HurdAudio

HurdAudio Rotation: Mangled Pianos and Lake of Roaches

2012-02-02T16:49:00.000-06:00

Annie Gosfield: Burnt Ivory and Loose Wires. 1998. Tzadik: TZ 7040.

Annie Gosfield: composer, sampling keyboards
Roger Kleier: electric guitar
Christine Bard: drums, percussion
Jim Pugliese: percussion
Ted Mook: cello
Rova Saxophone Quartet -
Bruce Ackley: soprano saxophone
Steve Adams: alto saxophone
Larry Ochs: tenor saxophone
Jon Raskin: baritone saxophone

Nickolaievski Soldat (1994)
Freud (1996)
The Manufacture of Tangled Ivory (1995)
Four Roses (1997)
Blue Serge (1996)
Brawl (1998)

There's a lot that hits home with these ears on this set of compositions. Detuned piano samples and bursts of groove centered, pulsating gestalts hit right where I live. The Manufacture of Tangled Ivory is an interesting piece structured along two, roughly 5-minute movements. The first is a sampler solo that explores a texture of mangled piano samples (deliciously detuned, of course). The second movement kicks into a large ensemble propelled by a driving pulse. The ensemble feels like an organic outgrowth of the solo material even as the focus shifts squarely toward a more fully composed sound. The sense of improvisation present in the first movement simply gives way to the militancy of the second. This is strangely satisfying. For my ears, Nickolaievski Soldat is the most satisfying of the set as a quartet of sampler, electric guitar and two percussionists. Four Roses is a great study in tension between sampler and cello. And Brawl offers a glimpse into the compositional terrain of Annie Gosfield when realized by a saxophone quartet (the only work on this set without a sampler). Gosfield works with a style that embraces the physicality of rhythm in compelling ways. Often this serves as a hook that draws the ears through a number of cerebral structures.

Mark Feldman: What Exit. 2006. ECM: 1928 B0007361-02.

Mark Feldman: violin
John Taylor: piano
Anders Jormin: double-bass
Tom Rainey: drums

The first sound to seep into the air as this music spins up is Tom Rainey's sticks on the high hat ushering in the long form "Arcade" as it cycles through multiple configurations of this quartet as it realizes a reserved, sparse texture stretched out for over twenty minutes. The "Tom Rainey effect" comes into play early and often throughout this disc. Following "Arcade" is a series of more densely "composed" tunes that still leave plenty of breathing space for these stellar improvisers. My ears always perk up at this quartet realization of "Elegy," a piece I know well from Mark Feldman's solo recording for Tzadik. This recording is bathed in the spacious, Manfred Eicher production values that give this music a strong sense of chamber jazz. It's a sound that all four of these musicians thrive within as they turn in a nearly flawless jazz record. Highly, highly recommended.

Wolf Eyes: Human Animal. 2006. Sub Pop: SPCD 688.

Nathan Young: electronics, metal, harmonica, voice
Mike Connelly: electronics, metal, guitar, voice
John Olson: electronics, metal, saxophones, gong

The title of the last track states Wolf Eyes' position succinctly; "Noise Not Music." Answering the question of what music can be when it attempts to embrace noise to the exclusion of music. Within my personal aesthetic one must travel quite some distance to escape music as I embrace noise and all sound as being perceived as music. My ears still regard this as noise and music. Though Human Animal does have a unique relationship with pain as I don't realize how much pain my ears have been in until this music stops and relieves a sensory system that has been overwhelmed by high frequency content. This is accompanied by a stinging sensation just as the eardrums reach a more relaxed state. Human Animal does manage to build up to this state, hiding the aural fatigue through textural variation and crescendo. Wolf Eyes opens this set with a slow simmer punctuated by percussive bursts before going into a full boil at the title track. The brutality of this bleak, dark soundscape is appealing in much the same way as spicy cuisine (which is another pain I gladly indulge). Like a well spiced dish, Human Animal does not disguise its form through a monotonous barrage of sonic aggression. This is a set that holds together for the duration of its 30+ minutes with a healthy density of surface details to keep the ears engaged as they bleed.

HurdAudio Rotation: Of Funk and Hymn Tunes

2012-01-31T15:47:00.000-06:00

Miles Davis: The Complete On The Corner Sessions [disc 1]. 2007. Sony/BMG Music Entertainment. 88697062392.

Miles Davis: trumpet

Dave Liebman: soprano saxophone

Chick Corea: synthesizer

Herbie Hancock: electric piano

Harold Ivory Williams: organ

John McLaughlin: guitar

Collin Walcott: electric sitar

Michael Henderson: electric bass

Jack DeJohnette: drums

Don Alias: congas

Badal Roy: tablas

Billy Hart: wood block, cowbell, percussion

Carlos Garnett: tenor saxophone, soprano saxophone

Bennie Maupin: bass clarinet

Dave Creamer: guitar

Lonnie Liston Smith: electric piano

Al Foster: drums

When I was a student it was clearly fashionable within the academic set to revere the music of Miles Davis while exempting everything he recorded after the 1960s. The dictates of this fashion required that people run a sharp scalpel along anything that was "plugged in" and "funky" as if it were an unfortunate aberration. This opinion was still expressed at the time accolades and tributes were piled on at the passing of Miles Davis. But there was this one DJ in Toronto who bucked this sentiment ever so slightly by stating that his aversion to the funk and fusion era Miles Davis was entirely his loss and not formed by a sense of that music being "inferior." As my ears have steadily absorbed the decades of musical output from the staggering genius of Miles Davis I have concluded that no such separation is called for. A willful "deaf spot" to any era of his music is a dishonest denial of the complete artistic arc that we are left with. While these On the Corner sessions are a sprawling soup, they are a delicious sprawling soup. The energy and texture of this music is enormously attractive in ways that are completely different from the bop, and Kind of Blue eras. Yet there is that distinctive sense of musicianship that unifies this music with the greatness of those earlier sounds. This is the sound that gave rise to so much that followed in its wake. Some of the movements and styles that followed have aged well and some have not. But On the Corner retains a timeless beauty that transcends its warts. This box set has become something I look forward to each time it comes up in the rotation.

Charles Ives: The Sonatas for Violin and Piano. 1991. Bridge Records: BCD 9024A, B.

Gregory Fulkerson: violin
Robert Shannon: piano

Sonata No. 1
Sonata No. 2
Sonata No. 3
Sonata No. 4

An artful and dedicated set of interpretations of these incredibly significant works for violin and piano. The often dense threads of hymns woven into a fabric that frequently threatens to unravel within these re-imaginings. "I Need Thee Every Hour" nearly always catches me off guard as it sneaks into the final movement of Sonata No. 3 with chilling effect. A hymn that also haunts my own memories more than a few generations removed from Ives' New England. The fact that these pieces will only become more celebrated and more ingrained as a high achievement within the repertoire becomes increasingly obvious each time one take the time to listen. Gregory Fulkerson and Robert Shannon have set a high standard for bringing clarity to these complex montages of Ivesian memories.

Happy Apple: Youth Oriented. 2002. Sunnyside Communications/Nato Bear Series: SSC 3006.

Erik Fratzke: bass guitar, guitar
Michael Lewis: soprano saxophone, alto saxophone, tenor saxophone, double bass
David King: drums, toys, waterphone, megaphone, mellotron

This is one example of music that has taken root and thrived from the soil of On the Corner. One of its tastier fruits as this is a funk-heavy jazz record with substantial staying power. David King's drumming is a particularly strong draw here as this trio brings the same level of polish of his more famous trio; The Bad Plus. But then the ears are pulled into the considerable gravity of Michael Lewis on saxophone and his ability to carve out spaces within this texture that alternate between foreground and background with equal shimmer. Within that texture is Erik Fratzke's electric bass anchoring this sound with all the sophistication of a Michael Henderson (from On the Corner) with an updated sense of production. Youth Oriented is a forceful example of a groove-oriented sound that never falls into an open-ended jam. Each piece explores its own textural terrain with a healthy sense of variation.

James Falzone - Music Through Other Lenses

2012-01-26T10:55:00.001-06:00

My profile piece on James Falzone is posted over at New Music Box over here.

Narrative Before Music

2012-01-26T10:54:00.001-06:00

My New Music Box column about a recent 5th House Ensemble performance is here.

HurdAudio Rotation: The Luminaries

2012-01-08T13:39:00.000-06:00

The Wailers: Burnin'. 1973. Island Records: 07314-54889414.

Produced by Chris Blackwell and the Wailers.

For some reason, this timeless classic sounds even better on vinyl. "Get Up, Stand Up" is an incredibly important song that captures both the moment of rising up against injustice with determination and the inevitable sense of victory of being on the right side of history. A song that speaks to oppression of 1973 (the year of its release) and the current age of the Arab Spring and the Occupy Movement. Not to mention the slow and steady victories toward realizing equality for people regardless of race, gender and orientation. It's the song I hear in my head almost involuntarily whenever social justice wins out. That's a transcendent quality few songs achieve. And then there's "I Shot the Sheriff" and the extensive life that song has taken on. And to my ears, "Pass It On" has an earnest, faith affirming quality that lingers with equal force. It's relatively easy to look backward from this perch in the early twenty-first century and acknowledge the significance of this record. It made the Library of Congress' National Recording Registry in 2007 and its resonance is still ringing clear.

Thelonious Monk: The Complete Riverside Recordings [disc 3]. 1986. Riverside Records: RCD-022-2.

Thelonious Monk: piano
John Coltrane: tenor saxophone
Wilbur Ware: bass

Much of this disc presents Thelonious Monk, alone at the piano at the recording studio. Multiple takes of his own tunes reveal the composer working through new pieces at a time before they were enshrined as standards. There's seven takes and nearly a half hour of "'Round Midnight" with many false starts as Monk finds his way into the heart of one of his most beloved tunes. As startling as it is to hear the composer feeling his way around this great standard, it's even more surprising to hear him get there so completely on the final take. It's a revelation of process that recordings rarely reveal so starkly. The final takes of "Monk's Mood" bring in John Coltrane and Wilbur Ware for another dose of what this music sounded like at its Genesis. This particular disc is a wild ride that spans a wide range of "wrong notes" made right and jazz history changing course along the way.

Olivier Messiaen: Messiaen Edition [disc 2]. 2005. Warner Classics: 2564-62162-2.

La Nativite du Seigneur (1935)
Le Banquet celeste (1928)
Apparition de l'eglise eternelle (1932)

Marie-Claire Alain: organ

Several things stand out on this focused recording of these early organ works of Olivier Messiaen. First is the outstanding interpretation given to this music by Marie-Claire Alain. The dynamic range and evocative passion of this music is laid bare in this performance. Next is the outstanding sound of the organ of the Hofkirche in Lucerne as well as the quality of the recording from this setting. These elements speak to a sense of care and consideration for this session that these ears appreciate. I can only wish that the online database for this disc (as referenced by iTunes) exhibited a similar care in noting that these pieces were composed by Olivier Messiaen as opposed to "Messiaen Oliver." But then listeners of classical works within the iTunes environment are no strangers to having everything labeled as "songs" and track information riddled with the errors of philistines. Puncturing the air with the exquisite sound of La Nativite du Seigneur does more than make up for the annoyances of twenty-first century life. This music is clearly from the twentieth century while still maintaining its liturgical roots. Harmonically and rhythmically engaging while still indulging in an expressiveness that doesn't fall into the chasm of Romantic indulgences.

HurdAudio Rotation: Pianos, Theatrics and Two-by-fours

2011-12-22T21:39:00.001-06:00

Leah Kardos: Feather Hammer. 2011. LeahKardos.com.

Leah Kardos: piano, electronics

Leah Kardos cites a diverse range of influences that go into Feather Hammer; Bjork, the prepared piano music of John Cage, Amon Tobin, Philip Glass, Terry Riley, Graham Firkin and Brian Eno just to name a few. The qualities of those forebears are crystal clear in the music. And yet there's a complete lack of emulation of any of these musicians standing in the way of the deeply personal sound and identity wrapped up within Feather Hammer. This is a studio recording that carefully crafts a piano-centric world with multiple layers of sonic manipulation. And yet for all its post processing and carefully crafted grooves and textures there emerges this amazingly heavy lightness to the whole recording. The craft and the ideas in this music run deep without overwhelming the sound. It's a startling quality and it's one that invites multiple listening to an expression that explores new directions in studio composition. Leah Kardos is a talent to keep an open ear for.

Various Artists: High Zero Festival of Experimental Improvised Music: 10th Anniversary DVD + CD. 2008. Recorded: 024.

Featuring:
Greg Kelly, Evan Rapport, Jerry Lim, Tom Boram, Neil Feather, Michael Johnsen, Katt Hernandez, Ben Manley, Daniel Carter, Nate Wooley, Michael barker, Edgar Um Bucholtz, Chiara Giovando, Dan Breen, John Eaton, Bhob Rainey, Charles Cohen, Sean Meehan, Will Redman, Scott Moore, Todd Whitman, Michael Johnsen.

