little Richard [collected from Dave Marsh's The Heart of Rock & Soul]

piano and drums keep it lively for bouncing voice and horn on

Mr. Ed's Theme Song - Jay Livingston

well there it is

A Poem On The Underground Wall - Simon and Garfunkel [from Parsley, Sage, Rosemary & Thyme]

egregious poeticizing
insufficient song

June 20, 2018
Track 3 - Tillicum Junior High School Orchestra [from a private tape of a concert given March 3, 1971]

a little waltz, probably some J. Strauss or other

Two Hymns of Brahma - David Jones - Seattle Symphony Orchestra, Michel Singher [from a private tape]

Americana brash, then going for exotic ala Hollywood, in the service of which we find some pretty nice colors

I Know What I Know - Paul Simon [from Graceland]

He writes this from the sound first, then downward into the song. It is no better a song than it needs to be to inhabit the sound from within which it emerges. PS as groove assembulator.

June 21, 2018
Psalm 23 (meditation, responses) - Keith Eisenbrey - Keith Eisenbrey, Neal Kosály-Meyer

This 1991 score still intrigues me, specifically as it concerns the question of what small part of the

final performance result is actually written down. The score consists of a small book of page pairs. One facing page contains a verse from the Psalm and the other holds two short fragments of written music, the first fragment of which is always the same. In performance I improvised a path from the constant fragment to each not so constant fragment. This particular recorded realization (there have been several) follows my entire clavichord take with an edited version of Neal's reading. I guess, in some sense, this is the (responses, meditation) version of (meditation, responses). Listening to it after all these years I'm thinking I should do more composing for clavichord.

X-Communication - The Sub/Con Group [from Sonicabal 2001]

industrial-like sounds
between sci-fi Foley sound and music sound
unfortunately it wanders into  recognizable beat stuff
if it is a drum machine then it is making a point about drum machines that didn't much need making
if not, then ditto
a paucity of color

Nocturne Interruptus - Brad Anderson [from Dark Energy / Interstellar Pianos]

honest cheap sounds thrills naked non-finesse

Consort of Voices - S. Eric Scribner - Clifford Dunn, Keith Eisenbrey, Matt Kocmieroski, Dale Speicher [from Storm Sound Cycle {private recording}]

the tempo is somewhere in the single digits per minute, and mostly whole notes
some minimalist stratagems wander through to reveal, briefly, the spirit that had hovered throughout
I believe this was the final piece in Steve's 9+ hour live epic Storm Sound Cycle, performed at the Chapel Performance Space, Good Shepherd Center, Seattle, in May of 2011. I don't remember what instrument I was playing.

Animal - Ravenna Woods [from Alleyways and Animals]

interval :: production-distance between overdubbed tracks :: vocal/piano drums/synth :: reverbillumination
artpop

In Session at the Tintinabulary

June 18, 2018
Banned Rehearsal 961 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

We gathered on the porch for the first time this Summer.

We note that it is pretty close to the 34th Bannediversary (June 24, 1984).

Playlist

Recorded

November 4, 2017

The picture I made

Gradus 94 - Neal Kosály-Meyer

Uses dampers as filters to extract partials
silence is resilient
behind me Karen purees pumpkin
time out of grid
a car stereo drives by outside
sidebar tea ceremony
that a sound could seem to happen Now is a demonstration of how wide a span is the apprehension of Now

Thursday After - Youth Rescue Mission [from Youth Rescue Mission]

adding elements one after another in stepped sequence
within song structure serious phrase length rhythm play
blood harmony could almost be the Fleetwoods at the end (just a hint)

Gradus 285 - Neal Kosály-Meyer

I made a picture.

November 5, 2017
The Hunts Upp - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

ringing echoes
signals passed on hills
familial tales
courtly tales

Der Kunst der Fuge, Contrapunctus XVII Rectus / Inversus - J. S. Bach - Zoltan Kocsis

strong vertical leaps up? down? contribute to the effect of utter duplication
is it the direction of the leap or its mere distance that tells?

Gatemouth - Kid Ory, Johnny Dodds [from Alan Lowe's That Devilin' Tune]

sliding around the pitch, glisswise
a dance of them


this music is not dance music
this music is dance

Roll Columbia, Roll - Woody Guthrie [from Columbia River Collection]

Progress celebrated, collective progress, progress to benefit us'n'all.

