Playlist

Live

August 4, 2017
Klondike Kate
Mud On My Bra
Juicy Thompson and the Snuggle Regime
Porn Bloopers
Café Racer, Seattle

Anyone is there for their own reason. Not the sort of evening that could possibly be composed though there was composition in super-abundance need I only mention the fine sequence of tempi rung by each group like a Haydn oratorio nor the sort of evening that could possibly be planned though there was plenty of planning and plotting and wheeling and dealing in gigs here and there and of course the whole business plan of the venue to stock and staff the bar and kitchen clear the tables turn the sprinkler on just outside the door [¿] how friendly is that [?] the music of the table chatter and dance of the crowded flirting every bit as engaging as and did I mention how much fun the bands were having just being an event or some to which anyone might gather for their own reason what I mean is this sort of evening as an event in itself must simply arise there it is. Gives me faith in music it does.


Recorded

July 29, 2017

Crucifixion - Arizona Dranes [from Goodbye Babylon]

Within the conventional figurational schema: attention to details, to the balance of registers, to clean articulation.

Concentratin' On You - Connie Boswell [from Alan Lowe's That Devilin' Tune]

Room for a dance number in the instrumental choruses.

Boogie Woogie - Count Basie [from The First Records He Ever Made]

The staccato hits are echoed in the staccato run in the piano. A vocal ornament: quick wide quasi-appoggiatura (3rds and 4ths, I think, rather than steps), it is playfully placed within the meter.

Bebop in Pastel - Bebop Boys [from Alan Lowe's That Devilin' Tune]

A relaxed tempo groove with hints of Count Basie's staccato hits lick, melodically juiced.

Panama - Kid Thomas and his Algerian Stompers [from Alan Lowe's That Devilin' Tune]

The notes within the different chords don't talk to each other across the bars in the way they might in classical tonal works. I'd like to think they do, but that we're not hit over the head with it, but I suspect that's wrong too, and listening that way is simply an error.

Hat posing with Peggy Lee

There's a Small Hotel - Peggy Lee [from Black Coffee]

In terms of musicianship (the alternation of 3 feel and 4 feel) she tends to be a bit of a show-off. If you got it flaunt it.

There's No Other (Like My Baby) - The Crystals [collected from Dave Marsh's The Heart of Rock & Soul]

I can't help but wonder if the engineering of these was done with car radios in mind. Was the point of selling songs to the radio station simply the selling of radios? Quite a nice song though.

4th Time Around - Bob Dylan [from Blonde on Blonde]

Deflecting sense, words become a matrix of they mean what you want them to mean.

San Tropez - Pink Floyd [from Meddle]

It might be trying to be a Paul McCartney song, in the Honey Pie mode.

Dreamboat Annie - Heart [from Greatest Hits]

Being not quite a fast dance and not quite a slow dance, it requires negotiation, like gender.

Untitled Track 1 - Empire Brass Quintet [from American Brass Band Journal Revisited]

Karen brought this album into the family in the form of a trackless cassette.

July 30, 2017

Banned Sectional 21 KEE NWM - Keith Eisenbrey and Neal Kosály-Meyer [February 1986]

We must have planned to start together, Neal and I. (d)(e)-volves into a couple of sudden songs (that being what we were doing at the time) including a version of Ain't No Easy Woman with a verse I don't remember.

running amok - Infamous Menagerie

as if recorded from inside a can in the next bar over. luscious!

August 1, 2017

Banned Rehearsal 426 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [June 1996]

Close surgery, radio beepings are the monitors, one by one they go off revealing at last the flutter beat of a bird's heart. Universal time. At the tone the time will be.

Foundation - Keith Eisenbrey

A midi rendition of my organ prelude based on the hymn tune FOUNDATION. Throbbing and twisted.

Banned Rehearsal 696 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2006]


I introduce the players, and then thunder introduces itself. Rain on roof gentle, as though attempting to make the least sound possible and still be what we do.

August 2, 2017

Here In My Bed - Rachel Harrington [from Celilo Falls]

Not goodbye not hello just the fact of changing. Her vowels thin themselves unexpectedly, drawing you in closer by finesse.

Autoheterophony: Kum Ba Yah - Keith Eisenbrey

Making a new time of a pile of times.

Die Kunst der Fuge Contrapunctus XIII - J. S. Bach - Zoltan Kocsis

Awkward, the voices cooperate under mutual protest.

August 3, 2017

Mildred Bailey

Harmoniemesse - Haydn - English Baroque Soloists, John Eliot Gardiner, Monteverdi Choir, Joanne Lunn, Sara Mingardo, Topi Lehtipuu, Brindley Sherratt, Angharad Gruffydd Jones, Andrew Busher

In which Haydn demonstrates the necessary care to be given to composing each measure. A continually shifting array of forces, the sort of thing that might have made Elliott Carter just give up.

My Soul Is A Witness - Arizona Dranes [from Alan Lowe's Really The Blues]

Voice honed like a knife blade.

Georgia On My Mind - Mildred Bailey [from Alan Lowe's That Devilin' Tune]

I need a word that combines the notions of portamento and diphthong and a fiddler's touch.

Evenin' - Count Basie [from The First Records He Ever Made]

The beat and the meter meet at a slant. Don't stand still or you'll slide right off the edge of it.

In Session at the Tintinabulary

July 31, 2017

Banned Rehearsal 940 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer

Playlist

Live

Your Mother Should Know

Victory Lounge July 21, 2017

July 15, 2017
Alone In Dead Bars
Your Mother Should Know
Arbor Towers
Victory Lounge, Seattle

John Maiello, the lead instigator of songwriter for and singer in Dead Bars, has been appearing solo now and then as Alone In Dead Bars, often when a gig arises to which the full forces can't be mustered. His songs skew toward the conversational: "this band is way to fucking loud you saw me covering my ears . . ." Story fragments one might overhear at, well, at Victory Lounge, presented at a full tilt holler over the bandblast volume. Art imitates life in situ.

Your Mother Should Know, in their second electric show in a while, tightens up their set. I'm still too much the husband of the drummer to comment reliably in public.

Arbor Towers was lots of fun, with some really fine playing and songwriting. One set and I'm already a big fan.