A celebration of ten years of the High Zero Festival in Baltimore released just ahead of the 2008 incarnation of that unique celebration. That year happened to be my last High Zero as I moved out of Baltimore in early 2009. But in my time there I did soak in the vibrant and active experimental improvised music scene and can easily see the beloved Baltimore-isms that this DVD and CD explore. Though I am struck by just how theatrical and dramatic the music from this scene actually is. I hadn't focused on that aspect of it while living there, but the interviews on the DVD and the musical sets drive home the role of theater in this music. Like much of the music, the theatrics is like an antidote to nearly all other entertainment. It is music and theater that revels in its own discomfort factor, rather than being a commodity that is calculated to appeal to a target audience in the way so much media is produced and marketed. The High Jinx street performances are often geared specifically toward knocking the unsuspecting public out of their comfort zone. And the nights and days of concerts that are part of the yearly High Zero experience are often challenging both sonically and socially. And yet every one of those live shows are sold out. There is an audience hungry to be challenged and appreciative of art that doesn't pander. There is, for lack of a better word, a "market" for this music that thankfully evades marketing. The documentation presented in audio and video form here actually falls short of the delirious energy that pulsates through the communal experience of a High Zero Festival. But it does give an honest account of so much of the good that this "fringe" community in Baltimore has supported in this overwhelmingly positive way.

Michael Gordon: Timber. 2011. Cantaloupe: CA21072.

Slagwerk Den Haag:
Fedor Teunisse, Marcel Andriessen, Niels Meliefste, Pepe Garcia, Juan Martinez, Frank Wienk: percussion

I picked up this disc at a live performance of this piece. Harboring some doubt about the recording doing full justice to the visual presence of six percussionists wailing away on two-by-fours with contact mics attached. It turns out that a great piece of music is still a great piece of music even without the idiosyncratic presence of these performers. It doesn't hurt that this one is so well recorded. The near-minimalist formula of carving out a singular timbral space as the sonic universe for an hour long work brings its own unifying qualities. As a study of wood as media, Michael Gordon focuses on rhythm, pulse and dynamics. The qualities that make his compositions so compelling - rooted in the Bang on a Can embrace of totalism and minimalism - are completely audible. In many ways, those qualities are more transparent with the stripping down of timbral materials to such an elemental, percussive sound. It's the amplification from those contact microphones that allows this material to soar. The limited range feels anything but limited given the wide berth of variations that emerge from the microscopic details of vibrating boards. It turns out that the recording packs as much (if not more) thrill as the live experience.

I Hear the Gongs Singing - Percussive Adventures in Chicago

2011-12-21T11:05:00.000-06:00

I review a pair of recent percussion performances here.

HurdAudio Rotation: Oldies Station

2011-12-17T11:39:00.001-06:00

Shonen Knife: Happy Hour. 1998. Big Deal: BD 9055.

Naoko Yamano: lead vocals, guitar

Atsuko Yamano: drums, bass, vocals

Michie Takatani: bass, vocals, keyboards

A quick blast from the period when Shonen Knife's shtick was starting to wear a little thin. Even as Happy Hour does deliver on much of the light subject materials of food, cloned sheep, parties and dreaming it does fall short from the chaotic, crazy promise of the opening track "Shonen Knife Planet." A place where one must wake up in time not to miss happy hour. After the initial production (and deliberately "bad" sounds) of that initial wake up the rest of the disc settles into the familiar, punk inflected language of Shonen Knife. Not necessarily a bad thing, just a let down after being jolted into the early promise of a concept album. Their cover of the Monkee's "Daydream Believer" does bring a smile even if it isn't exactly a sterling rendition. Happy Hour does manage to cleanse the aural pallet of heavy listening that goes into the rotation.

Elliott Sharp/Bootstrappers: GI=GO. 1992. Atonal: ACD 3014.

Jan Kotik: drums, percussion

Thom Kotik: prepared bass

Elliott Sharp: guitar, bass clarinet, processing

This offering has aged surprisingly well. Much of it built on the early timbral soundscapes that inspired me back in the day. Now it strikes my ears as a chance to hear Elliott Sharp's electric guitar playing over a seriously rocking rhythm section that is locked into Sharp's musical direction. The titles for these pieces have aged less gracefully than the music they're associated with. "Optimize My Hard Disk, Baby," "Command Z" and "Heapfix" strike an ironic, geek humor pose that simply isn't reflected in the music that remains undeservedly neglected.

Dave Douglas: Freak In. 2003. Bluebird/RCA Victor: 09026-64008-2.

Dave Douglas: trumpet, keyboards, voice

Jamie Saft: keyboards, loops, programming

Marc Ribot: electric guitar

Karsh Kale: tabla, additional drums

Joey Baron: drums

Romero Lubambo: acoustic guitar

Brad Jones: ampeg baby bass, acoustic bass

Ikue Mori: electronic percussion

Seamus Blake: saxophone

Chris Speed: saxophone, clarinet

Craig Taborn: fender rhodes

Michael Sarin: drums

This is an enormously important recording in the Dave Douglas catalog. It's his equivalent to Miles Davis' On The Corner and one day it will be revered as such. The electronic layering, the funky grooves, the explosive turns and the high production values bring an immediacy to this recording that nearly blinds one to the fact that the musical basics of melody and humanity are still at the foundation of this beautiful cacophony. "November" is as beautiful and soul filled as any melodic composition. It would slice to the heart if it were played by Dave Douglas playing over a simple jazz rhythm section or the electronic percussion of Ikue Mori as it is here. Freak In is a reliable thrill ride from start to end that continues to reward the listener with its depth and polish every time.

HurdAudio Rotation: Letting Go

2011-12-12T20:36:00.000-06:00

Interplay: Apology to the Atonists/Tritone Suite. 1990, 2006. Porter Records: 4009.

Elliott Levin: poetry, flutes, saxophones

Rick Iannacone: guitars, electronics

Keno Speller: flute, vocals, percussion

Ron Howerton: cuica, percussion

Ed Watkins: percussion

The extended, improvisation driven Tritone Suite is the focus of this collection. Taking up all but the opening five minute Apology to the Atonists. The two performances separated by sixteen years retain a remarkable continuity. With Levin's poetry drifting well out of the foreground it occupied in the shorter work and allowing for the free form materials to evolve along more abstract lines. The longer movements of the Tritone Suite develop along remarkable lines and are the most interesting of the set. While the percussion heavy sound does meander a little bit, the performance as a whole holds together even as it drifts into some decidedly psychedelic territory. This disc did not leave a particularly deep impression on its first time through the rotation. But on this return listen I'm finding plenty to like about this music.

Mark Helias' Open Loose: Atomic Clock. 2006. Radio Legs Music: RL 012.

Tom Rainey: drums, percussion

Tony Malaby: tenor saxophone

Mark Helias: bass

guest Ellery Eskelin: tenor saxophone

There's a lot going on with this incredibly solid free jazz outing from Mark Helias' Open Loose. First off, it's a saxophone trio with the bassist leading the group. Giving this music a slightly different focus even as Tony Malaby's chops and improvisations are focal points at many times along this recording. But the pulse and compositional force of this trio is clearly with the bassist. There is also the often remarked upon (in this blog) "Tom Rainey effect." The two laws of the "Tom Rainey effect" are 1) there are no bad recordings with Tom Rainey, and 2) Tom Rainey makes every group exceed expectations (which are already high, it is Tom Rainey in the group after all). The Tom Rainey effect is in full force on this set. The fact that the guest tenor saxophone for one of these tracks is Ellery Eskelin (one of the best, in my opinion) indicates what kind of talent pool Mark Helias is swimming in. All of this quality shows up on Atomic Clock. But the real gem of this listening experience is the original compositions that Helias brings to the set. Many of these pieces practically beg to be interpreted many different ways. Leaving me wondering of any attentive ears have caught on to a track like "Chavez" or "Momentum Interrupted" and felt the tug to realize their own performance of this music. I'm contemplating working up a piano interpretation of "Chavez" myself.

John Cage: In a Landscape. 1994. Catalyst: 09026-61980-2.

Stephen Drury: piano, toy piano, prepared piano, electronics, organ

In a Landscape (1948)

Music for Marcel Duchamp (1947)

Souvenir (1983)

A Valentine Out of Season (1944)

Suite for Toy Piano (1948)

Bacchanale (1938)

Prelude for Meditation (1944)

Dream (1948)

At some point the music of In a Landscape entered into my bloodstream. It became a deeply familiar piano work from an earlier Cage obsession. Stephen Drury gives this tranquil work an exquisite interpretation. One that reaches the through the veins and arteries to find the pulsating heart of the music. A similar quality found in all of the performances on this disc. Some of them are familiar works. Some of them are revelations. I was less familiar with Souvenir - a solo organ piece of haunting, introspective beauty that traces a continuous line between the serene pieces of John Cage in the 1930s and 1940s and into the 1980s. Also remarkable is how the temporal distance between the Bacchanale and Prelude for Meditation is surprisingly small. That the alluded act of wild abandon and meditative contemplation both reference the same qualities of letting one's self go. All told, this is a fantastic set of keyboard works given just the right balance of discipline, dedication and love that allows this music to resonate.

HurdAudio Rotation: The Ear That Was Sold To A Fish

2011-12-10T13:08:00.000-06:00

Lawrence D. "Butch" Morris: Testament: A Conduction Collection [disc 2]: Conduction 15 - Where Music Goes II. 1995. New World Records: 80480-2.

Arthur Blythe: alto saxophone

Thurman Barker: vibraphone, percussion

Marion Brandis: flute, alto flute, piccolo

Vincent Chancey: french horn

Curtis Clark: piano

J.A. Deane: trombone, electronics, live sampling

Janet Grice: bassoon

Bill Horvitz: electric guitar

Jason Hwang: violin

Taylor McLean: percussion, glockenspiel

Jemeel Moondoc: flute

Zeena Parkins: harp

Brandon Ross: acoustic guitar, octave guitar

Lawrence D. "Butch" Morris: conductor

Part of the attraction of hearing these Conduction pieces - especially this early set from a period when the process of conduction was being discovered and explored - is the collection of improvised musicians that participated in this performance. While it is possible to pick out the characteristic timbres and phrases of a Brandon Ross on guitar or Zeena Parkins' harp sound and the electronic sampling antics of J.A. Deane, it remains startling just how sublimated the individual parts are. It's as if Butch Morris composed a work using the improvised materials provided by these players and molded into something that is clearly a Morris creation. Somewhere along the way a new kind of sound is realized through the fusion of these individual parts. Arthur Blythe's solo in part III of Conduction #15 is one of the rare points along the way where the full personality of the individual emerges from the texture. And yet even that idiosyncratic identity is flawlessly layered into the larger sonic picture. The excitement and dedication given to these Conductions is well founded. These documented performances are a gift to behold.

Thelonius Monk: The Complete Riverside Recordings [disc 1]. 1986 (re-issue). Riverside: RCD-022-2.

Thelonius Monk: piano

Oscar Pettiford: bass

Kenny Clarke: drums

Art Blakey: drums

The ears travel barely two notes into "It Don't Mean A Thing (If It Ain't Got That Swing)" before registering the fact that the Thelonious Monk obsession is entirely justified. His attack on each note along the piano is identifiably his own. There are those who can emulate, but few pack the full force of the genuine article. This first disc focuses on Monk's interpretations of standards. Leaving the true devastation of hearing his takes on his own compositions for later in the set. The solo take on "Solitude" alone is worth the price of this entire box set. "Honeysuckle Rose" lays bare the Fats Waller and ragtime influences that play a large role in Monk's playing. This particular interpretation of "Caravan" is nearly definitive. And while "Darn That Dream" is a ballad that is tough to love under the best of circumstances, this trio does indeed present one of those "best of circumstances" to hear the languid, melodic contours of a show tune that has long ago receded into the distance. This was a piano trio that was both at the bleeding edge while still drawing inspiration from deep roots extending back to the birth of jazz. This is music with more than enough substance to sustain further study and obsession with this master.

Darren Johnston / Aram Shelton / Lisa Mezzacappa / Kjell Nordeson: Cylinder. 2011. Clean Feed: CF219CD.

Darren Johnston: trumpet

Aram Shelton: alto saxophone, b-flat clarinet, bass clarinet

Lisa Mezzacappa: acoustic bass

Kjell Nordeson: drums, percussion

There just aren't enough recordings of Kjell Nordeson's percussive flights from behind a drum kit. The timbral and rhythmic inventiveness of this improviser is the sound that propels this incredible quartet for my ears. The range of muted and resonant percussion sounds combined with the rapid fire pulse changes and near-harmolodic sense of space elevates this session to a new level. It doesn't hurt that the rest of the ensemble is filled out with members who are equally compelling in their own right. And each individual contributes original compositions and material to a focused set built upon the deep improvisational talents of this quartet. Darren Johnston's cadenza in "Sink Town" is incredible and makes for a strong argument for paying attention to this emerging player. Clean Feed is establishing itself as the Blue Note of this current era and Cylinder is well above average, even for a label that is consistently excellent or better. Highly recommended.

HurdAudio Rotation: Balancing Introversion with Extroverted Expression

2011-12-04T10:07:00.000-06:00

Marilyn Crispell: Vignettes. 2008. ECM: 2027.

Marilyn Crispell: piano

A solo recording by one of the best improvising pianists on the planet realized with all the attention to production and recording detail that one expects from the ECM label. It's no surprise that this is a great record. Drawing upon Marilyn Crispell's current "lyrical period," though she insists that the lyricism was always present in her music since the beginning of her career. Which is true. But at some point she hit upon a sense of restraint and an ability to tap into something finely balanced between simplicity and technical virtuosity that is astonishing. This radiant sound is on full display on Vignettes. Realized here as seventeen short pieces that also show off her sense of ending. Pieces that end with a satisfying tranquility. Each sent into this world with a fully realized sense of form above and beyond the considerable aural creativity of this incredible talent.

Jen Baker: Blue Dreams. 2007. Dilapidated Barns: 001.