For Miles and Miles - Art Pepper, Chet Baker [from Playboys]

phenomenal playing full of subtleties to be sure but something bluesy has been buffed out if it, refined in an almost pretentious way, if they weren't getting away with it pretty bossly

Echo Song - Orlando di Lasso - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from A Musical Souvenir: The Lake Washington Singers Spring Concert (April 11, 1961)]

humored up? or just oddly translated, odderly arranged? or maybe that's just the way it is

Hold On I'm Comin' - Sam and Dave [collected from Dave Marsh's The Heart of Rock & Soul]

thought: jazz is about its rhythm; rock is about its song structure; blues is the glue
these boys have heard some church singin' and how

The Song Is Over - The Who [from Who's Next]

praise chorus
testimony
psalm

November 7, 2017

Song of Fifty Cents - Jack Bean [from The Art of Field Recording Volume 1]

another function of demotic music
actual advice in humorous guise
(not that, but like dirty jokes as ad hoc sex ed)
how it is learned: those life lessons
quite the accent, one needs to pay more than fifty cents of close attention

Improvisation - University of Washington Contemporary Group Improvisation Ensemble [from Neal's Recital Tape]

Conversation wordlessly, as musical exercise.

You Get What You Want - Julian Lennon [from The Secret Value of Daydreaming]

this tries so hard, but I have trouble giving it the benefit of the doubt. The problem is not his singing voice, but something like a lack of roots.

November 9, 2017
Banned Rehearsal 254 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 1991]


testing 1 2 3
now we have begun
at Toad Hall some crud in it
John 'plains, but 4 weeks old
strenuously lame we thus arrange the possibility of brief moments unlike any others
drill bit into bedrock inexorant
on my wall
there hangs a purple trout
continues on through
metabolism enhanced
be- words auf Deutsch
bell rings for train coming in

Hail Hail - Pearl Jam [from Rearviewmirror]

propelled
engined
til the fuel runs out
the ride is over

In Session at the Tintinabulary

November 6, 2017
Banned Rehearsal 946 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


Aaron and Neal duet on trumpet and cornet, Karen drums an ocean, Steve tunes in, and there is me with banjo on my knee

Playlist

Recorded

Rainy Pass in the past

October 15, 2016
Banned Rehearsal 606 - Isaac E, John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt - April 2001
A sense of deep enclosure or seclusion
the kids come in and blow our cover
conversations among discrete sounds in discrete bundles
resisting accumulation with modest success
gels briefly then falls apart
each to their own workbench

Variants for Two Clarinets - William O. Smith - Jesse Canterbury, William O. Smith

Locationless until tongue click locations us. I think of the years and years in which the clarinet, as an instrument, was perfected to be rich in its timbre and athletically nimble: qualities that also allow uncountable possibilities for exploration into the unconsidered lands.

Problem Solver - Youth Rescue Mission [from Youth Rescue Mission]

Distinct sound-plates in play (including a nice mock Stravinsky orchestration to open) one after the other, narratively episodic, decidedly progressing from a beginning to an end point, to suddenly then start again, the point of all of which is to underscore, and bridge, the distance between them.

October 16, 2016
Gradus 283 - Neal Kosály-Meyer - February 2016

endings of pieces in A. All of them. A list.

or and also

partitions of an alternative universe A Major Rheingold

In Session at the Tintinabulary

October 17, 2016
Gradus 300 - Neal Kosály-Meyer

Back to the countable quantities.

October 21, 2016
Corollaries (Up's Up)
Corollaries (Down's Down)
Corollaries (Up's Down)
Corollaries (Down's Up) - Keith Eisenbrey

A common trope of music criticism is the idea that the structure that generates, or that is presumed to generate, a piece should be perceivable and understandable by a listener. With new or difficult music this often arises in the form of a protest: "Nobody could hear that!", followed by a detailed story of exactly how it could not be heard. The response is usually in the form: "I can", followed by a detailed story of exactly how it could be, and of exactly how, presumably, it was, in fact, heard. Years ago, listening to some early Stockhausen or other, I realized that the least interesting aspect of it, for me, was the fact that it happened to be twelve-tone. I asked myself then why exactly it should matter that the generating structure (the chart) should be what we understand or perceive the piece to be.

