January 11, 2019
Matty Gervais
The Triple Door, Seattle
Matty - currently with The Head and The Heart and with Mikey and Matty, formerly with Curtains For You and The True Bugs, and I do not know with what all else even more formerly - was joined after a few solo songs by his spouse Charity Rose Theilen (also of The Head and The Heart), by his brother Mikey Gervais (also of Mikey and Matty, etc. etc.), and later by the Passenger String Quartet. His voice is a light tenor joy, effortless to hear solo and effortless in its blending with others - later in the evening he joined Shelby for a number. The blood harmony between him and Mikey is a Seattle miracle. The evening's set basked in the clear glowing comforts of home life facing itself bravely, young adulthood fading into the near past.
Shelby, in what she announced was her last calendared performance before she has her baby, was accompanied by Billy Brush on piano, and the Passenger String Quartet. The ping of her voice is set a bit higher than, but, in spite of any dissimilarities of repertoire or technical glitter, is quite similar to Liza Minelli's. And like hers, its strength is not really in its sheer volume, but rather in its graciously rapturous embrace. When she sings in a room she sings to you, to us. Her voice shines, enfolds, fills - as though in shining from her it shines from us.
Recorded
January 5, 2019
Three Strathspeys (1979) - Keith Eisenbrey - Keith Eisenbrey [recorded live on June 10, 2006]
Something about these, my second-ever set of piano pieces, brought Rameau, whose keyboard music I have been sight-reading recently, to mind. Uncluttered textures, clear phrases, and most of all, exuberantly enjoyed sonorities in all the registers. The finals of the first two are a tad clever I suppose, but the third one holds its focus out to the bitter.
Soundform IV Spaces - S. Eric Scribner - [from Storm Sound Cycle, May 2011]
whispered conspiracies
a windscape with none there to hear it
counsels are kept
the traffic without knows nary aught
 |
| You tell me. |
Finnegans Wake Part 3 Chapter 2 - James Joyce - Kio Griffith [from Waywords and Meansigns]
patiently sotto vociferated time kept magnetically
multiple concurrent renditions (none hurried) cross-fade joints
ham broadcast Polonius reborn bloviating as of old
narrow range of frequency recorded: the principals of the pitch if low and pristine would not be heard unless they interfered with higher frequency waves, and then they would be re-constructed principals, reconstituted on the mind's side out of its effects on those higher sounds - ghostlike.
prose sodden with poetic rhythm thinking
fond of sharp corners and rhyme games that veer away absolutely
setting: bandwidths and echo spans
sound recordings of sounds recorded: particular bandwidthprints evolve other-eon-ly, extraplanetoidenal cultural sourcing
ambient in that it is not addressed to anyone in particular
as the text of a book on a shelf not being read, not talking, applesauce
once upon a drunk and a very fine drunk it was
the scorch house putting all space in a nutshell
a damn good cup of skald you could trot a mouse on it
a compositional game: pulling the text back and back and down and down just to disappearance's nearing
o bother I must tell a troth
love's young fizz on a matter poetic
January 8, 2019
Canzon XVI - William Brade - The King's Noyse [from Mascharada]
That it is in fact highly refined is of less import than that it projects refinement, im- or op- presses with its refinement.
Sam the Accordion Man - Williams Sisters [from Alan Lowe's That Devilin' Tune]
the low voice slipping off in secret to become an instrumental part
Tickle Toe - Art Pepper [from The Way It Was]
selling a brand of refinement also, distinctly expensive
In Session at the Tintinabulary
January 7, 2019
Gradus 343 - Neal Kosály-Meyer
notes
not played
not posited
not proposed
not even queried
not tried, for want of any way about it
bunches at once
In what sense could these coalesce into a collection, or combination? how combined?
by use of, or by sounding, within a timespan?
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