Jen Baker: trombone, voice

With a tone composed of voice and trombone unified by a singular breath, Jen Baker explores a timbral interplay that transforms her instrument into an organic entity rich in musical and organic possibilities. Baker traverses a range that growls with humanity before taking more lyrical turns. At times hinting toward Tuvan throat singing, at other times developing its own internal counterpoint. Jen Baker sustains this recording with her improvisational ability and sense of rhythmic balance. Not to mention her impressive musical chops. This is an expressive and honest solo recording that exposes a refined and truly engaging and imaginative extended technique.

Phil Dwyer Orchestra featuring Mark Fewer: Changing Seasons. 2012. Alma Records: ACD 10252.

Phil Dwyer: composition, conductor, piano, tenor saxophone

Mark Fewer: strings conductor, violin soloist

Mark Ferris, Robin Braun, Jason Ho, Jennie Press, Toni Stanick, Yi Zhou, Karen Gerbrecht, Anne Cramer, Cam Wilson, Ashley Plaut, Angela Goddard, Rick Dorfer: violins

Neil Miskey, Isabelle Rolans, Henry Lee, Reg Quiring: violas

Joseph Elworthy, Zoltan Rosnyai, Olivia Blander, Charles Inkman: cellos

Dylan Palmer: double bass

Walter White, Derry Byrne, Henry Christian, John Korsrud, Ingrid Jensen: trumpets

Ian McDougall, Al Kay, Jeremy Berkman, Sharman King: trombones

Chris Gestrin: piano

John Wikan: drums, percussion

Naming the four movements of this suite after the four seasons of the year may suggest a nod toward Vivaldi. But the richly modal orchestral jazz writing draws much of its inspiration from Gil Evans. The performances and arrangements of this wildly varied work by Phil Dwyer is nearly flawless. His seemingly easy access to the substance and humanity of a century of jazz influences is translated here into a work of relentless beauty (that also manages to swing). Changing Seasons is notably devoid of any gimmicks. Each parameter of this music is carefully constructed. Each solo reinforcing the overall sweep of this music. It won't grab a passive listener and overwhelm them with the layers of materials and ideas that went into this music. At the same time it rewards the active listener with its seemingly endless transitions as they unfold with unreserved beauty. The "change" of the Changing Seasons is the key to this ambitious piece.

Weathering the Improvisation at the 2011 Umbrella Music Festival (part 2)

2011-11-30T19:53:00.002-06:00

The second part of my Umbrella Music Festival 2011 review is posted

here.

Free Jazz Storm Under the Umbrella

2011-11-23T13:07:00.002-06:00

Part 1 of my 2011 Umbrella Music Festival review can be found here.

HurdAudio Rotation: Heady and Nostalgic

2011-11-20T22:57:00.000-06:00

Elliott Sharp: In the Land of the Yahoos. 1987. Zoar/SST Records: 128.

Elliott Sharp: mirage, voice, bass, pantar, guitar, saxophone, drum computer

Chirstoph Anders: voice, mirage

Sussan Deihim: voice

Elizabeth Fischer: voice

David Fulton: electronic drums

Paul Garrin: pat, rewinds

Shelley Hirsch: voice

Shigeto Kamada: drums

Christian Marclay: turntables

Jane Tomkiewicz: bender, clay drum

If there's a part of me that is capable of nostalgia, this is one of the discs it reaches for. I've lived with this music for a long time and it continues to be repulsive in all the right ways. Short, detail-rich studio creations that often include deliciously uncomfortable vocals in a music that targets its commentary on televangelists, consumerism and the shallowest depths of American society with blistering criticism. A theme that would be picked up with even greater effectiveness in two "sequel" albums. But for these ears, the sneering voice of the title track at the onset of this listening experience is where it all begins. One of many under appreciated gems in the prolific and thorny catalog of Elliott Sharp.

Terry Riley: The Harp of New Albion. 1986. Celestial Harmonies: CEL 018/019.

Terry Riley: piano in 5-limit Just Intonation in C#

This one is another nod toward nostalgia and a substantial piano composition that has supplied a soundtrack for much of my life. Harmony plays a starring role in this music as the startling diversity of intervals within a justly tuned diatonicism reveals a depth of tonality that isn't nearly as audible in equal temperament. Then there is the composition and generous helpings of Terry Riley's under-credited ability for improvisation. Terry Riley plays the role of story teller and shaman as he unfolds an elaborate narrative through abstraction. All of which comes together into a long-form solo work with incredible beauty for those who pause long enough to drink it in.

Mary Halvorson Quintet: Saturn Sings. 2010. Firehouse 12 Records: FH12-04-01-013.

Jonathan Finlayson: trumpet

Jon Irabagon: alto saxophone

Mary Halvorson: guitar

John Hebert: bass

Ches Smith: drums

Saturn Sings is an ideal collision of so many worlds. Thorny, unpredictable compositions rendered audible by the aggressively creative spirits of these five musicians. Realizing a music that plumbs the extremes of order and chaos by filling up the sonic texture with a density that leaves plenty of room for individual navigation. Mary Halvorson has cut her teeth under the tutelage of Anthony Braxton and absorbed many of his best approaches toward improvisation and composition along the way. But this music also taps into a completely different energy that is entirely hers. There's a fiercely independent quality to this sound that allows one to hear deep into the heads of these players while also admiring the tight structure of these charts. All of this adds up to one impressive recording that stubbornly grabs at one's consciousness and dares it to follow the twists and turns of this logical and free music. Ches Smith is a real presence on the drum kit on this one as well. Highly recommended. Savor this.

HurdAudio Rotation: Stompin' at the Savoy

2011-11-19T09:46:00.000-06:00

KLANG: Other Doors. 2011. Allos Documents: 006.

James Falzone: clarinet

Jason Adasiewicz: vibraphone

Jason Roebke: bass

Tim Daisy: drums

Josh Berman: cornet

with guests-

Jeb Bishop: trombone

Keefe Jackson: tenor saxophone, bass clarinet

Fred Lonberg-Holm: cello, electronics

The connection between KLANG and the music of Benny Goodman is both direct and sophisticated. This is no slavish recreation of the music of Benny Goodman, even if there are a few Goodman tunes represented (their take on "Stompin' at the Savoy" is a knockout). The clarinet is well represented here, but the sound is clearly Falzone's. Which makes this an excellent showcase of his well developed voice on the instrument.

The Falzone originals draw their inspiration from the music of Goodman with a contemporary take on their source. Each piece clocking in at around five minutes or less, this ensemble operates squarely within the form and durations of the Goodman era. And this music swings in all the best possible ways. The real attraction to this recording is the ensemble sound of these great musicians. The sequence of clarinet solo melting into a quartet sound followed by mixing in the guest performers before returning to solo clarinet makes for a recording that won't be wearing out its welcome anytime soon. Their interpretation of "Memories of You" with Fred Lonberg-Holm is beautiful and addictive. Highly recommended.

Brad Jones' AKA Alias: Uncivilized Poise. 1998. Knitting Factory Records: KFR-247.

Brad Jones: acoustic bass, electric bass, lead vocals, backing vocals

Abe Fogle: drums, percussion, backing vocals

David Gilmore: guitar

Jeff Lawrence: keyboards, backing vocals

Bob Debellis: alto saxophone, flute

DK Dyson: lead vocals, backing vocals

Beans: lead vocals

Curtis Fowlkes: trombone

There's no questioning the bona fides of Brad Jones as one of the great bass players on the New York scene. His track record working with the likes of Dave Douglas or the Jazz Passengers speaks for itself. And this band is packed with the kind of aggressive, smokin' musicians one can only find in New York City. While this disc does have moments of greatness, it also has several spots that haven't aged well. Tracks like "3 Guesses" are great. The bass solo on "Pocket Prayer 1 (Birth)" that opens this disc is a high point. But then there is the mixed bag of the vocal pieces that veer into an uncomfortable territory between smooth jazz and rap. And there are some cringe-worthy sections that sound like a late night talk show host may step in and cut them off to deliver a mid-week monologue. This one is a disc that overflows with musicianship that hits a range of musical styles. Some of them timeless, some of them dated.

Lina Allemano Four: Jargon. 2010. Lumo Records: LM 2010-4.

Lina Allemano: trumpet

Brodie West: alto saxophone

Andrew Downing: double bass

Nick Fraser: drums

The comparisons between Lina Allemano and Don Cherry are inevitable. Both share the same instrument and the Alemano Four play in the same free jazz tradition that Don Cherry blazed with the Ornette Coleman Quartet. While that comparison is largely positive - born out of a love for the music Don Cherry gave us all - Lina Allemano is her own musician and on Jargon she is following her own, compelling muse. Her partners in crime on this recording are tuned into that same muse as they bring a near-harmolodic precision to the waxing and waning of complementary lines. The result is stunning in an unassuming way. Jargon builds nicely on a tradition that understandably continues to inspire.

HurdAudio Rotation: Of Love for Eurydice and Maryam

2011-11-14T00:58:00.000-06:00

Andrew Violette: Sonata for Unaccompanied Violin. 2008. Innova: 711.

Robert Uchida: violin

The focus on this double-disc set of solo violin music is the melodic line. The melodic line and how it develops, is constructed, deconstructed and the multitude of variations on a line. Robert Uchida gets full credit for breathing life into these works as he brings his flawless attention span to the long form of this music and adds his own interpretation on the phrasings and dynamics. This is music that subsists (and makes reference to multiple historical points) within a narrow range of parameters. Andrew Violette does not make use of pizzicato. Nor does he notate rests. Listening to this music for two hours reveals the quality of solo music devoid of silence (contextual or otherwise). It feels like these ideas only come up for air between movements. Once set in motion, this is a long sequence of bowed ideas that touch upon scales, trills and the occasional double stop. It's a beautiful - if not particularly varied - sound.

Toby Twining: Eurydice. 2010. Cantaloupe Music: CA21068.

Eric Brenner: soprano

Liz Filos: alto

Steven Bradshaw: tenor

Toby Twining: baritone/alto

Mark Johnson: bass

Floreta Shapiro: cello

These ears are no stranger to the music of Toby Twining. A composer who develops highly polished vocals works for his own Toby Twinings Music Ensemble. His use of just intonation and extended vocal techniques are carefully crafted toward realizing incredibly beautiful textures. I've listened to his Chrysalid Requiem for a number of years now and I'd heard some of the Eurydice material performed at this year's Bang on a Can Marathon. And yet I was somehow completely unprepared for the devastating impact of hearing this work in its entirety. This music creates its own sonic world and then convincingly inhabits it. And it is a world entirely unlike any other with its invocation of the underworld of the Eurydice story. Composed for the Sarah Ruhl play Eurydice, this music drapes softly along the narrative of this retelling of the Greek myth. This ensemble of voices and cello features some outstanding writing and a sharp ear for the sounds each member is capable of. All the rich detail within these composition never overwhelms the sound. And it's that sound that pulls the ears into the underworld of Eurydice and Orpheus, telling the story and the feeling of love and loss along the way. This is an outstanding work lovingly realized that cannot be listened to only once. A happy addition to the rotation.

Paul Motian: The Complete Remastered Recordings on Black Saint & Soul Note [disc 1] - The Story of Maryam. 2010 (1983 original release date). Soul Note: BXS 1008.

Jim Pepper: tenor saxophone, soprano saxophone

Joe Lovano: tenor saxophone

Bill Frisell: electric guitar

Ed Schuller: bass

Paul Motian: drums

This one is pleasant listening on all fronts. There's the classic Bill Frisell sound running throughout (even if my ears keep itching to have him front and center). The saxophone solos from Jim Pepper and Joe Lovano are smokin'. The rhythm section is one of the best. And at the heart of this set are these unassuming compositions by Paul Motian. Much of what makes him such a durable, well traveled drummer is present in the music he creates. Understated and composed with generous space for the top line collaborators in his band. The title track, "The Story of Maryam," in particular has a warmth to it that can't be missed. Well worth the remastering that brings this great record back to hear where these players came from.

HurdAudio Rotation: Music of Pairs

2011-11-12T15:33:00.000-06:00

Rene Lussier/Martin Tetreault: Dur Noyau Dur. 1997. Ambiances Magnetiques Etcetera: AM 057 CD.

Rene Lussier: acoustic guitar, electric guitar

Martin Tetreault: turntables, pick-up, radio

Lussier and Tetreault work with the raw materials of electricity and sound. Placing the listener at the unusual position of being extremely close to the point where the needle meets the vinyl, where the fingertips scrape guitar strings or at the exact position where electricity is converted into bursts of noise and sound. Dur Noyau Dur does retain fleeting moments of Rene Lussier's fantastical flights. But they are less geared toward sliding references toward other musics and more contained within the moment of these brief improvisations. The focus turned toward the energy and other-wordly atmosphere of these sonic materials. It's an uncompromising record that demands a great deal from the listener. With the result of taking the attentive ears into deeply unfamiliar territories.

Charles Ives/Ivan Wyschnegradsky: Quarter-Tone Pieces. 2006. Hat Hut Records: [now] ART 143.

Josef Christof: piano

Steffen Schleiermacher: piano

24 Preludes In Quarter-Tone System by Ivan Wyschnegradsky (excerpts)

Three Quarter-Tone Pieces For Two Pianos by Charles Ives

Etude sur le "Carre Magique Sonore" op. 40 by Ivan Wyschnegradsky

The Russian mystic and the iconic American maverick composer are performed together under the shared distinction of having written piano music featuring the interval of the twenty-fourth-root of two. The interval that divides the semitone in half to form the quarter-tone. Beyond the timbre of the piano and the doubling of harmonic resources these two composers are strikingly different. Ivan Wyschnegradsky's quarter-tone piano pieces sound like something Scriabin might have explored had he gone down this particular harmonic path. While Charles Ives retains the balance of awe and Americana that makes him one of the great composers of any era. Hearing the multiple worlds and melodic references of Ives run through the twin blades of his relentlessly creative energy and the 24-tone equal temperament makes this collection more than worth hearing. One can only imagine what these two composers might have done if they had access to better technology for realizing even more inventive harmonic constructions.

