Concert #1

Where the depth of the sky is unkind,
the rebellious flank of the sky is smart,
and drops upon the silver tindergaps.
(Heart.  Swim.)

So looped electric,
till but a bride, a rain lovely mixed,
hard at leaves,
blows of daylinked inspirit,
none but sweet bold ears.

And the oak
dwells like dearly,
removes the bans of thunder and remembers
her sands of tumult,
in tackle, pitch or shell.

Lulls of bloom home forth, forethought;
plainter baffling heard or babbleaf.

The revel in pricks of rains;
curl of the leagues, the flung ash:
it gazes, ration, and mount floating,
with this tongue,
and caught it there.

There are nightfall folded rueful
this blush black moon,
grasps hoard and patience.

They plead turtles strained off dark dispatch,
under an ark candle and earth's welling down
is stir, deeming light,
as plain as a hailstone melted.





John Cage / Fela Kuti

John Cage's rise to fame was through a constant deal of changes,
loudnesses, chance and modal happening.
As time is evident in a dance, Cage put his tent with the drum,
and the timbral progressions
that had been a need for a world in its plan of pitch.
Now takes on almost two pianists,
percussive horn section,
various solos that floated, and too many chords,
in an avalanche of interacting rhythm canisters
of seemingly four temporal dimensions.
Each instrument marks a constitutive superstar
in the independent-everyone pattern.
Cage was everywhere, and that led to making him sound that way.
This is less a random pile of simultaneous tradition, or intention,
than a coherent use of imagination and circus.
Cage establishes the social intimations of this very downtown object
with a monologue that nears the area of his extraordinary manifestoes,
a fusion of onomatopoeic syllables
that extends this set of causes and emancipation.
Like soul music, we have no fear.
But it is hard not to see Cage's ghost on stage.

Fela Kuti's rise to fame was through a constant deal of changes,
loudnesses, chance and modal happening.
As time is evident in a dance, Fela put his tent with the drum,
and the timbral progressions
that had been a need for a world in its plan of pitch.
Now takes on almost two pianists,
percussive horn section,
various solos that floated, and too many chords,
in an avalanche of interacting rhythm canisters
of seemingly four temporal dimensions.
Each instrument marks a constitutive superstar
in the independent-everyone pattern.
Fela was everywhere, and that led to making him sound that way.
This is less a random pile of simultaneous tradition, or intention,
than a coherent use of imagination and circus.
Fela establishes the social intimations of this very downtown object
with a monologue that nears the area of his extraordinary manifestoes,
a fusion of onomatopoeic syllables
that extends this set of causes and emancipation.
Like soul music, we have no fear.
But it is hard not to see Fela's ghost on stage.





Steve Reich / Captain Beefheart

Safe as a child who has once discovered
a drift of rattling pearls in a veil of hissing surf,
Steve Reich involves the breath from the confusion
and subtle kind of modern rhythms with an anti-war pulse.
A howling gospel rain "come out to show dem."
Reich sculpted his own specialized ensemble
of magical drum and marimba manipulations.
The atomization of many different melodic processes
generates complex interactions between layers,
the shifting phase positions producing
hologram-like flashes of polyphonic saturation.
A deliberately mutable piece of whistles, train whistles,
next to the desert music,
ricochets off patterns in the guitar,
while a chord is gradually fragmented in the background,
the listener feeling the text is walled in.
Reich's music for the subconscious dissolves.

Safe as a child who has once discovered
a drift of rattling pearls in a veil of hissing surf,
Captain Beefheart involves the breath from the confusion
and subtle kind of modern rhythms with an anti-war pulse.
A howling gospel rain "come out to show dem."
Beefheart sculpted his own specialized ensemble
of magical drum and marimba manipulations.
The atomization of many different melodic processes
generates complex interactions between layers,
the shifting phase positions producing
hologram-like flashes of polyphonic saturation.
A deliberately mutable piece of whistles, train whistles,
next to the desert music,
ricochets off patterns in the guitar,
while a chord is gradually fragmented in the background,
the listener feeling the text is walled in.
Beefheart's music for the subconscious dissolves.





Concert #2

slyly wrecked industrophone eccentric steam and
swaying bent perplexicon evocal sponge and --
where block this has beating one to singe confetti
where ring this can open came to juggle shaker

off reflectric funnel polytonic beads and
upside early break delayed push-pull and --
wring this graviliquid landing bass to dustpan gravel
gel this jagged antomiming simmer to snail rubber

many snowflake balancing of ankly warble talkingdom
many barefuse galloping of rusted lard guitarism

foot groove the plate liddle squeak on the are the
which slug the pegboard one tripped in the are the
cam bounce the marble trill bust in the are the
which tongue the pick mello hone on the are the...

    Glenn R. Frantz 2011