"'Bustle,' said the old gentleman again, but the admonition was quite unnecessary, for one of the girls poured out the cherry brandy, and another brought in the towels, and one of the men suddenly seizing Mr. Pickwick by the leg, at the imminent hazard of throwing him off his balance, brushed away at his boot, till his corns were red-hot; while the other shampoo'd Mr. Winkle with a heavy clothes-brush, indulging, during the operation, in that hissing sound which hostlers are wont to produce, when engaged in rubbing down a horse."
Charles Dickens - "The Posthumous Papers of the Pickwick Club"
Texts
Live
July 16, 2022
A Bag of the Blues for Funny Fitz - Lillia Federico, Jim Knodle, Neal
Kosály-Meyer
Gallery 1412, Seattle
performed in the light
not in the dark
channeling
is a question
of plausibility
of
impersonating
Jim and Lillia are mag!
imitation and transformation
liberated intonation
of the
meta-intonation
of intonation
give Joyce a run for his money
Neal does the voices
tell me
baroque trope
three highish voices
every tiny tale
acting
is
to be the image of the character
its puppet
channeling
is
to allow the character inside
as a plausible
impersonation
of an aspect
of the character's model
we are but the models
of our future impersonators
battered like a seasoned mute
old Veronica's wipers
breathe it deep
the cabin's underpant
Neal has a heart to heart
with the harp
of the Italian Battle
Zither
now
is at the mercy of
soon
syllabic rhyme
the path
may not be the path
of virtue
to be a true path
if
we have a singular frame of self
how do we conceive
of
multiplicity
the self
is a population
the self
is a
desperate ploy
to hold the mind together
in a single stable skull
From Recent Arrivals
Something Wonderful - Nina Simone [from Broadway-Blues-Ballads]
leads us by the hand
from word to word
to note to note
to
phrase to phrase
to statement to statement
Una Muy Bonita - Ornette Coleman [from Change of the Century]
the sequence
of who is playing what when
at the opening
leaves so much open for future play!
that's composition folks, it doesn't just happen.
every member of the
quartet is in on it.
time goes in two directions at the end
Don't Ever Leave Me - Peggy Lee, George Shearing [from Beauty and the Beat!]
softly
close to your ear
Recorded
July 16, 2022
Sunday Bloody Sunday - John Lennon and Yoko Ono [from Some Time in New York City]
puritans of thinking
there being but a single correct response
to
any event
or attitude
on any issue
social coercion
I Wanna Make Her Love Me - The Rumour [from Max]
doomed to failure with that attitude friend
clipped speech singing
so that the particulars of the voice
aren't
so brutally exposed
as they would be
with a more legato delivery
Walking and Falling - Laurie Anderson [from Big Science]
apparent profundity performance
(it ain't)
in broad outlines
it's a cumulating form
elements are added bit by
bit
but unsteadily
and with some back tracking
and
overlapping backtracking
first run through of the final rehearsal
That Train Don't Stop Here - Los Lobos [from Kiko]
guys complaining to guys
about putatively unfaithful gals
putting
a light face
on the situation
for the guys
Ave Maria - Morton Lauridsen - Polyphony, Stephen Layton [from Polyphony]
this architecture
has padded seats
and modern heating
warm
blanket
Slow Funk - The Humidiflyers [from Blue Ducky EP]
funk here
as
a medium of exchange
to one's peers
band
is on board
Consider the Birds 21 - Keith Eisenbrey [February 3, 2002]
one can find oneself taking this in
as a rhythm in three
but it
falls apart
after a few iterations
and yet
we persist in
trying to fit it
so as to make sense
of now
in terms of a
continuity
from then
there is a regularity of rhythm involved
but it isn't in three
it derives from a different model
(than metrical)
(at the relevant time scale)
1. - Swearin' [from Swearin']
loud shshshsh-ey sounds
stops suddenly
You Ruined It When You Hugged Me Back - Your Mother Should Know [recorded live at the Sunset Tavern April 18, 2017]
I'd forgotten how hoarse Neal was at this show
spirited performance
though
You've Got a Habit of Leaving - David Bowie [from Toy]
a song about a heart to heart conversation
accomplished
by playing
both parts
you could grow up if you wanted to
then
a new
song begins
rave up
to the middle
of the old song
In Nomine, Fvb 140 - John Parsons - Claudio Columbo [from The Fitzwilliam Virginal Book]
the aesthetic culture
excelled at enabling elaboration
from short
melodic segments
but
treated less as melody
than as
framework
Sonata in B-flat Major, Kk. 190 - Domenico Scarlatti - Pieter-Jan Belder
