March 24, 2015
Have You Seen Her - The Chi-Lites [collected from Dave Marsh's Heart of Rock and Soul]
During the talky bit at the beginning the backup choir sloshes around the room. Once it gets going the texture is intricate, baroque.
Raw Power - The Stooges [from Metallic 'KO]
Whatever it was that Iggy was getting out of it, the tribe gets a vicarious thrill like that of watching someone standing on the back of a stampeding bull.
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| Yvonne, Neal, and Karen - several years ago |
Late on the night before Karen left Bickleton for college, when she should have been packing, she recorded this song with her brother Neal and sister Yvonne - a lineup that would only later be called "The PKs" (Preacher's Kids). Double tracking was done on the cheap: instrumentals recorded first then played back into the room (on cruddy equipment) while they sang. On a whim Neal suddenly played one chorus on electric organ, causing a certain amount of dumbstruck sisterly horror. Neal and I had only gotten acquainted that Spring (but were already engaged in the improvisation sessions that became the seeds of Banned Rehearsal), and Karen and I weren't introduced for another year or so - just before I left for Bard - a whole other story.
Stick Around - Julian Lennon [from The Secret Value of Daydreaming]
Perfectly danceable in a bland sort of way. The very essence of overblown polish.
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| Gerhard Samuel |
The orchestra wafts from the solo, and the solo resides within its own incense. Post-Debussian atmospheres coming apart at all possible seams.
On a personal note, Gerhard Samuel lived his last years in Seattle, a valued and beloved part of our new music community. He is missed.
Funeral Music - FoMoFlo [from Amy Denio's Tuto Benne]
Starts slow, ends party. Like New Orleans translated, else-tongued.
March 26, 2015
Banned Rehearsal 597 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer - January 2001
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| Banned Rehearsal - ca 2001 |
From the get-go a distinguishing feature of Banned Rehearsal has been that all noisemakers in the room (or out of it) are fair game at any time and for any player. Not to say that we don't on occasion play one instrument for most or all of a session, but it isn't normative. After all these years it is often difficult to remember who made which sounds. It can get puzzling when there are more obvious sound trajectories than there were people in the room, and especially so when it seems clear that an identifiable person is clearly responsible for several noises arising from what must have been opposite ends of the studio. This session is particularly fine, with not a slack moment anywhere.
Sno-King Kung Fu - Head [from The Funhouse Comp Thing]
A brag.
Now All Set - Laura Karpman [from Milton Babbitt, a Composers' Memorial]
Damn but this is fun! Witty in the highest sense, completely un-full-of-itself. A joy of a romp. More like this, please!
In Session at the Tintinabulary
March 22, 2015
Zuckermann 150322
Zuckermann 150322 folded
Zuckermann 150322 folded rubbed - Keith Eisenbrey
I finished this cycle of solo improvisations early in the morning so that traffic noise wouldn't overwhelm the clavichord. "Folded" means I cut the sound file in half and dubbed the halves together. "Rubbed" means I subjected it to some serious digital manipulation.
Folded Rubbed 150322 - Keith Eisenbrey
As the folded and rubbed versions of my solo improvisations have been collecting I wondered what it would sound like to run them together. That would have made a longer session than I cared for so I interleaved them into this 26 and a half minute file. Spacy stuff!
Duet 150322 - Keith Eisenbrey
New project - improvised duets by dubbing. First up: ocean drum and electric bass.
March 23, 2015
Gradus 262 150323 - Neal Kosály-Meyer
From out of the solution of impulsed sounds a distinct set of pitches precipitates. Two musics at once, intimately related but operating on separate planes.