Daniel Levin/Tim Daisy: The Flower and the Bear. 2011. Relay Records: 003.

Daniel Levin: cello

Tim Daisy: percussion

Daniel Levin and Tim Daisy each work within an expansive sensibility respective to their instruments. Ready to switch up the timbral qualities of the moment in a manner that balances the reactive and the pro-active aspects of duo improvisation. Daisy's drumming takes on a particular urgency in this set as he alludes to, plays within or provides a parallel sense of time with plenty of fractured subdivisions of the organic pulse at hand. Daniel Levin's cello work takes this temporal material and stitches in his own contribution into the overall texture. The ears can almost sense the elasticity of this musical fabric as these master improvisers apply their push and pull to the elusive instant when they create this sound. There are many great duo recordings that feature great musicians at work such as this one. But this disc comes highly recommended as one of the more relentlessly listenable sets you're likely to find.

Ensemble Dal Niente: From Professor Bad Trip to Sounds Seek People

2011-11-08T08:26:00.002-06:00

My column on Ensemble Dal Niente's first two concerts of the season is located here. It's where I tackle the monolithic piece that is Fausto Romitelli's Professor Bad Trip.

HurdAudio Rotation: Mappings and Tunings

2011-11-06T19:36:00.001-06:00

Elliott Sharp: K!L!A!V! 1990. Newport Classic: NPD 85504.

Anthony Coleman: toy piano, yamaha organ

Wayne Horvitz: yamaha dx-7, dx-100

Zeena Parkins: korg organ, yamaha dx-100

Joseph Paul Taylor: akai s9000 sampler, yamaha dx-7

Gwen Toth: reed organ

David Weinstein: mirage

sampler, cz101

Elliott Sharp: atari 1040st computer, roland s330 sampler, piano

Twenty Below for various instruments

K!L!A!V! for computer and sampler

Mapping for solo piano

A slice of Elliott Sharp's "ir/rational" compositions segmented by his composed works for keyboards. There is not a lot of Sharp keyboard music, so this collection may be "complete" in that sense. The structural underpinnings of "ir/rational" music emerges with a startling clarity here. Twenty Below is a fun piece that shows its age timbrally. K!L!A!V! is startling in its attractive, sparkling textures of detuned piano samples worked through a sequencer. Sharp's later works along this vein tend to focus more on digital manipulations that obscure the source timbre while this older piece retains a sense of harmonic order and treats its raw materials as more of an instrument (as opposed to an exercise in sound design). It's a better piece than I'd remembered it being. One of the rewards of going back to these older recordings. Mapping features Elliott Sharp applying his guitar techniques and sensibilities to the acoustic piano. Hammering furiously at the low end of the instrument's register to force out a cascading wall of harmonics. It's a piece that practically begs non-guitarists to take it on and make it their own.

John Schneider: Just Guitars. 2003. Bridge Records: 9132.

Rhythmicon I by Carter Scholz

John Schneider: 17 justly tuned guitars

Scenes from Nek Chand by Lou Harrison

Tandy's Tago by Lou Harrison

Cinna by Lou Harrison

Palace Music by Lou Harrison

Plaint & Variations on 'Song of Palestine' by Lou Harrison

Serenado por Gitaro by Lou Harrison

John Schneider: national steel guitar

Letter from Hobo Pablo by Harry Partch

John Schneider: voice, adapted guitar I

Rebekah Raff: kithara

December 1942 by Harry Partch

John Schneider: voice, adapted guitar I

Three Intrusions by Harry Partch

John Schneider: voice, adapted guitar II

Gene Sterlins: diamond marimba

Harp of New Albion by Terry Riley

John Schneider: guitar in just intonation

Lament by John Schneider

John Schneider: guitar in just intonation

My ears bring more than a passing familiarity with many of these works. Steeped in the sounds of just intonation, this disc touches upon many of the significant proponents and practitioners of a tuning system that is both ancient and refreshingly new. I find the guitar arrangement of the two movements of Harp of New Albion (a piece originally composed and performed by Terry Riley on a piano tuned to just intonation) to be a complete knockout in this collection. The vocal intonations of the Partch pieces (especially Letter from Hobo Pablo) are spooky in their fidelity to Partch's voice on his own recordings of these works. The fact that Harry Partch was an underrated guitarists lends a particular interest to an interpretation to such a dedicated instrumentalist with a grounded understanding of both the theory and the music. The Lou Harrison pieces are exquisite (as his music often is). This is a great collection for getting the sound of pure intervals into one's ear and a much needed documentation of this incredible body of music.

Kevin Crabb: Waltz for Dylan. 2010. CrabClaw Records: 84501-40663-5.

Kevin Crabb: composer, drums

Don Thompson: bass

John Beasley: piano

Kelly Jefferson: saxophone

Each member of this quartet plays inside this music. And I mean deep inside. There isn't one element of this set that isn't realized as a cohesive group. Each one of these musicians is clearly cut from a monk-like devotion to jazz music that yields tight performances like this. The fact that these are all Kevin Crabb originals - as opposed to jazz standards - gives this set its luster. The prominence of the cymbals in the mix is the only hint that the drummer is the leader of this ensemble. Tight playing, tight compositions and nearly flawless execution along all musical fronts. If anything, the studio-centric approach to this recording leads to abbreviated solos that could stand to stretch out much longer (as one would imagine happening in a live setting). This one is admittedly more "inside" and "safe" than these ears normally tread, but I have to admire the musicianship on display on this recording.

HurdAudio Rotation: The People, Yes!

2011-10-30T21:01:00.000-05:00

Johanna Beyer: Sticky Melodies. 2008. New World Records: 80678-2.

Astra Chamber Music Society

John McCaughey: musical director

Suite for Clarinet I

Daniel Goode: clarinet

String Quartet No. 1

Miwako Abe: violin 1

Aaron Barnden: violin 2

Erkki Veltheim: viola

Rosanne Hunt: cello

Three Songs for Soprano and Clarinet

Merlyn Quaife: soprano

Craig Hill: clarinet

Bees

Peter Dumsday: piano

The Federal Music Project

The Astra Choir

John McCaughey: conductor

Movement for Two Pianos

Peter Dumsday, Kim Bastin: piano

Suite for Clarinet Ib

Craig Hill: clarinet

String Quartet 2

Miwako Abe: violin 1

Aaron Bernden: violin 2

Erkki Veltheim: viola

Rosanne Hunt: cello

Ballad of the Star-Eater

Merlyn Quaife: soprano

Craig Hill: clarinet

Movement for Double Bass and Piano

Nicholas Synot: double bass

Kim Bastin: piano

Three Pieces for Choir

-The Main Deep

The Astra Choir, John McCaughey: conductor

-The Composers Forum Laboratory

The Astra Choir with Kim Bastin: piano

John McCaughey: conductor

The Astra Choir, John McCaughey: conductor-The People, Yes!

Sonatina in C

Peter Dumsday: piano

The music on this double-CD collection is a shock. Hearing this amazing music, this fully formed aesthetic from a relatively unknown (but clearly significant) composer from the enormously fertile creative period of the early twentieth century American music is a reminder that there is so much music waiting to be more fully experienced and appreciated from every period. The comparisons to Ruth Crawford-Seeger, Henry Cowell and Charles Ives are easily made. Johanna Beyer is clearly in good company in that regard. But this music stands well on its own. Her string quartets are amazing. String Quartet No. 1 in particular gives several hints at avant garde directions that would come later in the century as well as original ideas that have yet to be taken up. Especially in the textures of its tantalizing and brief presto movement. The choral writing is equally grand as are her pieces for clarinet solo and clarinet with soprano. This is compelling music all around. Music that deserves to be programmed more frequently in chamber music settings.

This slice of music from Johanna Beyer also hints at the kind of impact the Great Depression had on composers during this era. The musical response is strikingly similar to the changes found in Ruth Crawford-Seeger and Charles Seeger's music at this time. A pulling away from the complexity and abstraction that marked the early works of these composers (qualities that make them so attractive to my contemporary ears) in favor of a simplicity and affirmation of the greater good. Changes that carry a particular resonance during this current period of upheaval and grass-roots protests against economic injustice. My ears find less gravity in these later works, but the emotional qualities that fuel these works are undeniable.

Johann Sebastian Bach: Bach Edition [volume II - disc 3]. 1999. Brilliant Classics: 93102/26.

Leon Berben: harpsichord

The Well-Tempered Clavier, Book II BWV 871-893.

Prelude & Fugue No. 1 in C major

Prelude & Fugue No. 2 in C minor

Prelude & Fugue No. 3 in C sharp major

Prelude & Fugue No. 4 in C sharp minor

Prelude & Fugue No. 5 in D major

Prelude & Fugue No. 6 in D minor

Prelude & Fugue No. 7 in E flat major

Prelude & Fugue No. 8 in E flat minor

Prelude & Fugue No. 9 in E major

Prelude & Fugue No. 10 in E minor

Prelude & Fugue No. 11 in F major

Prelude & Fugue No. 12 in F minor

The Well-Tempered Clavier is a substantial war horse in the canon of keyboard works. An iconic achievement of both Baroque style and tonal harmonic sensibility. Hearing these pieces performed on the harpsichord immerses the ears in both the antiquity and the vitality of this music.

The thing that strikes me in this particular listening is the joy. Striking in that this kind of faith oriented expression of joy is so conspicuously absent from my direct experiences with contemporary religious expression. It comes with the feeling that the connection to divinity that Bach was immersed in was somehow lost in the New World as the cultural baggage of the Puritans has persisted. One listens to the politically motivated expressions of faith in this age and hears no sense of joy. The admittedly limited exposure to church services that I've experienced is an equally joyless thing. The music of Johann Sebastian Bach is a reminder that the substance of faith is both timeless and multi-faceted in ways that have been subverted by current culture.

The George Lernis Jazz Quartet: Shapes of Nature. 2011. George Lernis: 84501-56166.

George Lernis: drums

Lefteris Kordis: piano

Mark Zaleski: upright bass

Scott Boni: alto saxophone

Upon hearing Shapes of Nature one would not suspect that the compositional source for this music comes from the drummer. Percussion rarely comes to the foreground in a quartet that deftly shifts attention democratically with soloists adding fleeting layers to an ensemble sound. It is the compositions and the sound world that they explore that are at the forefront of this set. And here one can detect the aesthetic sound world that George Lernis is carving out within the creative space of these pieces. This quartet is steeped in the jazz tradition, particularly be-bop, and that is the branch that they've extended outward from. Finding new avenues through impressive alterations upon the sounds that this tradition has handed down. New scales, melodies with notes subtracted, and frequently altered meters and time changes. This elastic approach to time being the only hint that the drummer is behind the compositional scenes in this music. All of it executed with a well practiced sense of precision and musicianship. There is enough promise here that one hopes Lernis will continue to explore on this track and push this music a little farther toward unfamiliar frontiers.

HurdAudio Rotation: Songs of Travel and Growth

2011-10-23T15:20:00.000-05:00

Louis Moholo-Moholo/Marilyn Crispell: Sibanye (We Are One). 2007. Intakt: 145.

Louis Moholo-Moholo: drums

Marilyn Crispell: piano

I've listened to a lot of Marilyn Crispell over the years and she never fails to puncture the familiarity of her sound with elements within her improvisations that are completely new to me. This happens every time. Here is a live recording from 2008 where I was in the audience. At the time I was blown away by the kind of voice leading she was doing. It was something new in her playing I hadn't noticed before. Now as I come back to this recording for the third time or so I'm struck by the resonant spiritual connection that these two players share. Even though this is their first (and only documented) performance together.

Marilyn Crispell has mastered the almost Zen-like quality of stepping back within a performance and finding an improvised path that exists in balance with the present state of the music. Hers is a finely honed intuition that allows her to draw upon her considerable technique without smothering the creative moment. Louis

Moholo-Moholo has carved a path out of Apartheid era South Africa, through the explosive free improvisation movements of Europe and back to South Africa. That sense of returning home after a long and valuable journey comes through in his music. The connection these two master musicians made was something to behold live. This document of that meeting retains much of the glow of that performance.

Ellery Eskelin: Premonition. 1993. Prime Source: 2010.

Ellery Eskelin: tenor saxophone

In 1993, Ellery Eskelin was well on his way to becoming the most interesting improvising musician on the tenor saxophone. The material on Premonition is outstanding on its own. But if you've heard him play lately it is clear that he has grown exponentially as an artist since that time. Premonition does make a clear, declarative case for the multiple tendrils of jazz tradition that feed into his astonishingly original voice. Three original works - part of Eskelin's own "Song Cycle" followed by two by Monk and a lighter excursion through a Torres Velazquez tune. Deep roots that hardly keep Eskelin from reaching into the stratosphere with his own ideas. Premonition is a snapshot of an artist in mid growth that stands on its own as a solo recital worth revisiting.

Sanda: Gypsy in a Tree. 2010. Barbes Records: BR0029.

Sanda: vocal

Shoko Nagai: piano, accordion, farfisa

Stomu Takeishi: electric bass

Satoshi Takeishi: percussion

Douglas Wieselman: guitar, clarinet

Ben Stapp: tuba

There aren't many vocalist led disc in the HurdAudio Rotation. Partly out of oversight and partly because these ears gravitate toward the instrumentalists. And frankly, I was attracted to this disc because of the Takeishi brothers in the rhythm section. So I have Stomu and Satoshi to thank for pushing me out of my comfort zone and into the gypsy songs so brilliantly realized by Sanda. Sanda Weigl has an amazing voice and an innate sense for how these songs breathe and dance. Combining her voice with this outstanding band is simply a winning concept that rewards the ears that stop to take it in. This is music with unbelievable sonic and emotional texture delivered by serious players.