periods made of assembled and ordered figures
can play with mix and
match
re-ordering
variations in tonal trajectories
refer to
the past
by replaying it
but not straight
Don Carlos, Appendix 4 "Scene: J'ai tout compris" - Giuseppe Verdi - Coro e Orchestra del Teatro alla Scala, Claudio Abbado, Placido Domingo, Katia Ricciarelli, Lucia Valentini Terani, Leo Nucci, Ruggero Raimondo, Nicolai Giaurov
soprano singing low
and alto singing very low
very thin
accompaniment
subdued but full of sound
My Name is John Johanna - Kelly Harrell and the Virginia String Band [from Anthology of American Folk Music]
a robustly odd notion
of playing in tune
I'll be lookin' through a
telescope
from home to Arkansas
what might have played the part of a cantus firmus
in the renaissance
is taken here
by a sequence of chords
and word play
on
the meaning of mean
Duncan and Brady - Lead Belly [from Where Did You Sleep Last Night, Lead Belly Legacy]
some dire deeds of old
dying on a bar room floor
Ya Got Trouble - Meredith Wilson - Robert Preston [from The Music Man, Original Cast Recording]
fritterin' their chore time
Mr. Moonlight - The Beatles [from First Live Recordings, Volume 1]
playing old sentimental favorites punkly
Casino Royale - Herb Alpert and the Tijuana Brass [a Rescued Record]
kind of a blast actually
around and around
Hard, Ain't It Hard - Woody Guthrie and Cisco Huston [from The Greatest Songs of Woody Guthrie]
dead on a duelling floor
tells them a tale
that
he won't
tell one
Problems - The Sex Pistols [from Never Mind the Bollocks, Here's the Sex Pistols]
four measures per segment
each measure in the verse
has two vocal
statement segments
in the chorus
each has just one
measure
being defined as
two cycles
of drum beat patterning
Baby, Oh No - Bow Wow Wow [from Love, Peace, and Harmony]
combination
of clear simplicity of presentation
and precisely
engineered sound
signature of the 80s
Genesis - The Total Experience Gospel Choir, Pat Wright [from Bits and Pieces]
disciplined
Cross My Heart - Bruce Springsteen [from Human Touch]
Breakdown - Mariah Carey [from Butterfly]
country song
with poetic pretense
Banned Rehearsal 636 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [April 26, 2002]
still in our combo set up to start
Karen on drums
Neal on cornet
me on piano
Neal jumps off first
then remounts
I'm
running off at the fingers
more than I'd like to hear
I do better
when Neal is playing sounds
I reach inside
Karen drums with
hands
Neal
I think
has a small drum
also
the
instrumentation wanders off modestly
the hope may have been
that we would build on this
into a music
that was more focused
than we had been up to then
looking back
it operated more like a holding pattern
keeping it together
until a new idea might arise
and so we wander
ideas
evaporate
in marking time
nothing sticks
the drums sound like they're being played in a real room
hard to tell
with everything else
but the parts are not cleanly separated
the
musicians may have been in the same room at the same time
Bagatelles - Aaron Keyt - Keith Eisenbrey [recorded live at the Chapel Performance Space, Good Shepherd Center, Seattle, June 23, 2012]
voices slip off from each other
elude purchase
become smoke
how many broken machines can a sole pianist imitate
Alone In This Together (alternate version) - Star Anna [from Soundtrack]
structured lyrically
like a long blues
though the chords are not
really a blues progression
July 20, 2022
Banned Rehearsal 1050 - Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt
rummaging in the sound attic
the boxes mutter their say
sounds are
separate objects from signals
they are in a separate category of objects
mixed
signals and sounds break free
the attic rummages itself
arising in response to extra-psychological stimulation
language is a medium of intercourse
apparently biologically biased
music also
but
its biological bias is less apparent
the relative circumscriptions of language and music
to what extents
are they singular activities
Wooddy-Cock, Fvb 141 - Giles Farnaby - Claudio Columbo [from The Fitzwilliam Virginal Book]
what can be done to a chant snippet
can be done to a melody from the
streets
or farm
old McDonald for example
Giles has fun
with quickly arpeggiating melodies together
keyboard figuration
quasi hockets
God is Mad With Man - Rev. T. E. Weems [from Goodbye Babylon]
and here I've been reading Jeremiah
accentuated sermonizing
with
shout response
don't let 'im get mad with you
Stop Breakin' Down Blues, DAL 399-1 - Robert Johnson [from The Complete Recordings]
mule tempo?