One of the underlying points made by Benjamin Boretz, in Meta-Variations: Studies in the Foundations of Musical Thought is the notion that carefully analyzing our methods of thinking about music can reveal alternatives to those methods, and that in so doing new musical possibilities could be invented. I make no claim that I was the first to try this, but sometime in the 1990's I asked myself what music might sound like if I redefined, for compositional purposes, the idea of the modular interval. In other words, what would happen if notes an octave apart weren't treated as the same note, if some other interval were treated as generating matching pitch classes? Specifically I started inventing systems in which the modular interval (traditionally 12 semi-tones) was redefined to be 17 semi-tones (an octave plus a Perfect 4th). Since then I have written many of these "mod 17" pieces, using both content-determinate and order-determinate systems.

I have found that, in practice, thinking along these lines tends to loosen the ties between designed-in structures and my listening perception of what is going on in the music, often to the point where I doubt whether the chart could possibly be derived, even with careful analysis of the score, from the music itself. A problem, perhaps, just not my problem. For me it has been exhilarating. Among other things, it operates as a subtle fracturing of the idea of the note as the atom of musical thought, an exciting result.

In Corollaries I wondered what would happen if I took the 17 integer row I have been working with recently and, instead of applying it to the pitch-classes as a tone row, apply it instead to the intervals between pitches, as an "interval row" - ignoring, as it were, what the notes are as pitch-classes and shifting syntactic emphasis to the relations between them. Of course intervals, being relations and not objects, have some interesting qualities. Is it an interval up or an interval down? Is the inversion of the interval also fair game? For my first foray I decided to go as dirt simple as I could. For (Up's Up) I present the interval row (in three interval-transpositions) as a series of intervals going up (flipping around to the bottom when I run out of keyboard). (Down's Down) is the same but with descending intervals. (Up's Down) are the inversions descending from top to bottom and (Down's Up) are the inversions from bottom to top.

Playlist

Live

Talon at the Royal Room

October 11, 2016
Talon
The Royal Room, Seattle
Greg Sinibaldi - EWI (Electric Wind Instrument) and electronics, Ryan Ferreira - guitar, Ted Poor - drums

Salmon, Eagle, and Raven walk into a bar and pick up instruments.

I got to thinking about what sort of theater this music is. Masked dancers acting out ritual type-stories. The instruments and their accoutrements are very like ornate masks or puppets, allowing the musician freedom to inhabit their mythic parts, and to speak in tongues.

The drumstick died in a good cause.

Recorded

October 10, 2016
The Gospel of the Red-Hot Stars - Tom Baker - Seattle EXperimental Opera, Julia Tai, Maria Mannisto, Paul Karaitis, Liz O'Donoghue, Alissa Rupp, Will Dean, Mark Johnson, Tom Swafford, Jesse Canterbury, Chris Stover, Tom Baker, Brian Cobb, Greg Campbell

from a single wick

slowly caldering plates of color and gesture

isolation

background radiation of the chamber of wilderness walls

the paper sky against which it plays

Tapes - Youth Rescue Mission [from Youth Rescue Mission]

A short audio collage poem: biography?

Banned Rehearsal 903 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer (January 2016)

the man in the closet giving an interminably circling sermon

piano turning it to comic opera or a comedy of an opera

matching rhythm to phrase spoken

percussion and small pans

the creaks and squeaks of the machinery behind it all

October 13, 2016
Die Kunst der Fuge Contrapunctus II - J. S. Bach - Lionel Rogg

Exploring something eelish, elusive: a meta-tonality wrung from combinations of scale-degree function as they twist and writhe.

Keyboard Sonata in G Hob. XVI:27 - Haydn - Christine Schornsheim

Unmediated contrast. Tonal slippage. Haydn here is a storyteller, comfortable within a social framework.

Concerto in B-flat K. 595 - Mozart - English Baroque Soloists, John Eliot Gardiner, Malcolm Bilson

Mozart tells tales also, but paints the scenery with such magic that we are immersed. The original Virtual Reality.

Fidelio-Ouverture op. 72b - Beethoven - Philharmonia Orchestra, Otto Klemperer

Ideas shape us.

3 Mazurkas Op. 63 - Chopin - Vladimir Ashkenazy

What is being invented here is a sense of music as a literature (rather than being a service), the immediate model being lyric poetry.