HurdAudio Rotation: Neither From Nor Towards

2011-10-22T01:02:00.000-05:00

Marc Ducret: Un Certain Malaise. Screwgun Records: screwu 70005.

Marc Ducret: guitar

Marc Ducret has a healthy amount of crazy in his sound when he's within a group. Here he's a free range crazy guitar as he slashes his way through this live 1998 set. Somewhere along the way he powers through what has become one of my favorite solo guitar recordings over the years. Working a language of strings and electricity with a performance that stays balanced along a sense that his energetic bursts could dart in any direction at any speed at any moment for an extended period of time.

Misha Mengelberg: The Root of the Problem. 1997. Hat Hut Records: hat OLOGY 504.

Misha Mengelberg: piano
Steve Potts: alto saxophone, soprano saxophone
Thomas Heberer: trumpet
Michel Godard: tuba, serpent
Achim Kremer: percussion

Misha Mengelberg draws upon a deep well of jazz history and intuition for his improvisational craft. He can be ruthlessly abstract without losing his sense of humor or even taking a turn toward swing. With The Root Of The Problem he teams up in duos and trios with Steve Potts, Thomas Heberer, Michel Godard and Achim Kremer as equal collaborators. Often times these collaborators are absent for long stretches before hitching along with the whimsical rides that Mengelberg sets out with his "roots." The collaboration between piano and tuba is surprisingly compelling in this set. The dialog between improvisers feels so natural, so unforced that it is startling to hear this music move through so many extremes. This is a dialog that bears repeated listening and keeps the intellect guessing.

Thelema Trio: Neither From Nor Towards... 2010. Innova: 752.

Ward De Vleeschhouwer: piano
Peter Verdonck: saxophones
Marco Antonio Mazzini: clarinets

Tres Danzas Episkenicas by Rafael Leonardo Junchaya
Shadowing by HyeKung Lee
The Devil His Due by Keith Carpenter
neither from nor towards (ballade) by Eric Honour
Imprevisio by Marco Antonio Mazzini
Refractions by Kevin Walczyk

Five Miniatures by Fernando Benadon

Chamber music that eschews trans-Atlantic roots in favor of a current body of music drawn from the Americas - both North and South. Featuring works by composers from Peru, Argentina and the United States, this is just a sampling of a repertoire that has yet to be fully realized. Eric Honour's neither from nor towards is strikingly beautiful and Marco Antonio's short clarinet solo Imprevisio makes dramatic use of the instrument's extreme dynamics and register. Each of these works leave an impression while contrasting strongly with the other works in this set. They also remind these hungry ears (that are so frequently gorging upon new music) that there is a great deal of music yet to be heard.

Brewing Up the Noise

2011-10-06T23:51:00.003-05:00

My write-up of the 2011 Milwaukee Noise Festival can be found here.

HurdAudio Rotation: Painless Dentistry

2011-10-02T15:15:00.000-05:00

Terry Riley/Stefano Scodanibbio: Lazy Afternoon Among the Crocodiles. 1997. Pierrot Lunaire: AIAI 008.

Terry Riley: synthesizer Ensoniq TS 12Stefano Scodanibbio: contrabass

There are trace moments when the Ensoniq sounds thin next to the richness of Scodanibbio's contrabass. But more often than not, Terry Riley manages to coax a lot out of the synth textures and turn in an overwhelmingly pleasant duo recording. At under half an hour, this is just an EP. A full set from this pair would be hard pressed to wear out its welcome. I'm perpetually astounded at how Terry Riley makes such amazing music in spite of its multiple "flaws." His improvisational and arrangement abilities would be revered in a perfect world.

Chris Dahlgren & Lexicon: Mystic Maze. 2010. Jazzwerkstatt: 088.

Chris Dahlgren: double bass, voice narration
Antonis Anissegos: piano, wurlitzer, sampler, voice
Eric Schaefer: drums, percussion, voice, glockenspiel, sampler
Gebhard Ullmann: tenor saxophone, soprano saxophone, bass clarinet
Christian Weidner: alto saxophone

Not since Lee Konitz's superb Peacemeal have the worlds of Bela Bartok and jazz collided so agreeably. A fertile territory for cross-breeding the Hungarian folk materials, twentieth century composition technique and avant garde improvisation when none of the elements are given short shift. Chris Dahlgren sets this music in motion with a balance of reverence and irreverence born out of passionate regard for the music of Bela Bartok. Here he chooses to set the words of Bartok's harshest critics to music. Giving equal weight to the quality of the prose and the ridiculousness of their poor judgement. Dahlgren made the right call by reciting - rather than singing - these long-winded diatribes against a modernism that sounds restrained by contemporary standards. But what makes this set genuinely excellent is the tasteful arrangements of Bartok's own works and the smart musical quotations woven into the overall musical texture. It doesn't hurt that Lexicon brings a high degree of verve and proficiency to their interpretation. Setting a jazz ensemble arrangement of Bartok's 4th or 6th String Quartets is a creative indulgence that makes enormous sense. I hope to hear full arrangements of these pieces that fulfill the tantalizing promise of the single movements included on this disc.

Matt Wilson: Arts and Crafts. 2001. Palmetto Records: PM 2069.

Matt Wilson: drums
Larry Goldings: piano
Dennis Irwin: bass
Terell Stafford: trumpet

Arts and Crafts is a quartet that Matt Wilson drives as a vehicle for realizing jazz tunes. This is straight jazz and it hardly gets played more flawlessly than this. Wilson gives plenty of reason to love the tradition as this group breathes life into the many sounds that remind me why I fell in love with jazz in the first place. Then there is the final track... "All Through The Night" may be the most beautiful piece ever committed to recording. This quartet's take on Ornette Coleman's "Old Gospel" grabbed my attention. Their interpretation of Bud Powell's "Webb City" hits the target. And Matt Wilson's original tunes mine a vein lined with the sounds of Lester Young and George Gershwin. But "All Through The Night" seals the experience, leaving no doubt that this group is something special.

Finding Peace at the Fulcrum Point

2011-09-25T18:33:00.001-05:00

My review of Fulcrum Point New Music Project's 9/11 concert is posted here.

HurdAudio Rotation: At the Feast of Circumcision

2011-09-18T21:03:00.000-05:00

Johann Sebastian Bach: Bach Edition [Disc III-2]. 2006. Brilliant Classics: 93102/48.

Herr Gott, dich loben wir BWV 16
Vergnugte Ruh, beliebte Seelenlust BWV 170Ich freue mich in dir BWV 133

Holland Boys Choir
Netherlands Bach Collegium
Pieter Jan Leusink: conductor
Ruth Holton: soprano
Sytse Buwalda: alto
Nico van der Meel: tenor
Knut Schoch: tenor
Bas Ramselaar: bass
Teunis de Zwart: natural horn
Jan Willem Vis: viola
Eduard Wesley: oboe d'amore
Bert Mooiman: organ
Vaughan Schlepp: organPeter Frankenberg: oboe d'amore
Ofer Frenkel: oboe d'amore

Herr Gott, dich loben wir apparently translates to "At the Feast of Circumcision." Perhaps it's just me. But that's one feast I'd politely decline.

Sonically, and compositionally, the Cantatas are the most immediately appealing of Bach's output. Surprising given my general ambivalence toward vocal writing. Somehow the timbral variety of the different voices and instruments helps lay bare the contrapuntal framework that makes Bach's music such a wellspring for the centuries of music that has followed in its wake. And any music that influences music for that span of time is difficult to ignore and even more difficult to hear without mentally referencing clear markers for things that came later. These cantatas have the added advantage of being flat out beautiful as well as beautifully interpreted on this collection.

Albert Ayler: Holy Ghost [disc 9]. 2004. Revenant Records: 213.

Albert Ayler interview with Kiyoshi Koyama for Swing Journal. July 25, 1970 in Saint-Paul-de-Vence, France.
Don Ayler and Mocqui Cherry interview with Daniel Caux. 1970 in Paris, Fance.

A talkative Albert Ayler discussing his energy music and his desire to concertize it in what would sadly become one of the last interviews of his life. One can only wonder what paths he would have sorted out from this particular trajectory of his career. This was a period when Ayler had hit some creative dead ends and was actively sorting out his next moves and I have to believe that the sincerity of his approach would have taken directions that are impossible to imagine now. Ayler was a force extinguished far too early.

Anti-Social Music: Fracture: The Music of Pat Muchmore. 2010. Innova: 760.
Jen Baker: trombone
Hubert Chen: violin
Jean Cook: violin
Leanne Darling: viola
Loren Dempster: cello
Peter Hess: tenor saxophone, bass clarinet
Jeff Hudgins: soprano saxophone
Andrea La Rose: flute
Danny Mulligan: electric guitar
Dan Neustadt: piano
Franz Nicolay: accordion
Evan Rapport: alto saxophone
Maria Sonevytsky: accordion, piano
Philippa Thompson: viola
Ken Thomson: baritone saxophone, clarinet, alto saxophone
Pat Muchmore: cello, electronics

Anti-Social Music is both a new music collective and an unsubtle nod toward the inclination (and appeal) of writing music that pushes back at the listener. Who wouldn't be proud to write something that leaves sonic skid marks all over polite society? Pat Muchmore writes a music that slices along multiple stylistic conventions until it leaves scars all along the ear canal. The titles are often uncomfortable: "shitfuckcumbastard," "[-=]..seftâürdsöikt-spfhâèrrseist-sepfthâüèrdrsöeikst," or "Θ∑(PortRait_7,__NY06)" are not the most radio friendly names. Then there is the sounds behind those names. Generous bits of accordion solo, segments of delicacy slapped against segments of brutal aggression, dynamic extremes that leave one straining or recoiling and constant, jarring changes - both with and without transitions. Yet the thing that holds all of this music together is how deliberate all of this is. It doesn't hurt that these purposefully beautiful/ugly sounds are so expertly performed and realized. The ensemble never flinches. Thus allowing for abrasive nods toward "easy listening" before tearing the texture to shreds. These pieces unfold with serious intent. This music requires enormous concentration from both the performer and the listener before unlocking the relentless humor behind it all. Possibly the most pleasant migraine I've had the pleasure of listening to. I can't wait to put it on for my next dinner party.

First Year Impressions of the Chicago Music Scene

2011-09-15T19:33:00.001-05:00

Read about them here.

Having been a long time reader of New Music Box, it's a pleasure to have a column there.

HurdAudio Rotation: From Blasphemy to Saturn to Minnimalism

2011-09-14T19:59:00.001-05:00

Yoshie Fruchter's Pitom: Blasphemy and Other Serious Crimes. 2011. Tzadik: 8158.

Yoshie Fruchter: guitarJeremy Brown: violin, viola
Shanir Ezra Blumenkranz: bass
Kevin Zubek: drums

Chances are you won't realize how starved your ears are for klezmer metal before putting on a dose of Blasphemy and Other Serious Crimes. An alliance that is truly unholy. A hybrid that plies equal respect to the metal and the klezmer without sacrificing the irreverence that animates this set. There's nothing flashy or kitsch about Pitom's approach to this music as they ply more than enough musical chops to pull this material off. Soaring violin solos over a driving beat never sounded more natural. The only question is where does one turn once Blasphemy and Other Serious Crimes exposes one's addiction to this klez-core? The ears eagerly await more from this band as they develop this rich sound.

Ephraim Asili: Points On A Space Age - Starring The Sun Ra Arkestra. [DVD] 2009. MVD Visual: MDVV4774.

A glimpse into an optimistic tomorrow that continues to reverberate even as the future rushes forward with indifference. Cut together with NASA footage, the Marshall Allen incarnation of the Arkestra as it exists in this day, President John F. Kennedy's soaring speech about the dawning space age, the poetry of Sun Ra as read by Ephriaim Asili and interviews with members of the present day Arkestra. The physical absence of Sun Ra sets the tone for this short presentation. The love of his music and vision by those who carry forward with the realization that he (and they) may never receive their due before their final chapter is written. The devotion is other worldly. The gentle persistence of this art should be enough in a perfect world. But this world was never enough for those who know the ways of Saturn. Just as the Presidential vision of space travel "to the ends of this solar system and beyond" recedes into a more distant place. This is a music that calls for an idealism that breaks our own petty borders and terrestrial concerns.

Steve Reich: Music for 18 Musicians. 2007. Innova: 678.

Grand Valley State University New Music Ensemble
Bill Ryan: director
Gwendolyn Faasen, Stacey Van Vossen, Mary Crossman: voices
Amanda Duncan: voice, marimba
Alexander Hamel: xylophone, marimba, maracas
Samuel Gould: xylophone
Nicholas Usadel, Tim Church: marimbas
Joshua Puranen: marimba, maracas
Gregrey Secor: vibraphone
Daniel Redner: pian, maracas
Craig Avery: piano, marimba
Shaun MacDonald, Kelly Rizzo, Kurt Ellenberger, Lee Copenhaver: piano
Mark Martin: violin
Pablo Mahave-Veglia: cello
Charlen Meuller, Alexander Kolias: clarinet, bass clarinet

Music for 18 Musicians has become a canonical work in that aficionados now have multiple recordings of different performances to obsess about in the same way Mahler fans can pick apart and debate the various recordings of his symphonic works. Sonically it makes sense that Music for 18 Musicians would soar toward a such a status with the way it singularly defined and propelled much of Steve Reich's instrumental music writing that followed. One would be hard pressed to do better than the spirited and faithful rendering from the Grand Valley State University as it is beautifully recorded on this release. It's an ensemble work that weaves together an attractive tapestry from individual threads that rarely puncture the foreground as individual players. Over the past year I have heard this piece performed live twice and anticipate a bright future with stages full of pianos and marimbas as further generations of performers discover this amazing work.

