Showing posts with label Broken Bow Ensemble. Show all posts
Showing posts with label Broken Bow Ensemble. Show all posts

Saturday, October 4, 2014

Playlist

Live

September 27, 2014
Dead Bars 
Kraken Bar and Lounge, Seattle

In mid-dues, like a marathon runner at mile 8, still having a blast but shedding inefficiencies, getting that look in their eyes, finding their groove for how to do this thing.

I'm sorry we couldn't stay for the other bands.

October 2, 2014
Broken Bow Ensemble
Chapel Performance Space, Good Shepherd Center, Seattle

min - John Teske

The species of motion (contrary, similar, oblique) duly debunked. Method: moments are concatenated clouds, not reducible to individual pitch-qualia. Neural maps, mapped to orchestral complexes. About, though not constructed of, differentiation of voice, note, color, person.

October 3, 2014
Macefield Music Festival (day 1)

Boss Martians - KEXP Mainstage (parking lot of Hattie's Hat Restaurant)

We caught the last half of this set as they were playing a cover of Ricky Nelson's  Hello Mary Lou. I don't believe I heard enough of them to really get a bead on what they are, though first impressions are of a competent surf-rock cover band (with some original stuff?) riding a sound that hints of digging Crocodile Rock as much as I do.

The Sonics - KEXP Mainstage

By the time the old guys got on stage the sky was dark and a halfmoon hung high over the building next door. Their presence gave a sense of family reunion to the whole festival - the grandparents and their myriad progeny. They held tight to the strength of their signature rip-tide sound, from the opening "Hey hey hey hey hey Cinderella!" to the final "She's a witch!" Larry Parypa's guitar playing is as ferociously effective as ever, and Gerry Roslie, though occasionally forgetful of a line or two, still flips easily from warble to field shout. The voice of a 20 year-old from a mop of grey with granny glasses.

Inly - The Sunset Tavern

We got to the venue in time for their last song - an a capella duet. It was like arriving at a potluck too late for anything but a 1/4 piece of pie. We'll need to find them again sometime.

Star Anna - The Sunset Tavern

Star doesn't sing the blues. The blues inhabit Star, and she sings.

We were beat and I didn't want to think about anything else, so we went home.

Recorded

September 30, 2014
Concerto No. 2 - Bartok - BBC Symphony Orchestra, Colin Davis, Stephen Bishop

The mix is a bit piano-heavy, but the performance is invigoratingly reckless from all parties, entrances spilling over each other like greedy shoppers over a clearance rack.

Cancao do Marinheiro - Heitor Villa-Lobos - New York Chamber Symphony, Gerard Schwarz, Robert Bonfiglio

This is from a weird album of music for solo harmonica and orchestra by Villa-Lobos that was given to me at some point. Some of the song arrangements work better than others. This one is pretty fabulous, with high string tones messing around with the harmonica's upper partials.

Nague - Machito and his Afro Cubans [from Allen Lowe's That Devilin' Tune]

Klangfarben-meter, prestissimo. Sixteen maximally differentiated moments within each fly-by-quick measure, always in perfect control.

In Session at the Tintinabulary

September 29, 2014
Banned Rehearsal 870 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt,  Neal Kosály-Meyer

Check it out.

Sunday, September 29, 2013

Playlist

Live

September 26, 2013
Broken Bow Ensemble
Chapel Performance Space, Good Shepherd Center, Seattle

Mer - John Teske

Beethoven's Symphony in D minor begins in this place, or near to it, and awakes from within the face of these waters an heroic cosmogony. Wagner's Der Ring des Nibelungen begins in this place, or near to it, and awakes from within the deeps of these waters a tragic mythogony. Mer abides in this place and recedes, here, from within us, here, revealing an image of our common us, together, here: a hope-glimmering sociogony.

Recorded

September 19, 2013
Group Variations (video) -  Russell Craig Richardson (vid), Benjamin Boretz (aud)  (from Open Space DVD 1)

I waited a week to write about this, and I'm still not sure what to say. Perhaps puzzlement is close to being a correct assessment. I have been familiar with Group Variations for decades, but a firm grasp of it persistently eludes. Richardson's video makes no particular attempt to track or mimic the music a la Fantasia, (thank you), but perhaps rather imagines a visual shifting in one's chair and a cocking of one's ears. We don't see the music, but the listener.

September 24, 2013
The Day I Heard Shelby Sing - Neal Meyer

A song can be just what one would say.

Three Noels - Jean-Francois Dandrieu - Marie-Claire Alain

My teacher Ken Benshoof once suggested that jazz musicians don't habitually play in keys so much as from them. Something like that is going on here, but the operative notion might be described as a nested metrical/phraseological norm, teasingly suggested precisely in order not to quite comfortably settle into.

Suite in G minor - Sylvius Leopold Weiss - Lutz Kirchhof

I kept thinking of how this music would come across played on a keyboard rather than a lute. The primary distinction would be the relative loss of presence of the body of the performer. The modern keyboard, be it harpsichord, fortepiano, or piano, is designed in part to be transparent, to vanish with its operator as an object in the room, so as to allow an unmediated musical experience. In that sense it is designed with a systemic lack of candor. Of course it mostly fails at this, and often it is the dynamic subtleties of failure that provide the human scale with which we can wrestle with the musical experience. But the lute is a much older animal and these intricate contrapuntal musics don't set upon it with quite the same hard-wired ease. Here the performer is an inescapable bodily presence, tooth and claw.

Mass in G Major - Schubert - Atlanta Symphony Orchestra & Choruses, Robert Shaw

Transcends by expanding within.

September 25, 2013
Love Songs and Ballads of Stephen Foster - The New York Vocal Arts Ensemble
The Chicken - Rosco Gordon (from Sun Records Definitive Hits)

A salacious come-on so baldly disguised as to be more blatant than if it were straight out.

In Session at the Tintinabulary

September 22, 2013
Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, soprano, Keith Eisenbrey, piano

Enjoy! Link above to my soundcloud site.

September 23, 2013
Fox Spit 2 - Keith Eisenbrey

Neal was busy so I improvised on my brother Paul's handmade guitar.

Upcoming

Friday, October 4, 2013, 8pm
Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside Avenue North, Seattle
SoundScroll IX Concert - Steven Eric Scribner