or just walking down the street
his guitar has such a
lovely high end vibrato
Milestones - Charlie Parker [from The Complete Savoy and Dial Master Takes]
applying a standard format
to how things go
at one level
allows a lot of play
at others
All of My Life - Billy Eckstine [form The Irving Berlin Song Book]
voice overpowers sappy song
Nobody Like You - Aretha Franklin [from The Electrifying Aretha Franklin]
echo that
plus some fancy coloratura
Prelude in F Major - Lockrem Johnson - Keith Eisenbrey [recorded July 15, 2022]
I still wish it were lighter and fleeter
I may see if I can up the tempo
considerably
 |
| Steve Kennedy knows how to photo-bomb Aaron Keyt's toy parking garage rattle |
Childhood's End - Pink Floyd [from Obscured by Clouds]
starts with an harmonic mist rising
the beat comes later
then the
mist disbursed
making the song an event within the track
Lowdown - Wire [from Pink Flag]
less a song
than an instrumentally accentuated recitation
affect
of attitude
Poor Old Heartsick Me - The Knitters [from Poor Little Critter on the Road]
straight down the American middle
Cantus 6 - Keith Eisenbrey - The Fehrwood Ensemble [April 26, 1987]
second run through at this rehearsal
accretion of piece parts
so
that
any one additional element
barely registers
until the
payoff trilly tune appears
in such glory as is available
to the
trilly tune
on an accreting shore
Put Your Finger in the Air - Woody Guthrie and Friends [from Woody's 20 Grow Big Songs]
beginning hokey pokey
Another - The Notorious B.I.G., feat. Little Kim [from Life After Death]
hollow spaces for emphasis
in different parts of the fabric
It Could Happen To You - Glenn Tate [from Some of My Favorite Love Songs]
the science of live background music
suitable for sentimental suppers
and late night drinks
aroma music
Consider the Birds 23 - Keith Eisenbrey [February 3, 2002]
listening these past months
in a disordered fashion
to a piece
that vigorously disorders a time span
just a few more I think
Division - Ian Bell, John Teske [from Embers of Discontent (final mix)]
a string ensemble
led from the bottom
as an introduction
to some old worker solidarity songs
See You At the Next Show - Your Mother Should Know [recorded live at the Sunset Tavern April 18, 2017]
this may have been the last time Karen dragged the whole drum set to a gig
and I remember
we were lucky enough to park right in front
thanks to a kindly person
who was just leaving
Water Lilies I - Donna Masini - Stephanie Lamprea, William Bond [from Quaking Aspen]
a descriptive text
like a poem
recorded and enunciated
so
that the Ts sibilate
In Session at The Tintinabulary
July 14, 2022
Banned Telepath 90 MV Spokane - Jennifer Chung
July 18, 2022
Banned Telepath 90 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer
Banned Rehearsal 1055 - Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer
July 20, 2022
Joshua Tree Prelude 1 - Aaron Keyt
July 21, 2022
Sinfonia 3 - Keith Eisenbrey
hot off the press the midi button
my latest composition
Prelude in E-flat minor - Keith Eisenbrey
from my 2011 set of preludes
July 22, 2022
Anybody's Fingerbook 7x7 (augmentational) A B C - Keith Eisenbrey
these are progressively challenging as note sequences
to read and not to
rush
Postscripts
Skaldmud's Doodle Gallery
some listening journal doodles from 1989
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