HurdAudio Rotation: Vrrt

2011-08-29T07:44:00.000-05:00

Indigo Trio: Live in Montreal. 2005. Greenleaf Music: GRE-P-03.

Nicole Mitchell: flute, wood flute, vocals
Harrison Bankhead: acoustic bass, vocals
Hamid Drake: drums, hand drums

Since this disc last came up in the rotation I have relocated to the hometown of Nicole Mitchell, Harrison Bankhead and Hamid Drake and had a chance to experience their respective activities within the lifeblood of the Chicago music scene. My appreciation for what resides on this session is significantly deeper than the last time this music had a spin. These musicians plunge deep into the soul of these compositions and explore spontaneous angles from within the music. Few players so thoroughly transcend the spectrum between free improvisation and composed music to the degree where it doesn't matter. It is all music. Musically, this session is amazing. But I wouldn't expect anything less from this power trio.

Katt Hernandez/Evan Lipson: Hisswig. 2007. Mini-CD-R.

Katt Hernandez: violin
Evan Lipson: bass

A moment (or twenty of them) from the Philadelphia improvisation scene once upon a time. The ever restless Katt Hernandez has made her way to Stockholm and the vibrant improvisation opportunities on the other side of the pond. Leaving behind scattered documents such as this dialog between string players. Evan Lipson brings a great energy to this sound as he deftly crosses registers and common timbres with Hernandez. Free improvisation works well with ears such as these. It leaves the ears reaching for more.

Mazen Kerbaj: Brt Vrt Zrt Krt. 2005. Al Maslakh Recordings: 01.

Mazen Kerbaj: trumpet

To say that Mazen Kerbaj is a unique force on the trumpet would be an understatement. It's hard to imagine a soloist who could make one more acutely aware of the vibrations of a column of brass. The inner workings of the instrument as a construction site. The presence and absence of air flowing through the column. The lungs that propel the air. The connective tissues and cellular workings of the performer as Kerbaj brings "extended technique" to a whole new level. Engineering such a recording has to pose intense challenges as sound emanates from points all along the horn. The sound of valves, of tubing and friction. This is a unique language in sound. An acoustic musique concrete rendered with an alluring intimacy of its live creation. These ears were captivated for the full duration of this set.

HurdAudio Rotation: Your Face Arrives in the Redbud Trees

2011-08-28T14:54:00.000-05:00

Chris Mosley Trio: The Miraculous Aspect of Time. 2006. Red Button Records: RBR-101.

Chris Mosley: guitar, fretless guitar, 36-tone guitar
Damian Erskine: electric bass
Drew Shoals: drums

I could easily go for a full length recording of the "Interlude" material that Chris Mosley barely hints at on this set. Which is not a knock on the trio pieces that fill out the bulk of this recording with his thoroughly intimidating guitar chops and inventive sense of melodic development. It's just that I've heard a lot of insane guitar chops and inventive melodic development and it's the introspective, 36-tone guitar pieces that carve out new harmonic territory that hit me right where I live. The prospect of hearing a full hour (or several hours) of insane guitar chops and improvisational ability applied to a xenharmonic world is incredibly tantalizing and the brief "Interlude" pieces are just a wisp of what could be. Beyond that, Mosley is clearly a guitar talent that bears watching regardless of what creative directions he pursues.

Myra Melford/Be Bread: The Image of Your Body. 2006. Cryptogramophone: CG131.

Myra Melford: piano, harmonium
Brandon Ross: electric guitar, bajo, voice
Cuong Vu: trumpet, electronics
Stomu Takeishi: electric bass guitar, acoustic bass guitar, electronics
Elliot Humberto Kavee: drums

The familiar Melford composition "Equal Grace" opens this collection with an arrangement that pulls these ears in with incredible gravity. Promising an aural journey over the span of this disc and then delivering with breath taking accuracy. Myra Melford's compositions and arrangements (and titles) are infused with poetry and an absorption of Sufi spirituality. A poetry that emerges for just one track as Brandon Ross reads the poem from which so many of the titles on this disc are derived in "The Image Of Your Body." Poetry and music that is grounded within a sensibility of self and selflessness. This music turns inward and more spiritual through the tracks that Myra Melford switches over to harmonium. Forming the core of this set before moving back to piano and the mix of composed themes pollinated by bursts of free improvisation and ensemble textures. This is a remarkable recording.

The Ray Anderson-Marty Ehrlich Quartet: Hear You Say - Live in Willisau. 2010. Intuition: INTCHR71303.

Ray Anderson: trombone
Marty Ehrlich: clarinet, alto saxophone, soprano saxophone
Brad Jones: bass
Matt Wilson: drums

My first impression is that Brad Jones and Matt Wilson are accomplished enough musicians to deserve equal billing in this convergence of titans. Matt Wilson in particular has a way of propelling everything to the next level just by working the drum kit. This quartet is no exception even though one wouldn't think that Ray Anderson and Marty Ehrlich could possibly have a "next level" to go to. Each musician brings their own personality into this mix. And that means the compositions brought into this set allow plenty of room for both the "crazy" solos and a deep grounding in the history of jazz. These are musicians that play that history without wallowing in it. They bring the same kind of energy and sense of time that has been such a vital part of swing and bop through the ages and deliver a synthesis of something astonishingly vital. A great document of what happens when living masters collide on stage.

HurdAudio Rotation: Listen, This Is For You

2011-08-27T21:53:00.000-05:00

Wadada Leo Smith's Organic: Heart's Reflections. 2011. Cuneiform Records: Rune 330/331.

Wadada Leo Smith: trumpet, electric trumpet
Michael Gregory: electric guitars
Pheeroan akLaff: drums
Brandon Ross: electric guitar
John Lindberg: acoustic bass, electric acoustic bass
Skuli Sverrisson: electric bass, 6-string bass
Angelica Sanchez: acoustic piano, wurlitzer electric piano
Josh Gerowitz: electric guitar
Lamar Smith: electric guitar
Stephanie Smith: violin
Casey Anderson: alto saxophone
Casey Butler: tenor saxophone
Mark Trayle: laptop
Charlie Burgin: laptop

A double-CD set that leaves the ears hungry for more. Wadada Leo Smith carves out a sonic terrain with some unusual instrumentation. Pheeroan akLaff's drumming nearly takes on the focal point of this experience with a music that moves effortlessly between groove and free textures. The striking thing is how effortless the transitions are for the range of material covered. Each side of that rhythmic equation is so well balanced there is never a sense that one is merely setting up for the other. The eddies of space that Wadada Leo Smith finds for his understated trumpet solos line this music with several sonic gems. This small army of guitarists also leaves an impression. This is great material. Highly recommended.

Lisle Ellis: Sucker Punch Requiem: An Homage to Jean-Michel Basquiat. 2005. Henceforth Records: 104.

Pamela Z: voice, electronicsHolly Hofmann: flutes
Oliver Lake: saxophones
George Lewis: trombone
Mike Wofford: piano
Lisle Ellis: bass, electronics, sound design
Susie Ibarra: drums, percussion

The collective image of the artist applying paint to canvas while listening to music is relatively common. The translation of sonic energy (be it be-bop or hard punk) to visual art is a relatively intuitive concept. With Sucker Punch Requiem we have a convincing reversal of this translation. With the art and irreverence of Jean-Michel Basquiat yeilding a concept record guided by the vision of bassist (and electronic musician) Lisle Ellis. The range of textures is startling. A range in the service of realizing the energy of the great graffiti artist. The materials of flute, piano, voice, electronics, etc. darting off with the spontaneous and calculated precision of a brush stroke. Music that stays true to its inspiration by retaining its controlled freedom. This is a record that stands up well to multiple listenings as it reveals layers with familiarity.

Matthias Kaul: Fever. 2002. Nurnichtnur: CD 05245.

Matthias Kaul: percussion, voice

Listen, This Is For You
Amadeu Antonio Kiowa
Bachmann
Fever
Listen, This Is For You (II)

Five pieces for solo percussion conceptualized and performed with an intriguing sense of intimacy. Both with the materials as well as with the imagined listener. Listen, This Is For You opens and closes this set with the wide open gesture of offering this music as a gift. Yet it is the first part of that admonition - to listen - that is the most rewarding. The fragility of percussive sound giving breath to Amadeu Antonio Kiowa - a piece written as an empathetic response to the senseless murder of Angolan immigrant Kiowa at the hands of Nazi skinheads. Music as a human need for meaning and atonement in the face of the senseless. The shrill harmonic tones of Bachmann - played on the glass harp - as a fragility of sound from another timbre. The acoustically realized near musique concrete sounds of Fever exploring the fragility of amplification and friction. Each of these performances is both a solemn offering and a sincere articulation. Each piece has a nearly transparent compositional form that sustains the unfolding of sound.

Blackbirds at Dusk

2011-08-23T20:09:00.008-05:00

Chicago Counterpoint: A Steve Reich Celebration @ Millennium Park's Pritzker Pavilion, Chicago, IL
Monday, August 22, 2011

Come Out (1966)*
Mallet Quartet (2009)
Double Sextet (2008)
Melodica (1966)*
Music for 18 Musicians (1974-1976)
It's Gonna Rain (1965)*

Performed by Eighth Blackbird, Third Coast Percussion and friends (with the exception of the *tape pieces, which were broadcast over the sound system at Pritzker).

Come Out was broadcast over the sound system as an invocation for an outdoor celebration of the music of Steve Reich. It quickly established that this was going to be a different Reich experience. Imagine hearing avant garde tape pieces of the 1960s played at a sporting event for a crowd of thousands. The sound vanishing into the open space with odd reflections obscuring the phasing that is the foundation of this sound. Eventually the Reich qualities emerge and the meditative nature of his repetitions begins to take hold and holds up surprisingly well within an acoustically challenging space. A sequence that repeated with each piece and performance of a music centered around repetition itself.

The late works of Mallet Quartet and Double Sextet draw upon stylistic elements that are deeply established. Even though these pieces were new to me, they were also deeply familiar in their similarities to the Reich oeuvre. The middle "slow" movements for both of them sounded like the the slow movements of Desert Music. But unlike Come Out or Desert Music, these works were strikingly non-political and polite. Pleasant music. But without the hungry fire that made his early works so groundbreaking and exciting. However, the soaring final movement of Double Sextet is a thing of soaring bliss that clearly was the reason why it won the 2009 Pulitzer Prize for Music. The processes that build over time in Reich's music have a way of scaling toward staggering musical vistas.

Music for 18 Musicians is an irresistible masterpiece. One of those rare works that carves out its own space to inhabit. One could hear the gentle push and pull at the rhythmic pulse as the outstanding musicians of Eighth Blackbird and Third Coast Percussion collectively focused upon that all consuming pulsation. The sky darkened perceptibly over the span of this hour long work. By the end, even the chirping crickets of the night had adjusted their own pulse to match.

The amplification for each of these pieces was a bit disorienting. The balance and the resonance being so different from the sound of concert halls and studio recordings. And yet, one by one, each of these compositions overcame the challenges of being freed from the concert hall and recording studio and found a way to thrive as a music that builds toward transcendent experience. That is a quality found in music that endures.

Steve Reich abandoned electronic music some time after his celebrated tape works of the 1960s in favor of live musicians realizing the rhythmic implications of the phasing principles he had been exploring. Performances of tape music have a long tradition of getting little respect. A tradition that the city of Chicago observed as they evicted me from the seating area long before the beautifully sonorous It's Gonna Rain had stopped filling the night air. Another obstacle that Reich's music manages to overcome with the persistent beauty of his compositions.

HurdAudio Rotation: Texture of Isolation

2011-08-21T22:14:00.001-05:00

Alexander Berne: The Soprano Saxophone Choir/The Saduk/The Abandoned Orchestra. 2010. Innova: 755A/755B/755C.

Alexander Berne: all instruments

A luxurious triple-disc study of multi-tracking as a compositional medium. These lush textures invite multiple comparisons to Terry Riley, Pauline Oliveros, or Jon Hassell. Yet it's only a few surface details that invite such comparisons. This is a music informed by deep listening and it rewards the listener who brings the same sensibility to the experience. The Soprano Saxophone Choir begins this three act collection with a singular focus upon a single instrument. The layering pulls the ears within the timbre of the soprano saxophone. Exposing subtle nuances from the resonance of multiples. This same focused energy continues in The Saduk as Berne features an open-holed flute/reed hybrid as the timbral force of this music. But slowly allows other instruments into the dense mixture of sound. The sparse introduction of percussion makes clear that this three-act cycle is not about stasis. The Abandoned Orchestra continues the process of opening up the range of instrument timbres. The procedure of a singular performer utilizing the technology of multi-tracking becomes the unifying thread of this music. Exposing a limitless universe drawn from within Berne's intuitive creativity. An impressive soundscape with a clearly individual voice. The use of tracks performed live gives this music a decidedly non-sequenced/non-quantized sound. Yet it feels more composed than improvised. This music is absolutely gorgeous and an accomplished long-form work of textural density with transcendental gravity.
Liz Allbee: Quarry Tones. 2005. Resipiscent: RSPT 001.