We were pretty beat from having just been out late a few nights before, and we were sorry to miss the two bands from El Paso: Lunas and Medvedi, but Neal reports they were fine, so I'll look up some sound on the interwebs.

July 21, 2017
Your Mother Should Know
Victory Lounge, Seattle

And there they are again, opening Victory Lounge for the Eastlake Block Party. No longer having been on vacation, and pretty much wiped, we limped on home right after playing.

Recorded

July 16, 2017
Confessions of a Polyphonist - Keith Eisenbrey

Words are huge. A Textsound piece I wrote in 2000/2001. Listening I thought of an interesting challenge: What are the chances that any particular transcription would hit on the spelling of the score? A homophoniad - or perhaps a homophone-mare, complicated by the names of letters that are also words and syllables within words that are also words. This may be the closest I ever got to a Boretzian 'text that only a composer could write'.

Gradus 92 - Neal Kosály-Meyer

Space to think around each singlemomentnode to linger touch caress lift weight ponder want besotted with each singular that time must be given to grieve its passing.

Castles Made of Sound - Wrick Wolff - Marzena Music Ensemble [from Hendrix Uncovered]

Undulous and otherworldly, in the groovy way.

July 18, 2017
Gradus 284 - Neal Kosály-Meyer

a dry lake bed

an occasional stone

or line

aiming

somnient

a shift in underlying geology

leads to a more dreamy sleep

twitchy

July 19, 2017
Die Kunst der Fuge, Contrapunctus XII - J. S. Bach - Zoltan Kocsis

Sensory overload split screen cinematography to the end that just is.

Die Jahreszeiten, Fall - Haydn - Vienna Symphony Orchestra, Karl Böhm, Gundula Janowitz, Peter Schreier, Martti Talvela, Wiener Singverein

This is a well fed music. Oh boy! A hunt! And a dance! Even the passions are part of society's well ordered plan.

July 20, 2017
Who 'Sit - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Is that a slide whistle in there, superbly conjoining with clarinet? Cool!

Joy Bells - Tennessee Music and Printing Company Quartet [from Goodbye Babylon]

My favorite band name this week. Hyper-pingy vowels sung to !pop! on the old-time recording. Wicked fine piano playing back there.

Shoe Shine Boy - Lester Young, Count Basie [from Alan Lowe's That Devilin' Tune]

Proto bebop, a sense of orderly motion still traceable within the too fast to follow figurations.

Serge's Urge - Chaloff Serge [from Alan Lowe's That Devilin' Tune]

The same, but updated, out-done.

Seventh and Union - Hank Garland [from Alan Lowe's That Devilin' Tune]

Wonderfully articulate, flirting just ahead of where you are.

You're My Thrill - Peggy Lee [from Black Coffee]

A stunning confluence of musicianship and sound engineering. You have been taken. Give it up.

Dirty Robber - The Wailers [from The Fabulous Wailers at The Castle]

I'm sure he's saying some words or other in there, but it hardly matters, the sense of the sound is right on.

Absolutely Sweet Marie - Bob Dylan [from Blonde on Blonde]

In accusing another of teasing, exposing his own lyrics as what they are: a big tease with nothing underneath.

10538 Overture - The Electric Light Orchestra [a Rescued Record]

With George Martin-like arranging as a starting point (think Yellow Submarine or Eleanor Rigby), we get this, a dead end.

Babylon - Don McLean [from American Pie]

At least it's short (counterfoil to the first track?). The banjo is nice.

Cook of the House - Wings [a Rescued Record]

A song that's not much more than a groove sandwiched between nouveau Alan's Psychedelic Breakfast fry sounds.

Ein Hundenleben - University of Washington Contemporary Group Improvisor's Ensemble [May 1981]

IN WHICH: Karen and I were in the same room for the first time ever but didn't have a clue what would be in store.

The UWCGIE performed as the last half of Neal's Spring recital, and this, being one of the three pieces we performed, counts also as among the earliest traces of our collective improvisatory collaboration. I'm thinking there must have been 8 or 9 of us, but certainly don't remember everybody's name: Neal Kosály-Meyer, of course, and me, and Stu Dempster, Joseph Bichsell, Dave Jones, Greg Powers, and several others whose names and faces escape my fading memory banks. We had spent the quarter working on tuning into common wavelengths, and it shows.

Coney Island Steeplechase - The Velvet Underground [from Another View]

A test mix of collected contrast bits, mixing room floor scrap sweepings, but not bad for all of that.

In Session at the Tintinabulary

July 17, 2017
Banned Telepath 58 Coal Creek 170717 - Aaron Keyt
Banned Telepath 58 Seattle 170717 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer
Banned Rehearsal 939 170717 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Composing Camp - Alaska

Playlist

Live

Black Lodge

July 13, 2017
Victory Lounge / Black Lodge, Seattle
Anxious Arms
Choke The Pope
Ease
Pity Party
Listen Lady
Ramona

I haven't much to say - the sheer number of bands, all playing various versions of that Ramones-y "we're a happy family" beat, ever faster ever louder, overwhelmed my ability to keep track of which memory was which. Lots of fun though! Out among the beautiful people.

Recorded

July 10, 2017

Peggy Sue - Banned Rehearsal [Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer]

Another post-session "hey let's play . . ." in which I managed to hit record first. It is spirited, but Neal's vocals are lost deep in the fuzz.

At The Funhouse - Fe Fi Fo Fums [from The Funhouse Comp Thing]

It's only a minute forty, but still seems a bit padded.

July 12, 2017

Gradus 186 - Neal Kosály-Meyer [January 2011]

Playing very softly, the highest A natural only emerges gradually as a pitch. Prior action noise could have been most anything.

Deep History - Denise Glover [from Pathways]

A bit didactic, but with a fine and intricate string band behind it.

Die Kunst der Fuge, Contrapunctus XII - J. S. Bach - Lionel Rogg

This is the first of the canons, filling every nook and cranny of experiential space.

Die Jahreszeiten "Summer" - Haydn - Vienna Symphony Orchestra, Karl Böhm, Gundula Janowitz, Peter Schreier, Martti Talvela, Wiener Singverein

Languid near to a fault. Great storm though. Just a few years before the thunder in Beethoven's 6th Symphony - or in Berlioz's Symphony Fantastique, for that matter.

