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| 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)
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
slip rattle backbeat
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
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 tuggedKaren 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
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
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