Liz Allbee: trumpet, voice, electronics

This set is also a study in multi-tracking with a decidedly different emotional and psychological bent. Noisescapes assembled from the interior of the trumpet bell, conch shells, loops and some chanting that is beyond spooky. This is a beautifully psychedelic montage of sounds and rage that holds together as a short concept album. At just half an hour in length it makes an impression on the psyche. Feeling neither too long nor too short and leaving one drained by its surprisingly emotional punch. Highly recommended.

The Green Pasture Happiness: Aut Disce Aut Discede. 2010. Peira: 03.
Daniel Fandino: turntables
Brian Labycz: electronics
Aaron Zarzutzki: no-output turntable

Here the sonic universe is drawn from the inner workings of electronic circuitry. Realized live without overdubbing, one can hear this trio of performers listening to the environment as they splice in their own elements into this noisy fabric in real time. Hearing this on the heels of the two over-dubbing studies utilizing traditional instruments I am struck by how the technology itself becomes the instrument and the instrumentation in this set. The results are every bit as disorienting. In a good way. These ears like to get lost in the unfamiliar terrain. This is a texture of rugged peaks. The conductivity of electrons never sounded so fragile and alive. Amplification as its own means to an end.

HurdAudio Rotation: Sacred and Secular Music

2011-08-21T09:23:00.000-05:00

Johann Sebastian Bach: Bach Edition [IV-1]. 1999. Brilliant Classics: 93102/77

Funeral Ode BWV 198
For the 1st day of Christmas BWV 110

Holland Boys Choir
Netherlands Bach Collegium
Roth Holton: soprano
Marjon Strijk: soprano
Sytse Buwalda: alto
Knut Schoch: tenor
Bas Ramselaar: bass
Pieter Jan Leusink: conductor
Peter Frankenberg: oboe
Kristin Linde: oboe
Ofer Frenkel: oboe
Doretthe Janssens: traverso
Oeds van Middelkoop: traverso
Rien Voskuilen: cembalo
Vaughan Schlepp: cembalo
Freek Borstlap: viola da gamba
Ivanka Neeleman: viola da gamba
David van Ooijen: lute
Micheiel Niessen: lute
Jan Zwerver: alto
Martinus Leusink: tenor
Edward Wesley: oboe
Kate Clark: traverso
Brian Berryman: traverso
Susan Williams: tromba naturale
Frank Anepool: tromba naturale
Geerten Rooze: tromba naturale
David Kjar: tromba naturale
Frank Aarnink: timpani

Cantatas for two very different occasions. Could one differentiate between a Bach piece written for a funeral and one written for the first day of Christmas? The breadth of Bach's tonal language - a language he advanced in the same manner Shakespeare advanced the English language - lends itself to the solemnity of both human death and the birth of a messiah. Leaving the contemporary ear to ponder the variance between the profound and the secular. David Lang captures the conundrum of the contemporary ear confronted with the passionate belief of J.S. Bach when he states that Bach's music "goes to a place I simply cannot follow." Drawn in by the majestic reverence of the sound while acutely aware of the unfamiliarity of such profound devotion to Christ. I am struck by how little of this musical passion was ever present in the church music of my own youth. Somewhere along the centuries the sophistication of Baroque music was systemically supplanted by a decidedly bland, institutionally friendly approach toward hymn arrangements that favored homogenization over the sublime. A further reminder that these cantatas are a gift from a time, a mind and a belief that is lost to the ages.

Ludwig van Beethoven: The Complete Quartets volume VIII. 1994. Delos: DE 3038.

String Quartet in B-flat Major, Op. 18, No. 6
String Quartet in F Major, Op. 135
Grosse Fuge, Op. 133

Orford String Quartet
Andrew Dawes: violin
Kenneth Perkins: violin
Terence Helmer: viola
Denis Brott: cello

I've cycled through these Complete Quartets a few times (which are brilliantly performed by the Orford String Quartet on this collection) and it's clear that this is where the gauntlet was thrown that caused so many composers to take the medium of two violins, viola and cello so seriously. This is the seed from which so many great quartets have bloomed. The breadth of aesthetic purpose that Beethoven spans (and straddles) is incredible. The eighth volume in this set is the only one to feature three works. Staying with the pattern of early work followed by mid-to-late work. This time the distance between opus 18 and opuses 135 and 133 doesn't feel as wide. As my ears begin to connect the formal development of the late Classical with the temporal expansiveness of the early Romantic. Next time through, I'm tracking these with a score.

Albert Ayler: Holy Ghost [disc 7]. 2004. Revenant Records: 213.

Don Ayler Sextet - January 11, 1969 @ Town Hall, New York City
Don Ayler: trumpet
Albert Ayler: alto saxophone
Sam Rivers: tenor saxophone
Richard Johnson: piano
Richard Davis: bass
Ibrahim Wahen: bass
Muhammad Ali: drums

Albert Ayler Quartet - July 28, 1970 @ La Colle sur Loup: Saint-Paul-de-Vence, France
Albert Ayler: tenor saxophone
Call Cobbs: piano
Steve Tintweiss: bass
Allen Blairman: drums
Mary Parks: tambourine, hand clapping

In many ways, Albert Ayler represents a more contemporary manifestation of the faith and devotion of J.S. Bach. Only Ayler's love and belief exist decidedly outside of the protective walls of the church as employer and institution. Ayler's spirituality is unflinchingly honest and deep that it descends into madness. A reminder that true devotion does not necessarily lead toward comfort despite what the marketing promises of more institutionalized religions would have one believe. The seventh disc from this set is a tough one to sit through. Two sessions poorly recorded with the drums often saturating the recording completely and obscuring the rest of the sound. Don Ayler does flash a few moments that lead me to believe he had more unrealized potential than we'll ever know. This material is buried deep within this box set as it is not for the uninitiated.

HurdAudio Rotation: Connecting Tissues

2011-08-20T11:08:00.000-05:00

Curlew: 1st Album + Live at CBGB 1980. 2008. Downtown Music Gallery: DMG/ARC-0704.

George Cartwright: alto saxophone, tenor saxophone, soprano saxophone
Tom Cora: cello, indingiti
Nicky Skopelitis: guitar
Bill Laswell: fender bass
Bill Bacon: drums, percussion, gamelan
Denardo Coleman: drum kit

This double-CD re-issue from the Downtown Music Gallery is an incredibly valuable documentation of one of the key ensembles of the "downtown" New York scene of the early eighties. At a time when so many New York based ensembles were only timidly blurring musical boundaries, Curlew was forming a sound that aggressively confounded stylistic conventions. One of the few bands that could haunt CBGB's punk venue and the old Knitting Factory stage on Houston Street without altering their set. The surprising thing about this 1st Album is how fully formed the Curlew sound was right from this early incarnation of the band. The Bill Laswell and Nicky Skopelitis connection are a surprise to me. Though I can hear how Laswell's electric bass sound and influence would continue to reverberate with the band in the years and bassists that followed. Skopelitis clearly paves the way for the Davey Williams guitar freak outs a few years down the road. The Denardo Coleman connection on the Live at CBGB 1980 set is another surprise and another name to add to the list of jazz drummers who passed through Curlew. The melodic materials bear George Cartwright's stamp and would prove to be an enduring part of the Curlew DNA. Also, any chance to fill these ears with the late Tom Cora's cello playing is a welcome part of my collection. The electric bass sits a little too far into the foreground on the live sets. But that's a small imperfection on an otherwise outstanding documentation of this significant downtown staple.
Sun Ra: Strange Celestial Road. 1987. Rounder Records: CD 3035.

Sun Ra: keyboards
Michael Ray, Curt Pulliam, Walter Miller: trumpets
Craig Harris, Tony Bethel: trombones
Harry Wilson, Damon Choice: vibes
Richard Williams, Stev e Clarke: bass
Vincent Chancey: french horn
John Gilmore, Marshall Allen, Elo Omoe, James Jacson, Danny Thompson, Kenny Williams, Hutch Jones, Sylvester Baton, Noel Scott: reeds
Luqman Ali, Reg McDonald: drums
Artaukatune: percussion
Skeeter McFarland, Taylor Richardson: guitars
June Tyson, Rhoda Blount: vocals

Evidence that the celestial being of Sun Ra was subjected to the gravitational forces and the energies of given time periods as the Arkestra emerged from the decade of the 1970s with something funky in their sound. And yet this is still the Arkestra as Sun Ra paints his sonic canvas with considerable skill with an ear toward the cosmos. Utilizing the size of the ensemble to constantly pull different instruments into and out of the focal point within a bed of luscious, funky sound. Sun Ra traveled a long road, he traveled the space ways and every vibration does reverberate with a heady mix that never loses its physical attachment to rhythm and melody. The groove cuts especially deep on this one as the familiar phrases and chants wash over and beyond. A fascinating, albeit brief glimpse into a specific moment of the Arkestra's evolution.

David Lang: Child. 2003. Cantaloupe Music: CA21013.

Child for chamber ensemble
Sentieri Selvaggi
Carlo Boccadoro: conductor
Paola Fre: flute, piccolo
Mirco Ghirardini: clarinet, bass clarinet
Andrea Rebaudengo: piano
Thomas Schrott: violin, brake drum
Antonello Leofreddi: viola
Marco Decimo: cello, brake drum
Andrea Dulbecco: vibraphone, percussion
Filippo Del Corno: brake drum

A minimalist meditation upon the biological formation of the human child in utero. At times delicate, and composed with a sweetness that suggests innocence. David Lang manages to tread just within the bounds of a sugarless sweetness. One without a sticky residue that wears thin with prolonged exposure. Sentieri Selvaggi gives this music a uniquely disciplined and human interpretation that flows with the gentle insistence of a babbling brook. Much of the counter-sweetness draws upon the compositional courage to allow repeated systems to remain static and untouched by Romantic inclinations. This is tender and beautiful music.

HurdAudio Rotation: The Devil's Got To Burn

2011-08-14T10:08:00.000-05:00

Myra Melford / Tanya Kalmanovitch: Heart Mountain. 2007. Perspicacity: PR03.
Tanya Kalmanovitch: viola, violin
Myra Melford: piano, harmonium

Nineteen pieces of striking brevity formed through free improvisation. Idiomatically, this music draws from a stream between jazz and classical without favoring one over the other. It's the striking compatibility of ear and instinct that draws these two players together and yields a music of understated gravity. "Annapurna" in particular jumps out with its interplay of viola and harmonium carving its melody and harmony out of an overlap of timbre. This is musical beauty with all the resiliency and quiet introspection of any natural wonder.

James Blood Ulmer: Birthright. 2005. Hyena Records: TMF 9335.

James Blood Ulmer: guitar, voice, flute

What James Blood Ulmer can do with a guitar is equal only to what he can do with his voice. The expressive combination of the two cuts deep. His demonic cackle in "Devil's Got To Burn" rises up from the depths of Hades. Blues so real and so informed by life's ragged experience that the air takes on a thickness with this sound. Profound and emotional with an honesty few can tolerate. James Blood Ulmer is one of the best.

Bela Bartok: String Quartets. 1992. Hyperion Records: CDD22003.
The New Budapest Quartet
Andras Kiss: violin
Ferenc Balogh: violin
Laszlo Barsony: viola
Karoly Botvay: cello

It had been too long since I last sat down with the scores for the six string quartets of Bela Bartok and took a full dose of what an intense and awesome accomplishment this cycle of pieces is. These are amazing feats of composition and each one cuts a sharp angle to reveal the inner workings of the universe. The string quartets trace the arc of Bartok's creativity over the span of his development as a composer. The first two are expressive, inventive pieces that follow up upon the Beethoven model of development with a decidedly early twentieth century twist. The middle two quartets move toward more abstraction as formal elements and pitch theory begins to enter the picture. The final two quartets are a consolidation of these early impulses with a sophisticated sense of tonality. The voyage through these works as an entirety is exhilarating. A tangible reminder of what high accomplishment in this medium sounds like.

HurdAudio Rotation: The Sybert Commission

2011-08-13T12:39:00.000-05:00

Dave Holland: Jumpin' In. 1984. ECM: 817 437-2.

Dave Holland: bass, cello
Steve Coleman: alto saxophone, flute
Kenny Wheeler: trumpet, pocket trumpet, cornet, fluegelhorn
Julian Priester: trombone
Steve Ellington: drums

Dave Holland is a valued presence in the jazz world for so many reasons. As both side man and ensemble leader he has an impressive discography that touches upon an astonishing and expansive range of jazz from the fringes to the mainstream. The fact that he's consistently hit such a high level of quality is nearly taken for granted by now. Jumpin' In from 1984 is no exception. Unbelievably great writing for a quintet of super stars that often sounds larger than the mere five improvisers assembled to fashion this sound. "Sunrise" is a breath taking and beautiful piece that builds a choral sound out of lush harmonies and inspired voice leading. "The Dragon and the Samurai" works an infectious groove that keeps Julian Priester's trombone in the center of its fury. The sophistication of these compositions never overwhelm or crowd out the impressive solos and improvisational chops that each of these players bring to this session. Well worth a listen for the varied journey this set offers up to the ears.

Misha Mengelberg Quartet: Four In One. 2001. Songlines: SA 1535-5.

Misha Mengelberg: piano
Dave Douglas: trumpet
Brad Jones: bass
Han Bennink: percussion

To know the Dutch jazz sound is to develop an addiction to its mix of deep roots and off-kilter humor. And to know Dutch jazz is to know the towering influence and irreverence of pianist Misha Mengelberg. Featured here with an ensemble that straddles the Atlantic and nearly a century of jazz history. With Mengelberg's long time collaborator and counter weight Han Bennink at the drums. An improviser who's sense of physical humor and comedic timing acts as a foil for Mengelberg's dry, understated qualities. Dave Douglas brings a similarly addictive sound as he once again brings his considerable trumpet chops into a improvisational situation along with his long time collaborator Brad Jones on the bass. Douglas' sound nearly dominates this set early on before giving way to an astonishing display of Mengelberg and Monk compositions in the hands of true instrumental masters. Brad Jones' solo interpretation of "Monk's Dream" is unbelievable. This disc is a strong argument for Mengelberg's place in jazz tradition and an irreverent, forcible prod toward investigating more of his creative output.

