White Knuckle Sandwich organized two evenings of ukulele bands at Joe’s Pub in May 2001.  This was, mind you, before the uke became so popular.  Anne booked the bands, Jen designed the card, I came up with the title — New Uke, New York. And, of course, we all played.

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Millennial Mouthful was White Knuckle Sandwich’s millennial extravaganza, in December 1999.  I wrote a new song for the occasion, “Y2WKS”; we had slides, videos, and special appearances by Brian Dewan and Linda Mancini.  Anne and Jen showed their smutty slideshow, “The Milkman Cometh”; Brian joined me for a two-autoharp arrangement of my song “Make the […]

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Here’s a postcard I designed, for a gig that White Knuckle Sandwich did at the Duplex, back when we were doing that sort of thing.

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Helen Dannenberg put on a concert of her dances at the Margaret Jenkins Dance Studio, in San Francisco, in November 1982.  I provided music for “Fine Wishes, Fine Dances, Good Life, Good Luck,” drawing upon a large assortment of percussion instruments and noisemakers.

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Michael Smith developed a children’s show in the ’90s, and I was invited to provide music.  I loaded a piano with percussion and sound effects, and had a fine time.  A number of people were also on board through its many changes, including that notable puppeteer, Alison Mork.  Mike and I decided at some point […]

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There were many variety/performance/music series in downtown Manhattan in the ’90s.  This one was hosted by that excellent cartoonist, R. Sikoryak.  I sang my songs, with Carol Benner playing obbligati on the viola; we were bracketed with that excellent writer, David Sedaris.

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Viola and organ is a particularly dense and doleful combination; here they go through quite a lot together.

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The second string quartet consists of four rounds: two that were originally vocal, and two that weren’t. Bass lines and other niceties are sometimes added.

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In 1982, I wrote music for Cortland Set, a dance by Margaret Jenkins.  The score was based on the poetry of Michael Palmer: part of it was a tetrachordal setting of his words, and part was piano music developed from the same material.  

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I’ve written a number of drone pieces for organ; this is one of them (that is, the beginning of one of them).

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