I'm Gonna Gitcha - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Dixieland rhythm but with a focus on LA's solo sound. What an odd sort of act he was: singer and trumpet player, top of the game in each.

Cab Calloway

Kickin' The Gong Around - Cab Calloway [from Alan Lowe's That Devilin' Tune]

Is this the first mention of Smokey Joe? A kind of journalism, giving us a peek at the seamy undersides of society without our needing to go for ourselves.

Derby Town - Old Ced Odom and Lil Hardaway [from Alan Lowe's That Devilin' Tune]

Late night vaudeville wink wink nudge nudge song, veering away from the dirty words just in time.

Don't Worry About Me - Sarah Vaughan, Teddy Wilson Octet [from Interlude - Early Recordings 1944-1947]

The song eases down the scale and slinks back up.

You Tell Me Your Dream - Eureka Brass Band  [from Alan Lowe's That Devilin' Tune]

One imagines this sounding somewhat old-fashioned in 1951, but then it may have been some of those same old dudes playing that same old Dixie they had always been.

Love Me Or Leave Me - Peggy Lee [from Black Coffee]

A study in the careful placement of voice within tessitura. Sounds to me like she was gunning at Sinatra.

Wailers House Party - The Wailers [from The Fabulous Wailers At The Castle]

That completely unmistakable fat guitar with B3 sound. Brilliant.

Temporary Like Achilles - Bob Dylan [from Blonde on Blonde]

The first song on the album that doesn't leave a bad odor in the air.

The Grave - Don McLean [from American Pie]

They were sincere times I guess, but this spends a lot of energy saying words with lots of meaning, then grinding the meaningful into the dirt with a boot heel.

CIA Dope Calypso - Allen Ginsberg, Stephen Taylor, Jon Sholle, David Mansfield, Arthur Russell [from Holy Soul Jelly Roll]

Torn from the headlines! The fun of the word play overpowers the disgust we feel we ought to feel.

Another Brick In The Wall - Pink Floyd [from a collection of great dance songs]

The whole sound sits at a level, like the surface of a lake, like a J. J. Abrams lens flare, nothing beneath, nothing above. Cool and sheer.

Banned Rehearsal 64 - Banned Rehearsal [Keith Eisenbrey, Anna K, Neal Kosály-Meyer]



Cornet overpowers the equipment but not the sound, sheared away, skidded across, re-writing itself
onto the tape from the tape as it cooks on the reel. Steadfastly not entertaining. About 30 minutes in there is a truly wonderful collective chord that emerges with drums and bells, like bootsqueek in fresh snow.

July 14, 2017

Night Of The Subaru - Infamous Menagerie

There is an extra partial beat thrown in there just to knock the whole thing out of plumb.

Sonic Brilliance 16 - Banned Rehearsal [John E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Holden K, Aaron Keyt, Kia M, Neal Kosály-Meyer - May 1996]

Banned Rehearsal spent much of the 90's negotiating our continuance in the face of parenthood. For a while we had the kids join us for a pre-session. This was one of the more successful sessions, because the kids essentially made their own game of it. Life of the Dragon, accordion slain. To say we'll say something is to have done it (for the 5 year old crowd). Then Neal takes them outside but was somehow broadcasting back inside the studio, and interviewing Aaron and Anna from in the house. Too many minors on board to share the sound, but if I were to share a Sonic Brilliance this would be the one.

In Session at the Tintinabulary

July 10, 2017
Gradus 315 - Neal Kosály-Meyer

Neal invited a fellow blogger, Kent Karnofsky, over to listen. He curates Community Noise. I believe his article will be posted shortly before Neal's upcoming {August??} performance {at the Chapel??}.

Neal composes with raw subtleties, pursuing the inflections of distinctions as they arise.

Playlist

Recorded

June 25, 2017
Banned Rehearsal 611 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer [July 2001]



Even as it has been recently, my 1981 synclavier piece Aku, then, was upfront in my thinking-about. Here it is again: playing in the background, an articulate teapot whistle, sizzling along with an occasional recorded pronouncement [from my 2001 text piece Confessions of a Polyphonist]. But again, all in the background. Presence and balance. Balancing presence to those present. Bells pick up pitch material or project their pitches into the prerecorded space || of course it's all prerecorded now || teapots and kazoos comment: a group composition discussing the brought in sound on its own terms,  double sudden amp feedback.

A Choice of Weapons - The Sermon [from The Funhouse Comp Thing]

Action movie scene: the guy off the street hero being introduced to the weapons cabinet. This is that music, and it's not just the title.

Banned Rehearsal 784 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer [January 2011]



Tinclatsky puppet theater music. Don't know where that word came from, but I wrote it in my journal

so I thought I'd share it. The Mighty W in its latter days of glorious to the end. Melody in extremis, avoiding exit lingering long on the sense of ending soon.

June 27, 2017
Suspended - Denise Glover [from Pathways]

The rhythmic sense plays with the difference between mass and weight. The mass is clearly present, everything is affected by it. It wheels in Kubrik-ian grandeur, there is simply no earth to which it is bound.

Die Kunst der Fuge Contrapunctus XI - J. S. Bach - Lionel Rogg

Forward at all moments. Forward within all moments. Dogged. Imperative. The cathedral organ just eats this music up, or is it the other way around?

Quartet in G Major opus 76 #1 Hob. III:75 - Haydn

Nothing is hidden, it is all made plain. Life is rich! Enjoy!

Don't Forget To Mess Around - Louis Armstrong [from Hot Fives & Sevens]

Packed in a poke.

Hell And What It Is - Rev. Emmett Dickinson [from Goodbye Babylon]

Murmur like bees beneath singing low murmuring hymns, burners lit.

I'll Be Rested (When The Roll Is Called) - Roosevelt Graves and Brother [from Goodbye Babylon]

Just two voices I think, but each so distinctly rich with formants they frequently confound numbering. A shaker. A guitar.

Thermodynamics - Howard McGhee [from Alan Lowe's That Devilin' Tune]

Fleet and light, pedal to the metal just to the moment before entropy might kick in.

