Playlist

Recorded

February 4, 2018
Banned Rehearsal 437 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [November 1996]

waiting for the right door to come around

Neal, ca 1996

so that we can step in and do that dance

Neal Sax Keith Guitar Aaron Violin or Anna Violin
big squeeeeeek toy wailing and shredding (shredding in our own way)
big sax sound we hack at and scrape at

rather a battlefield of standing waves
(more a working-at-things session than a presentation-ready session)

First: ascertain the exact contours of our present argument
Next: compose together a chord - for want of a better word - a harmony perhaps - precisely in the
temperament of the contours of our present argument

gets quiet down to the hiss
and moving about put the baby on the back
barely whistling

Banned Rehearsal 625 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Neal Kosály-Meyer [December 2001]

the differences in distance between the senses of presence is a thicket
frog marimba wash tub bass piano tiny plunk
discuss in prose paragraphs amidst all these drums

but because it was a thicket of distances these new ones enfold the old ones
layered pasts layered in layered presence

zither drone drumming AM radio am speaking to you from a great distance
FM radio am here with you in your room

drum beating makes a name for itself in this rather hot playback

Isabel protospeaks

Hypernova - Brad Anderson [from Dark Energy - Interstellar Pianos]

an opera or the entracte for the Hyperprog Band of LEGEND!
wanders close to Nancarrow through the basement watercloset back of a famous minimalist's seedy beginnings

Gradus 191 - Neal Kosály-Meyer - Neal Kosály-Meyer [April 2011]

dynamic range and its echoes
watch your fingers
might get chopped

Arsenic & Lace - Strange Like Us [from Strange Peeps]

Mixed thick with snarl and c'mere baby
freak flag freakflagfly freak flag freakflagfly (repeat)

February 6, 2018

A Voluntarie, "For My Ladye Nevell" - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Ornamentfarbenmelodien

each and every element of texture both homogeneous - to easily fit together - and granular, specific, high-definition - to curve just so
on multiple scales

Partita in B-flat Major - J. S. Bach - Gunther Hasselmann

proceeds in a series of direct lines
only wending with friction or drag of mode and dissonance
living to break free

offset lines drag each other
but still direct
looking ahead

the Sarabande's stumbling ornaments balance perfectly

O Death Where Is Thy Sting - Rev. J. M. Gates [from Anthology of American Folk Music]

near to singing in tongues
cooperating independencies

Pastures of Plenty - Woody Guthrie [from Columbia River Collection]

us migrants. US migrants.
must always be free (not the migrants, the pastures)
more land reform propoganda
yowza!

Mine - The Voices of Walter Schumann [a Rescued Record]

for choreographed singing
as for Broadway, or as a demo for a Variety TV Spectacular


Ain't She Sweet - The Beatles [from Beatles Anthology Volume 1]

eyes on the prize burning bright

Ninety-Nine And A Half Won't Do - Wilson Pickett [collected from Dave Marsh's Heart of Rock & Soul]

the pitch qualia of the bass line is obscured, or given a specific index, by the kick drum (which is huge)

Unnamed Track 3 - Tillicum Junior High School Band, Bob Runyan, director [on March 3, 1971, from my mom's tape]

pretty sweet horn solo. cornet, trumpet, flugel?

February 8, 2018

Symphony of Sorrowful Songs (#3) - Gorecki - Polish National Radio Symphony Orchestra, Antoni Wit

count to 3
nest it
slow and fugueish

A.H. in the dark
or a clownless Shostakovitch
Pachelbel's Canon with depression

narrow, bound
the voice enters singing what might be, might as well be, partitions of the identical close stepwise counterpointing texture stuff

all frame
no mona lisa

why do I so mistrust the politics of this?
Is it possible to hire people to put themselves through this?

interminabularity to the max, man
grinding to an eternal halt

oh boy a coda

In Session at the Tintinabulary

February 5, 2018
Gradus 257 - Neal Kosály-Meyer

distances unbridged
left distant
drift off

singular light source
like morning

Playlist

Recorded

November 4, 2017

The picture I made

Gradus 94 - Neal Kosály-Meyer

Uses dampers as filters to extract partials
silence is resilient
behind me Karen purees pumpkin
time out of grid
a car stereo drives by outside
sidebar tea ceremony
that a sound could seem to happen Now is a demonstration of how wide a span is the apprehension of Now

Thursday After - Youth Rescue Mission [from Youth Rescue Mission]

adding elements one after another in stepped sequence
within song structure serious phrase length rhythm play
blood harmony could almost be the Fleetwoods at the end (just a hint)

Gradus 285 - Neal Kosály-Meyer

I made a picture.

November 5, 2017
The Hunts Upp - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

ringing echoes
signals passed on hills
familial tales
courtly tales

Der Kunst der Fuge, Contrapunctus XVII Rectus / Inversus - J. S. Bach - Zoltan Kocsis

strong vertical leaps up? down? contribute to the effect of utter duplication
is it the direction of the leap or its mere distance that tells?

Gatemouth - Kid Ory, Johnny Dodds [from Alan Lowe's That Devilin' Tune]

sliding around the pitch, glisswise
a dance of them


this music is not dance music
this music is dance

Roll Columbia, Roll - Woody Guthrie [from Columbia River Collection]

Progress celebrated, collective progress, progress to benefit us'n'all.

For Miles and Miles - Art Pepper, Chet Baker [from Playboys]

phenomenal playing full of subtleties to be sure but something bluesy has been buffed out if it, refined in an almost pretentious way, if they weren't getting away with it pretty bossly

Echo Song - Orlando di Lasso - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from A Musical Souvenir: The Lake Washington Singers Spring Concert (April 11, 1961)]

humored up? or just oddly translated, odderly arranged? or maybe that's just the way it is

Hold On I'm Comin' - Sam and Dave [collected from Dave Marsh's The Heart of Rock & Soul]

thought: jazz is about its rhythm; rock is about its song structure; blues is the glue
these boys have heard some church singin' and how

The Song Is Over - The Who [from Who's Next]

praise chorus
testimony
psalm

November 7, 2017

Song of Fifty Cents - Jack Bean [from The Art of Field Recording Volume 1]

another function of demotic music
actual advice in humorous guise
(not that, but like dirty jokes as ad hoc sex ed)
how it is learned: those life lessons
quite the accent, one needs to pay more than fifty cents of close attention

Improvisation - University of Washington Contemporary Group Improvisation Ensemble [from Neal's Recital Tape]

Conversation wordlessly, as musical exercise.

You Get What You Want - Julian Lennon [from The Secret Value of Daydreaming]

this tries so hard, but I have trouble giving it the benefit of the doubt. The problem is not his singing voice, but something like a lack of roots.

November 9, 2017
Banned Rehearsal 254 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 1991]


testing 1 2 3
now we have begun
at Toad Hall some crud in it
John 'plains, but 4 weeks old
strenuously lame we thus arrange the possibility of brief moments unlike any others
drill bit into bedrock inexorant
on my wall
there hangs a purple trout
continues on through
metabolism enhanced
be- words auf Deutsch
bell rings for train coming in

Hail Hail - Pearl Jam [from Rearviewmirror]

propelled
engined
til the fuel runs out
the ride is over

In Session at the Tintinabulary

November 6, 2017
Banned Rehearsal 946 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


Aaron and Neal duet on trumpet and cornet, Karen drums an ocean, Steve tunes in, and there is me with banjo on my knee