Fantasiestücke Op. 111 - Schumann - Peter Frankl

ladders to no where

shifting centers and spinning compasses

we gather to ourselves what we can

Wild Cherries Rag - Ed Morton [from Alan Lowe's That Devilin' Tune]

Ragtime, american minstrelsy, jazz: sadly, each as much a ghetto as a genre, but also an open line of communication to the outside.

Aunt Hagar's Children's Blues - Ladd's Black Aces [from Alan Lowe's That Devilin' Tune]

Continuing that line of thought, one presumes there was, even in the heyday of ragtime, american minstrelsy, and jazz, a music that was played within the community that possessed a similar sophistication to everything else that was going on at the time, but which wasn't picked up in the recorded sample.

Muskrat Ramble - Louis Armstrong's Hot Five - Louis Armstrong, Kid Ory, Johnny Dodds, Lil Armstrong, Johnny St. Cyr

Conflicted grace.

Travelin' Blues - Jimmy Rogers [from Alan Lowe's That Devilin' Tune]

Those ghettos, and let's add country, cowboy, western, and blues, all had direct links to each other, and as they entered the recorded sample those links strengthened. Nice subtly structural use of yodeling, too.

Romeo et Juliette Troisième Tableaux - Prokofiev - Orchestre du Theatre Bolchoi de Moscou, Algis Juraitis

The violin tunes high in the register are a lyric equivalent of the texture of bow on string. Or: these tunes are designed with fret board in ear, leaping from string to string. I kept getting the sense that Prokofiev is playing charades with us, and we're not getting close. The best part of Prokofiev is the interior patterning of meter as rhythm, i.e. what is happening is a pattern of what happens within single beats and their tightly bound neighbors. The balalaika number is a dynamite stand-alone thing.

Lullaby To A Dream - Benny Carter [from Alan Lowe's That Devilin' Tune]

That 1940's microphone warmth, as though we are hearing through scrim of cigarette smoke in black and white.

52nd Street Theme - Dizzy Gillespie [from Alan Lowe's That Devilin' Tune]

Tired of being sophisticated. Let's just amaze each other.

Bitten der Kinder - Paul Dessau

I'm still not sure what this is. Some fragment of a theater piece? The info on the CD is less than helpful.

Dancing In The Dark - Sarah Vaughan [from Smithsonian Collection of Classic Jazz]

Every note is a lovemaking.

Like, Long Hair - Paul Revere and the Raiders [from The Legend of Paul Revere]

Long hair referring, I suppose, to the Tchaikovskonzert opening salvo - and the tail-end "so there" cadence.

I Wanna Meet You - The Cryan Shames [a Rescued Record]

hokey, but OK about it.

October 14, 2016
Buried Alive In The Blues - Janis Joplin [from Pearl]

instrumental vamp

The Montreux/Berlin Concerts Cut 4 - Anthony Braxton, George Lewis, Dave Holland, Barry Altschul

Circus clown music (or a rethinking of the Stravinsky of Renard or L'Histoire.) But these clowns are not portrayed, we are placed within their thinking.

Rivals - The Heats [a Rescued Record]

Distinctly Beatlesish, except that neither verse nor chorus is remarkable.















Stepping Stone - Sun Sect [a Rescued Record]

Demo quality post-punk (not quite ready to let go) - or rather aiming at a mid 60's vibe: Neo Proto Punk.

One(5) 1991 - John Cage - Stephen Drury

I scribbled a whole load of words about intervals - but nothing worth sharing. Is there any kind of equivalence between two consecutive pitches and two simultaneous pitches in the 'kind of two-ness' they exhibit? That is, to what extent are their respective intervals the same cognitive thing at all?

Call The Doctor - Sleater-Kinney [from Call The Doctor]

Multi-stranded. Poetically perhaps too heavy a reliance on the rhetorical "they" and "you", the language of conspiracy theories, coercively displacing, alienating us from the big bad out there.

In Session at the Tintinabulary

October 9, 2016
Corollaries Omnibus - Keith Eisenbrey

Late at night along the Interspace, thinking about intervals: just what kind of animal they are.

October 10, 2016
Banned Rehearsal 920 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

I think Steve nailed it, just after I pressed stop. "What just happened?"