Criss-Cross - Thelonius Monk [from Smithsonian Collection of Classic Jazz]

Ah. Room to breathe! A little english with the hips, airborne.

I Didn't Know What Time It Was - Peggy Lee [from Black Coffee]

The very model of a through-composed performance. She picks you up at the start and plops you down at the end. You have been taken for a ride and never knew it 'til you woke in the ditch.

Running Scared - Roy Orbison [collected from Dave Marsh's Heart of Rock & Soul]

Probably should have studied more how Peggy did it before he tried that trick. He's got a certain amount of power and range, but finesse? Whazzat?

Just Like A Woman - Bob Dylan [from Blonde on Blonde]

Is it just me or does he spend an awful lot of time telling you who you are? Turn the mirror around Bob.

Winterwood - Don McLean [from American Pie]

A pretty voice, but it gets old fast.

Fame - David Bowie [from Changes One]

A cage of rhythm locked down tight, dried vine vocals entwining.

Shine On You Crazy Diamond / Wish You Were  Here - Pink Floyd [from a collection of great dance songs]

Utterly without hurry :: an aspect of PF that continues to endear.

June 28, 2017

Thanks to Steve Kennedy for the images

Banned Sectional 5 AK NWM - Aaron Keyt, Neal Kosály-Meyer [January 1986]

Yowl and hiss. Subtle flange (equipment issue) like wind several walls away. Consistently not leisurely. Busy, but unhurried, intent, methodical, keeping at it, focused. Happy to be a fly on the wall even these 30+ years later.

My Home - Infamous Menagerie

Sample hyper-slowed, joined occasionally by drumming. On some edge between a what-happens-if-we-play-along-with-that and a truly weird-ass instrumental you hear the next morning and wonder what you were thinking. My people!

Banned Rehearsal 423 - John E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Holden K, Neal Kosály-Meyer [May 1996]

Recalibrations and re-collaborations, divergent but mutually visible threads. Wonderful as a struggle, but still a bit of a struggle.

June 29, 2017
Barbara H (cover of Fountains of Wayne song) - Karen Eisenbrey, Keith Eisenbrey,  Isabel K, Neal Kosály-Meyer [July 2001]

Put a push-pin here, partway between drop of a hat covers of Wild Thing to full on full on Your Mother Should Know rock and roll.

Two-Part Invention - Gavin Borchert - Keith Eisenbrey

Gavin's piano music somehow seems conscious of itself, or perhaps its voices are conscious both of each other and of their own processes. Old-soul music.

The Way West - Brian Cobb [from Campfire Songs]

. . . is to regiment forward, to prolong the day ever so incrementally. Sun Chaser.

This Little Light of Mine (Autoheterophony) - Keith Eisenbrey


What is the question to ask of this? What itch does it scratch? Cram the familiar together, wad it up tight, press it hard. Hope to find some aspect of it that is elicited only so. In a sense it's like Lucier's I am sitting in a room, except that the room in this case is a space composed of my music ear and the recording device.

In Session at the Tintinabulary

June 26, 2018
Gradus 314 - Neal Kosály-Meyer

I got to thinking about perfect pitch (I don't have it). Even here where the pitches are few (just four pitch-classes to choose from, named up front) I have to calculate what any particular instance is from the nearby intervals. I can't imagine what it might be like to know a pitch by a name directly, instantly (and I allow how I might be (probably am) completely misunderstanding what having it is like). Plus side: I can hear pitches just fine, but I hear them without name, without category, can divvy them up however ad lib.

Playlist

Recorded

June 11, 2017
Die Kunst der Fuge, Contrapunctus X - J. S. Bach - Zoltan Kocsis

Sequences establish a rhythm of (usually) stepwise motion, allowing cross-rhythms of modulations and quasi-modulations - as though another music were going by in the background at a different tempo.

I love how the grandness of the denouement is fully established within what is really a quite thin texture. We hear it as grand because, in order to hear its logic, we imagine each note as sustaining at full volume - virtual grandiosity with virtual sustain.

Quartet in E-flat Major, opus 76 #6 - Haydn - Amadeus Quartet

Not sure this is really what's happening, but what I wanted to be happening is a sequence of variations occurring within single iterations of a larger theme and variations - both T and V constructed out of shorter Ts and Vs.

June 14, 2017
Birdwell Blues - Nolan Welsh, Louis Armstrong [from Alan Lowe's Really The Blues]

A tale: police harassment. "You know I been here before." Truth.

Don Redman

Trouble Why Pick On Me - Don Redman, Red Allen [from Alan Lowe's That Devilin' Tune]

Unexpected wonders: that voice, those perfectly executed parallel trills thrown in just for fun, showy tonguing, a tightly organized arrangement.

Woke Up This Morning (With My Mind On Jesus) - Roosevelt Graves and Brother [from Goodbye Babylon]

Keeping it lively, everything is slap. Slap guitar slap vocal.

I'm Through With Love - Sarah Vaughan [from Interlude - Early Recordings 1944-1947]

Nothing wrong with this performance (it's flawless) but it fails to convince me, it never lifts off.

Walking My Lord Up Calvary Hill - Wilma Lee and Stoney Cooper [from Goodbye Babylon]

The Passion according to just folks.

A Woman Alone With The Blues - Peggy Lee [from Black Coffee]

Sung as a single thought, a through-composed line. Tubular bells!

Now Is The Hour - Leo Diamond [a Rescued Record]

Rather bizarre, but it sounds like he was quite an interesting guy - trying to make the harmonica acceptable for the hi-fi crowd. The 45 that found me had suffered considerably, with much of the fi scuffed off the top.

Leopard Skin Pill-Box Hat - Bob Dylan [from Blonde on Blonde]

Kind of a mean-spirited blues when it comes right down to it.

Everybody Loves Me Baby - Don McLean [from American Pie]

In spite of his apparent attempt at humorous self-laceration, this still comes across as narrow and airless.

Young Americans - David Bowie [from Changes One]

Thick and taut, a line pulled past where it ought to break but that just won't.

In Session at the Tintinabulary

June 12, 2017
Gradus 313 - Neal Kosály-Meyer

June 15, 2017
Etudes - Keith Eisenbrey

These are five little pieces from 2000 that started life as clarinet duets: "Coiled", "Fragment", "Dance" "Air", and "Misterioso". I arranged them later as piano fingering puzzles. I was in the early stages of working with mod-17 pitch sets, essentially asking myself the question "What would regular music sound like if the modular interval were 17 instead of 12?" So, yes, this is what I think regular music is like.

Jerseyville Illinois - Your Mother Should Know [Karen Eisenbrey, drums; Neal Kosály-Meyer, vocal and piano]

In anticipation of a hoped-for pro-studio recording project I recorded three demo takes.

Playlist

Live

May 13, 2017

Gamelan Pacifica presents

Lou Harrison at 100 Years:

The Seattle Connection

featuring Gamelan Pacifica and Pacific Rims Percussion Quartet

directed by Jarrad Powell

with guests:

Heather Bentley, viola and violin

Jennifer Caine Provine, violin

Paul Taub, flute

Bonnie Whiting, percussion

Maria Scherer Wilson, cello

Wayward Music Series, Chapel Performance Space, Good Shepherd Center, Seattle

May Rain (1941)

Gending Park Chokro (1976)

Threnody for Carlos Chavez (1978)

Pathetan Wantah, laras pelog pathet lima (in remembrance of Lou)

Ladrang Epikuros (1981-82)

Air in G Minor (1947)

Končerto por la Violono kun Perkuta Orkestro (1959-1940)

timbre

mix at

certain edge

of the set of overtones

that particular sort of

slowing down we do at

ends - coded differently

as a structural cue

it turns everything

into a microtonal

landscape

the parts rely on each

other not just to

keep together but

to be what they

are within what

they are singing

a particular

way with the

sensibility of

how things wander

off

it is extraordinary how something so ordinary could be so extraordinary

drone

membrane of a soap-bubble lake

flute swallow-fleet

rippling swift across

Recorded

May 14, 2017

We're Gonna Have A Real Good Time Together - The Velvet Underground [from Another View]

What we want to hear from the cool: "Join the party!"

Banned Rehearsal 245 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 1991]

Jump right in. magnetic tape echo spiral residue reconfigurable membrane morphing drum we can
hear our bodies moving by their occlusion of sound. Hangs in there for a good long time not being music. Try different settings! Fluid transit intention. Now we're plucking and plunking.

My Stuff - Sleater-Kinney [from Call The Doctor]

Female point of view as such, in contradistinction to the more typical pop-sensibility: What from a male point of view the male would love to believe is the female point of view, but probably isn't, at least not straight out, without the slow poison.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

The third take from the Jack Straw recording session of May 2005. The reverb, strangely, confines the music, envelopes it, gives it skin and face.

327 - Black Horse [from The Funhouse Comp Thing]

In what social context is this appropriate? War? Riot? Steam Letting? The danger of raw emotional evacuation is that the steaming turd has a social effect, and it accumulates.

Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

A recording we made at home in January of last year. What gives the composer in me pleasure is how the accompaniment spotlights the voice, following it closely, like an aura, a glow.

Paradox Bagatelles - Craig Pepples - Sascia Pellegrini

each atom spaced so as to reveal aspects of itself that would otherhow not make impact :: these atoms are all and each clearly about the thing they are all and each saying, spoken clearly :: the sense in which they are a plural of bagatelles is that those animals, those bagatelles, must be all in the sequence, lumpily interspersed, grazing.

May 16, 2017

Die Kunst der Fuge Contrapunctus IX - J. S. Bach - Lionel Rogg

Long tones are short-term drones. A florid fugue plays the surface of a sedate fugue.

Quartet in C Major, Opus 76 #3 Hob. III:77 - Haydn - Amadeus Quartet

Kept safely deep within this very model of a repertoire string quartet (all to be admired and copied): worries, hesitations, concerns. The finale, party crashing, wandered in from some minor key quartet.

String Quartet in F Major, Opus 135 - Beethoven - Amadeus Quartet

Scraps of bits, unaware they are part of any sort of design. Commentary and disagreement. Full of sudden shifts, shortcut modulations, make do with where we have gotten to [in order] to get where we must go. Nothing else quite enflames the soundbox like scribble-bowing, glowing hot.

May 17, 2017

Deep Henderson - Charlie Straight [from Alan Lowe's That Devilin' Tune]

Fat precision. Like a sloppy drunk clearing a pool table to the last spinning ball. No sophistication, but deep for sure.

Easy Come, Easy Go Love - Sunny Clapp [from Alan Lowe's That Devilin' Tune]

Crammed (frat boy phone booth). More fat precision.

Crying Holy Unto The Lord - The Blue Chips [from Goodbye Babylon]

Appropriation of the profane by the sacred, or invasion of the sacred by the profane?

Get Ready for Christmas Day - Rev. J. M. Gates [from Goodbye Babylon]

Digging through the rhythm of language into the substrate of melody - it breaks off just before ignition.

Boyd Raeburn

Over The Rainbow - Boyd Raeburn [from Alan Lowe's That Devilin' Tune]

Runs through more presets than a casio. Every possible arrangement of the tune in quick succession.

It Could Happen To You - Bud Powell [from Alan Lowe's That Devilin' Tune]

Same deal as above, but all by his lonesome. (Chopin!)

My Heart Belongs To Daddy - Peggy Lee [from Black Coffee]

The image of: independence from the beat, as though just talking, except that it never wavers from being exactly where it needs to be. She may be hiding behind the male point of view's desire for what they want the female point of view to be, but she does it while openly dripping the fatal drops into your drink.

Hello Mary Lou - Ricky Nelson [collected from Dave Marsh's The Heart of Rock & Soul]

Star Vocal! Hear it Here! (a blended orchestration of echo effects) Repeat with instruments.

One Of Us Must Know - Bob Dylan [from Blonde on Blonde]

Excuses, excuses.

Vincent - Don MacLean [from American Pie]

Well Don, I'm sorry, but "snowy linen land" is just puke-worthy. Wodehouse had your number decades ago (see "pale parabola of joy".)

In Session at the Tintinabulary

May 15, 2017

Gradus 310 - Neal Kosály-Meyer

Quasi-similar motion (pitch-class nearness by shortest route) as countermotion. Take that, MF! 

Playlist

Recorded

May 9, 2017
The Stampede - Fletcher Henderson [from Smithsonian Collection of Classic Jazz]

The rhythm of our focus is composed into the arrangement - long solos, quick breaks, choruses flipping from instrument group to instrument group (changing channels).

A Lazy Farmer Boy - Buster Carter and Preston Young [from Anthology of American Folk Music]

Drawing attention to our internal presumptions of imminent profanity by the oh so clever near misses. An old trick, still works.

Two Old Maids - Billy Mitchell [from Alan Lowe's That Devilin' Tune]

Among many, another low point in public discourse about sexual orientation: deriding the other as an obscenity.

When Was Jesus Born? - Heavenly Gospel Singers [from Goodbye Babylon]

Mel Powell

Rehearsed so as to sound invented on the spot, but is caught going round and round until it doesn't.

Lover Man - Mel Powell [from Alan Lowe's That Devilin' Tune]

French film noir score, a tone poem with hints of Ellington, Gershwin, or Paul Whiteman.

The Happening - Paul Gonsalvez [from Alan Lowe's That Devilin' Tune]

Nothing fancy in the arrangement, just solo over accompaniment.

Easy Living - Peggy Lee [from Black Coffee]

Wish fulfillment for the 50's man.

February Piece 1961 - Cornelius Cardew - John Tilbury

Cornelius Cardew

I kept thinking how melodious this was, though made of sharp edged sweepings.

Visions of Johanna - Bob Dylan [from Blonde on Blonde]

As in Paul Gonsalvez above, nothing really but poetvoice solo above an accompaniment. Our focus is not to waver.

May 11, 2017
Till Tomorrow - Don MacLean [from American Pie]

Not a horrible song, but would benefit greatly by stripping off the strings and stuff, dialing back the reverb.

Suffragette City - David Bowie [from Changes One]

This plays a kind of strip tease with itself, shedding song parts along the way until it's nothing more than its own hook.

AKU (midi) - Keith Eisenbrey


In 2004 I made this midi version of my 1981 synclavier piece. There are a couple three glitches in the sound - alas, I no longer have that midi box to try and fix it. This version preserves the pitch and time schemes, instrument differentiation, and, at times, the curiously uneven way the sound hangs in the room - move your head ever so slightly and the sound shifts dramatically. Something about standing waves, I presume. It loses some of the subtle envelope and overtone differentials that were in the original (though they didn't really come across all that well anyhow). And I suppose the moment in the original where the sci-fi tanks blast through the church walls is (unfortunately) rather more elegant and nuanced here. The balance is not optimal, but it does gain some sparseness and clarity.

Its internal sense of what it becomes as it goes along is cumulative, like the Sibelius of Tapiola, but a better way to put it is that, it isn't entirely unlike that. It is this aspect of it that I, as its composer, find most gratifying.

In Session at the Tintinabulary

May 8, 2017
Banned Telepath 55 170508 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Rumor has been floated that Aaron will send some sound from Anchorage, so the full version of Banned Rehearsal 934 will have to wait. Our local sound is here for all it's worth.

Playlist

Live

April 18, 2017
Strange Like Us, Your Mother Should Know, Mud On My Bra
Sunset Tavern, Seattle

Strange Like Us consists of: Kyle Sturner, vocals, guitar; Sadie Alley, vocals, keys; and Arna Garcia, drums, vocals. Darling synth sounds and solid playing all around provide a potent platform for Kyle's weaponized trans girl baritone. Add Sadie in parallel octaves for the KO.

Your Mother Should Know is, of course, Neal Kosály-Meyer and his sister (and my spouse) Karen Eisenbrey. This was their first electric show in quite a while. There were some shaky spots here and there, but they pushed through them. Karen got to try out her new headset microphone, and this may have been the first time I remember being able to really hear her vocals clearly.

We have heard Mud On My Bra (Myla and Aria Mud) before, and were eager to do so again. Aside from their stunningly tight ensemble (at the service of some fancy rhythmic games, I might add) I was able this time to attend more to the songs themselves, and to Aria's voice, within the ping of which I noted a hint of Jad Fair.

All that and our parking karma could hardly have been better: practically right outside the door, and free. Thank you so much to the woman who saw us trying to disgorge drums from the car and let us have her space when she left. And we got home before 11!

Recorded

April 15, 2017
A Matter of Trust - Billy Joel [from The Essential Billy Joel]

BJ has great control, just no range, or sense of timing. Even the count-off is performed, tamed.

Banned Rehearsal 244 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, January 1991


Consisting largely of a reading of A Cat's Life, accompanied by violin scribbles and quiet ocarinal hootings. Aaron provides extensive, if eccentric, marginal commentary. As much as I enjoy listening to my own music, and I do, inserting such a constructed form into an improvisation is an error. It remains, especially in my ear, separate from the on-progressing activity of making it up as we go along. It is persistently deaf to the other people in the room. When I get done Aaron takes over on the piano (or joins me for a 4-hands improv - recollection fails), and a truly awfully awesome sound ensues. Far superior as a part of the activity than my composition could ever hope to be.

Sunset's Wall

April 18, 2017
Taste Test - Sleater-Kinney [from Call The Doctor]

Rotating pitch collections.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [from Jack Straw recording session May of 2005, take 1]

Each assay of the tune finds a new place within the harmonic-contrapuntal thicket.

10 Penny - Repeat Offenders [from The Funhouse Comp Thing]

Attention is paid to the hollow moment just ahead of the downbeat.

Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [recorded in September, 2013]

This piece demands a more reverberant space to live in than is given here. It needs stone walls and a dome.

Musica Ficta - Sascia Pellegrini - Sascia Pellegrini

It is unclear from the program notes who is playing piano, but I presume Sascia is on the vibraphone. It is striking how 'on stage' the characters are, as they mimic and join, hide and seek, meld and face off.

April 19, 2017
Die Kunst der Fuge Contrapunctus 8 - J. S. Bach - Lionel Rogg

a broad gentle downward slope
another
a grand mansion overlooking

Symphony in G (#94) - Haydn - Austro Hungarian Haydn Orchestra, Adam Fischer

Cracks in the façade, but not endangering. Rising waters, but not alarming. Yet.

String Quartet in B-flat Major, Op. 130 - Beethoven - Quartetto Italiano

Sunset's Floor

If a quartet is both a unified thing and a suite of several differing things, then disparities of style, affect, and key can participate in a unified thing, and the same techniques with which the participants of a suite of several things can be said to become unified can be said to unify other orders of disparate parts, and each individual participant of a suite can be made of deeply disparate parts. How far can the parts be sundered and yet remain parts of a thing, not alien to it?

Katya Kabanova Act 3 - Janácek - Czech Philharmonic Orchestra, Charles Mackeras, Gabriela Benacková, Dagmar Pecková, Erika Bauerová, Dana Buresová, Eva Randová, Miroslav Kopp, Jozef Kundlák, Peter Straka, Zdenek Harvánek; Czech Philharmonic; Prague National Theatre Chorus;

Ritualized sacrifice, as demanded.

April 20, 2017
Got The Blues - Blind Lemon Jefferson [from Alan Lowe's Really The Blues]

Among many other things, the blues are a medium by which life advice is passed, and the forms and texts are entwined with the society of their arising.

Brown Baby - Eddie Edinborough, Bobby Leecan [from Alan Lowe's That Devilin' Tune]

It's difficult for me to hear what exactly those instruments are. Guitar? If so then it really loves those lower strings. Kazoo? If so, then just possibly the most magnificent kazoo playing ever.

I Don't Want to Make History - Stuff Smith, Johan Jones [from Alan Lowe's That Devilin' Tune]

It isn't just that the singers have been listening to the instrumentalists and vice versa, but they each have also been watching the dancers, and translating the dance into the sung parts of song, and the instrumental parts of song, as well.

Embraceable You - Tommy Dorsey and his Orchestra, Jo Stafford and The Pied Pipers

Lights down low. Something more comfortable.

China Boy - Frankie Trumbauer [from Alan Lowe's That Devilin' Tune]

This one is for the dance floor.

Godchild - Red Norvo [from Alan Lowe's That Devilin' Tune]

Ken Benshoof had a theory about jazz harmony treatises. The puzzlement was that you could read what a practitioner wrote about what they were doing, but it never quite lined up with what they seemed to actually be doing. His theory was that jazz players always played "off" of something: "off" a beat, "off" a chord, "off" a tune. The treatises can only describe beats, chords, and tunes, not the nature of the "off". This is a prime example of the importance of "off" precisely calibrated.

Peggy Lee

I've Got You Under My Skin - Peggy Lee [from Black Coffee]

Skates on the thin ice of a sensibility. The rhythm of her vocals is almost just simply saying the words. There's that ever so precise "off" again. Peggy Lee genius.

Bewildered - James Brown [collected from Dave Marsh's The Heart Of Rock & Soul]

A parody of teen crooner delivery taken so far over the top as to enter a new land. Those breaks toward the end are composed just to hear the reverb the engineer let loose around it.

Pledging My Time - Bob Dylan [from Blonde on Blonde]

Another parody of sorts, this time of delta blues. Of sorts because also a pastiche of sorts. Of sorts because also a submission, a sacrifice. The long-held harmonica notes toward the end are straight out of Louis Armstrong's toolshed. Then he does his best to conjure a synthesizer with it.

American Pie - Don MacLean [from American Pie]

This was the first record I owned, a gift from my brothers. Having ripped this from my own vinyl copy, it still has all the familiar pops on it. I find it curious, after all these years, that the first popular music song I took to independently of my parents, and that wasn't by Simon & Garfunkle, concerned itself with the past. The music of my time was the music of a past time.

Ziggy Stardust - David Bowie [from Changes One]

And of course, DB presents nostalgia as a point of view, in order to invent a fictional past.

One Of These Days - Pink Floyd [from a collection of great dance songs]

There is, or was, a class of youth, and I imagine they are, or were, mostly boys, for whom these crazy long spacy tracks were "so much better than that pop crap all my friends listen to" that they truly longed to infiltrate the dance mix at the sock hop with one of these behemoths. To that class of youth, these were indeed "great dance songs", and Pink Floyd was by far the best of their purveyors. In that sense this otherwise incomprehensibly titled Best Of Collection could be considered as perhaps their most archly meta of concept albums.

Banned Rehearsal 62A - Keith Eisenbrey, Anna K, Neal Kosály-Meyer [January 1986]


We are being vewy qwiet. Cassette machines sound like ammo lock and load. Gradations of multiple media transference terroir. Literally, mediations. A chorus awakens beneath waters. A cranky slide viewer. How quick the generations to the alien? One? None? The darkly glass. The layered hollows of wind. Crackly undulations. Flames of the fiery furnace. Gloriously spacious, the underlying is revealed. Remove masks. Pluck tendrils. We breathe and allow discussion.

This was side one of a two sided session as we prepared for our third Brechemin outing the next evening. My recollection is that Aaron might have been around, but didn't participate in the concert because he felt that in his absence in Berkeley he hadn't had a chance to properly rehearse. Karen was still living in Tacoma at the time, and wasn't able to come up either. Our second Brechemin show was called "A Short and Simple Concert", and the first part of this new show was essentially a repeat of that one, re-titled as "3 Compositions No Breaks". And that is what you hear on this rehearsal. First, Neal's Hunting and Gathering, then my Trance Butchered Knight for Wurlitzer Funmaker Sprite and tape, finishing with some plucking and singing.

feast on my car - Infamous Menagerie

I'm pretty sure that's the title of the song, but what is sung is clearly "feast on my heart". A manual? A labeled diagram? Every time I hear something by IM they become my absolute favorite band of the 90's.

Banned Rehearsal 421 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 1996]

The Funmaker 10 years later (we start in with what we have at hand and see what it makes) up to its old tricks again. Its cruddy reverb is lustworthy. And the Mighty Wurlitzer at its Wurlitzeriest. This sort of lava is hard on the feet. A near unanimity of purpose among some members is narrowly averted.

In Session at the Tintinabulary

April 17, 2017
Gradus 310 - Neal Kosály-Meyer

Fog dark densely grown. (We may not have enough bread crumbs.)
At sea. Billows, birds, whales. Beacon. Stars. Moon. Phosphor.

Playlist

Live

January 19, 2016
Earle Brown Retrospective
Inverted Space
Chapel Performance Space, Good Shepherd Center, Seattle

Earle Brown

A screening of The Music of Earle Brown - a film by Susan Sollins-Brown

Seattle is deeply indebted to Inverted Space and their co-sponsors for putting on this hugely ambitious and magnificent concert. My prior familiarity with Earle Brown's music had been entirely by book learnin', somehow no sounds had come near. Given the care with which most of these pieces are designed to be different each time out I am especially glad that my first exposure was live, and breathtakingly sympathetic and convincing. I must also say that the printed program was superbly designed, evocative of the physical look of an Earle Brown score and perfectly clear. Bravissimo!

Home Burial (1949) - Brooks Tran, piano; Whitney Dopierak, projection 

had an attractive old-fashioned murkiness about it, echoed or echoing in the intercard-like projection of the Robert Frost poem upon which it was ostensibly based. Being a short person finding myself as per usual behind a tall person I was unable to read along (or unwilling to distract myself from the sound by trying).

Music for Violin, Cello, and Piano (1952) - Luke Fitzpatrick violin; Hye Jung Yang, cello; Brooks Tran, piano

The early 50's pointillist (blip bloop) sound has a nostalgic hit for me, sending me back to the listening library at the UW in the late 70's. "What are you listening to" (I offer my headphones) - followed by deepening puzzlement . . ."uh, OK .. ."

Novara (1962) - Elizabeth Talbert, flute; Ivan Arteaga, bass clarinet; Trevor Parrish, trumpet; Josh Archibald Seiffer, piano; Luke Fitzpatrick, violin; Allion Salvador, violin; Vijay Chalasani, viola; Rose Bellini, cello; Marcin Pączkowski, conductor

Static energy states transforming by liquid reconfigurations.

Centering (1973) - Luke Fitzpatrick, solo violin; Elizabeth Talbert, flute; Alexander Tu, clarinet; Jameal Smith, bassoon, Renne Millar, horn; Trevor Parrish, trumpet; Elizabeth McDaniel, trombone; Josh Archibald-Seiffer, piano; Allion Salvador, violin; Vijay Chalasani, viola; Nathan Harrenstein, cello; Marcin Pączkowski, conductor

In a dark room of massive knife-sharp plates, like ships, freighters in fog, spinning slowly on a spinning sea.

String Quartet (1965) - Luke Fitzpatrick, violin; Allion Salvador, violin; Vijay Chalasani, viola; Hye Jung Yang, cello

Exploratory, like feelers whiskers antennae, a music that sounds like an intelligence. One can see David Dunn from here . . .

Tracer (1985) - Elizabeth Talbert, flute; Alexander Tu, clarinet; Ivan Arteaga, bass clarinet; Luke Fitzpatrick, violin; Rose Bellini, cello; Carmen Rothwell, double bass; Marcin Pączkowski, conductor

In the midst of a quadraphonic cellphone discharge, a sense of ongoing disintegration.

Special Events (1999) - Nathan Harrenstein, cello; Josh Archibald-Seiffer, piano

I may have simply been getting tired, but this one seemed leashed and narrow, a memory of how a piece might have gone.

Recorded

January 17, 2016
When Cootie Left The Duke - Raymond Scott [from Alan Lowe's That Devilin' Tune]

Laggard beats in stripper rhythm, languid and a bit off the tempo.

Baila La Conga - Lecuona Cuban Boys [from Alan Lowe's That Devilin' Tune]
Serenade Concertante - Arthur Berger - Brandeis Festival Orchestra, Izler Solomon

Even the first entrances sound like re-entrances, steady beats that both are and aren't steady at once - energized steps, like the line breaks in the most brilliant beat poem ever. The big trumpet tune kills every time. At the end a series of muscular cadentials, each not quite but almost inconclusive until there we are at that oh yeah place.

Peggy Lee

January 18, 2016
Black Coffee (single version) - Peggy Lee

Her voice doesn't sidle up, more like it is, at each moment, insinuating itself with a slow quarter spin from the side.

January 19, 2016
Quarter To Three - Gary "U.S." Bonds [collected from Dave Marsh's The Heart of Rock & Soul]

I'm anything but an historian of pop styles, but the way this starts with an apparently pre-recorded rhythm played through what could be a boombox (a modified sample), and flirts with the notion of a live vibe even though it comes across (as a whole) as a completely manufactured space, all reads as some strange amalgam of off-psychedelia and proto hip hop.

Devil With A Blue Dress On / Good Golly Miss Molly - Mitch Ryder and the Detroit Wheels [collected from Dave Marsh's The Heart of Rock & Soul]

Love the stuttery drum breaks, and the unfussy quick fade - not lingering, just time to be done.

January 21, 2016
Move Over  - Janis Joplin [from Pearl]

Both fat and tight, the righteous mix. Janis is a gravel road turning quickly out of sight.

Crazy On You - Heart [from Greatest Hits]

The guitar introduction is in your living room's face. From there a ramshackle bridge over the chasm to full-on stadium.

Edge of Seventeen (Just Like a White Winged Dove) (studio version) - Stevie Nicks

An interesting abstraction of what a live sound might be. One example of several: what would be an echo off the back wall of an arena is, here, a canonic-ish re-entrance of voice; or: the backing vocals are playing the part of the invented space's reverberance.

Malleable Gestures - John Corbett, Jim Willett, Davey Williams, Sara Boyd, Ladonna Smith, Trish McCarl, Wally Shoup

As though one had extracted one's best shot at a string quartet by carefully filtering all the sounds from the recorded history of a music school practice room; an aural proof of the existence of ghosts. Where the original sound is from other than violin viola or cello we still hear the string quartet in the inflection;
 OR
an alien planet (Bliffmok) in a klongbicklious village at midblamfortink eve . .
 OR
a possession uncalled takes up residence, coming through badly on the radio, but we must consider the distance traveled . . .
 OR
sounds that wander through a vacant house, or through a pile of boards in the rain.

In Session at the Tintinabulary

January 18, 2016
Gradus 282 - Neal Kosály-Meyer

The first session is a study in Sol Mi Do descent, it bends down. The second bends up.