Cold Reading Trio: Life of Ghost. 2007. Form Function Records: f(F)0701.
John O'Brien: drums, percussion
Evan Mazunik: accordion, melodica, electric piano
Christian Pincock: laptop computer

The live sampling, sample manipulation and processing gives the improvisative dimension a strong sense of interaction. A feeling of energy that is barely harnessed, though focused and never frenetic. The "ghost" presence of Life of Ghost sounding like a reference to the invisible-yet-clearly-audible force of digital manipulation in real time. The fact that the electronic leg of this trio works in full parallel with the creative impulses of accordion and drums is a testament to the musicianship of each member of this trio. The transparency of the final two tracks offering up sonic insight into the compositional forms that inform these improvised textures. "Jennie at the Hippodrome" laying bare the process of adding and blending the processed layer to a set of accordion phrases. And "Auvers-sur-Oise" works with a beautiful texture of electric piano chords. Life of Ghost explores territory that is refreshingly remote and thoroughly other worldly.

HurdAudio Rotation: Shards of Surmountability

2011-07-24T10:48:00.000-05:00

Susie Ibarra: Flower After Flower. 2000. Tzadik: TZ 7057.

Wadada Leo Smith: trumpet, brushes
Chris Speed: clarinet
Assif Tsahar: bass clarinet
Charles Burnham: violin
Cooper-Moor e: flute, piano
Pauline Oliveros: accordion
John Lindberg: bass
Susie Ibarra: drums, kulintang, percussion

Music of transparent sophistication and primitivism. Susie Ibarra provides a compositional form that invites deep listening based improvisation from an outstanding ensemble. Sequentially, these eight pieces alternate between solo "Fractal" performances and larger scale compositions for various instrumental configurations. "The Ancients" covers a surprising range of territory with Ibarra's solo material on temple bells as its unifying motif. "Fractal 3," performed by Cooper-Moore as a solo piano piece is outstanding. The decision to fade out the ending of "Human Beginnings" is the only point of disappointment on this disc. There had to be a better way out of that piece. But overall it is the skilled listening that lurks behind each of these performers that shines through Flower After Flower.

Marc Ribot: Shoe String Symphonettes. 1997. Tzadik: TZ 7504.

Death by Unnatural Causes (1991) directed by Karen Bellone and Lisa Rinzler
Greg Cohen: bass
Jill Jaffe: violin, viola
Marc Ribot: guitar, sampler

Landlord Blues (1987) directed by Jacob Burkhardt
Marc Ribot: trumpet, banjo, guitar
Brad Jones: bass
Bill Ware: vibes
Curtis Fowlkes: trombone
Jim Nolet: violin
Roy Nathanson: saxophone
EJ Rodriguez: drums, percussion
Gregory Ribot: flute

Alita Queen of Mars (1928) directed by Yakov Protazanov
Paul Clarvis: drums, percussion
Dave Meric: keyboards
Phil Boyden: violin
Marc Ribot: guitar
Helen Thomas: cello
Mike Kearsey: trombone

Pieces From An Incomplete Project (1995-1996) directed by Joe Brewster
Dave Douglas: trumpet
Vicki Bodner: oboe
Charlie Giordano: piano, keyboards
Mauro Refosco: percussion
Jill Jaffe: violin, viola
Maxine Neuman: cello
Tony Garnier: bass

Summer Salt (1993) directed by Charlie Levi
John Zorn: saxophone
Andy Haas: saxophone
Cyro Baptista: drums
Marc Ribot: guitar, e-flat horn

Film scores tend to be a mixed bag. Without the linear visuals present we are left with a music that is formally subverted by unseen forces. Rather than building or transitioning by the internal, compositional logic, we have music that darts around and frequently leaves many ideas undeveloped and incomplete. Shoe String Symphonettes ranges wildly from atmospheric material to idiomatically grounded music ranging from surf guitar rock to blues to Latin and swing. While nearly everything on this disc is entirely too short, it is overwhelmingly pleasant. With sounding combinations that stick with the ears and invite further listening.

Paul Plimley Trio: Safe-Crackers. 1999. Victo: cd066.

Paul Plimley: piano
Lisle Ellis: contrabass
Scott Amendola: drums

I would put this recording up against any piano trio set in the history of jazz. The humor and taut transparency of this music is astonishing given the sheer density of these pieces and the deep roots that touch upon a full range of music history. This set gives so much to the listener upon each encounter with this disc. The richness of detail keeps the music fresh no matter how familiar the ears become with it. The effortless dialog that passes through these players is remarkable. The chemistry they bring is incredible. Easily one of my top ten discs.

HurdAudio Rotation: Hypo Christmas Treefuzz

2011-07-23T12:09:00.000-05:00

Benjamin Herman: Hypo Christmas Treefuzz: More Mengelberg. 2010. Roach Records: DOX096.

Benjamin Herman: alto saxophoneErnst Glerum: bass, philicorda
Joost Patocka: drums
Anton Goudsmit: guitar
Willem Friede: mellotron
Ruben Hein: vocals

Misha Mengelberg looms large over the frenetically active Dutch jazz scene. His sense of humor and avant garde leanings have inspired a wave of expatriates and Europeans to build upon an improvised music with roots that span continents. Alto saxophonist Benjamin Herman takes the music of Mengelberg as a point of departure as he deftly spans multiple stylistic interpretations of the material. Revealing a body of work that is not limited by its avant garde origins and with an accessibility that is startling. Building a compelling case for Mengelberg as Amsterdam's answer to Thelonius Monk. The bonus disc features the Benjamin Herman Quartet playing a live set at the North Sea Jazz Festival with a music that follows the familiar contours of an ensemble feeding upon the energy of its audience. Guitarist Anton Goudsmit is startlingly good throughout these discs and clearly has the potential to be widely influential. Herman is wickedly talented and these are polished performances that could stand to veer a little harder "outside" for my tastes.

Don Cherry: Tibet. 1981. Piccadilly: PIC 3515 (LP).

Don Cherry: pocket trumpet, piano, percussion
Christer Bothen: piano
Bernt Rosengren: taragot
Agnetha Ernstrom: tibetan bell, etc.
Bengt Berger: piano, mridangam, etc.

Just one of the reasons why Don Cherry achieved such a transcendent state as a creative musician was his ability to draw upon a global music without losing sight of the cultural strengths each brings to the sound. Tibet offers up a collection of pieces rooted in ritual and a spiritually grounded regard for place and sound. Qualities that Western music is notoriously poor at replicating. And the danger with fusing jazz, classical or any commercially viable genre with this kind of music tends to run the risk of treating the spirituality with superficial regard. Here, Don Cherry has created a record that draws the ears into the ritual and sense of suspended time that marks this sonic territory. There is very little trumpet and zero cliches of any given genre. The essence of improvisation is the only baggage he brings to this music and it succeeds with the grounded humility and honest listening that marks his approach. The role of repetition is particularly interesting here. As it bypasses the formal trappings of minimalism and presents a sense of reflecting the cycles found in nature.

Thomas Helton: Experimentations In Minimalism. 2006. FreeBass Productions: limited run CD-R.

Karl Fulbright: tenor saxophone, alto saxophone, baritone saxophone, clarinet, bass clarinet
Seth Paynter: tenor saxophone, soprano saxophone
Martin Langford: tenor saxophone, baritone saxophone, clarinet, bass clarinet
Josh Levy: tenor saxophone, baritone saxophone, bass saxophone
Carol Morgan: trumpet
Brad Clymer: trumpet
Brian Allen: trombone
Thomas Hulten: trombone
Thomas Helton: double bass

Experimentations in Minimalism is a showcase for Thomas Helton's compositional writing. Particularly his writing for wind instruments. With just a couple of tracks hinting at his substantial playing chops on the bass. The sequencing of tracks on this disc is interesting. Opening up with the bass front and center with "Selfish Shellfish" before giving way to the first of three "Pious" tracks found scattered through this set. Each "Pious" focuses on an ensemble made up of a single instrument type. The first featuring clarinets, the second trombones and the final track is a short "Pious" for multiple trumpets. "Experimentations in Minimalism" is a three movement suite for wind instruments that builds upon a delicate mix of short phrases and improvisation. These explore different ranges of the instruments with the final movement working within the bass to baritone range. The writing fits the instruments well and the piece thrives upon the simplicity of its internal logic. "FU&THYRIO" offers up a longer track that allows the full ensemble - and particularly the bass - to cut loose. Cathartic in the wake of the restraint found on the rest of this disc. If anything, these pieces could be a bit longer. But leaving the ears wanting more is hardly an unpleasant quality. Clearly Thomas Helton and the Houston improvised music scene that swirls around him deserves much more exposure.

HurdAudio Rotation: Every Second of Every Minute of Every Hour

2011-07-17T08:58:00.001-05:00

AMM: Laminal. 1996. Matchless Recordings: MRCD31.

The Aarhus Sequences
December 16, 1969. Denmark
Cornelius Cardew, Chrisopher Hobbs, Lou Gare, Keith Rowe, Eddie Prevost

The Great Hall
February 20, 1982. London, England
John Tilbury, Keith Rowe, Eddie Prevost

Contextual
May 3, 1994. New York, New York
John Tilbury, Keith Rowe, Eddie Prevost

Over this sampling of three full concerts taken from three different decades one can hear the relative stasis and evolution of the AMM sound. The collective restraint that allows the individual instruments to sublimate themselves into a singular aural presence. The extended durations that pull the mind toward a trance state. The technology used to record and produce this music shifts subtly beneath the singular intention that informs each of these performances. Taking these three discs in one sitting drives home the sense of continuity that informs AMM practice. While this music is not without its forceful moments, for the most part it is the restraint that allows things to breathe over the stretch of hours, years and decades.

Dave Rempis/Tim Daisy: Back to the Circle. 2004. Okka Disk: ODL10008.

Dave Rempis: saxophones
Tim Daisy: drums

Listening to this set of sonic dialogues between these creative musicians on the heels of AMM is a clear reminder that improvisation is many things. Dave Rempis and Tim Daisy draw upon a fabric of jazz linguistics and free improvisation on this mix of compositions from each as individuals and a collaborative track. Their impressive musicality is enhanced by a willingness to lay back and let the other fill the foreground. At times one can hear the performers actively listening before bringing their own sound into the mix. Their sense of time gives this music its innate momentum as they play within and against the pulse. "Alexandria" offers up a clear form that allows Dave Rempis to develop from a breathy lyricism toward a more aggressive sound that sweeps the ears along its crescendo before settling back toward its natural coda. Building along a beautiful melody of sustained tones along the way and exemplifying the manner each of the pieces in this set develops and grows along its own inner logic. The unison shapes crafted between single notes and cymbals on the opening of "Huff" before moving toward an organic exploration of independence between players offers another glimpse into the intuitive forms that make up these intelligent compositions. This is a music of textural changes that could easily sustain beyond the forty minutes offered here.

Michael Vlatkovich Quartet: Alivebuquerque. 2003. pfMentum: PFMCD045.

Christopher Garcia: drums, percussion
Jonathan Golove: electric cello
David Mott: baritone saxophone
Michael Vlatkovich: trombone, percussion

Early on with Alivebuquerque it is abundantly clear just how "on" this quartet is as this unusual instrumentation plumbs a rare musical intuition that shows off both the compositional material and the improvisation of the moment in an ideal light. The electric cello in particular cuts through this percussion plus low brass and reed texture with razor sharp precision. Deftly allowing its amplification to alternate between blending within the overall sound and carving out moments of serious contrast. But it is the subtle pull and drag at the collective sense of time that makes this set so engaging for the full hour. That and the ability to hang spontaneous detail along its aurally poetic lines.

HurdAudio Rotation: Texturologie

2011-07-04T09:37:00.000-05:00

Albert Ayler: Holy Ghost [disc 5]. 2004. Revenant Records: 213.

November 3, 1966 @ Berlin Philharmonie: Berlin, Germany &
November 8, 1966 @ De Doelen: Rotterdam, The Netherlands
Albert Ayler: tenor saxophone
Don Ayler: trumpet
Michel Samson: violin
Bill Folwell: bass
Beaver Harris: drums

The exquisite, sensational performance of these live sets hits against the low ceiling of the badly deteriorated master tapes of these sessions. The renditions of the classic Ayler compositions; "Ghosts," "Bells," "Truth is Marching In" etc. are given outstanding takes here with Michel Samson's violin adding an intriguing layer. Don Ayler is in rare form for these sessions. But the production value will render this particular disc as one for true Ayler fans as it's unlikely to convert the uninitiated.

Sylvie Courvoisier: Lonelyville. 2007. Intakt: CD 120.

Sylvie Courvoisier: piano, composition
Mark Feldman: violin
Vincent Courtois: cello
Ikue Mori: electronics
Gerald Cleaver: drums

This one is as highly recommended as they come. A near perfect blend of disparate elements realized by an outstanding ensemble. The blend between improvisation and composed material is completely seamless. Save that the compositional elements clearly bookend the beginnings and endings of pieces and often feature intriguing formal elements in between. The presence of Ikue Mori's nearly liquid electronic sound is balanced just right with the acoustic instruments. Often giving the piano, cello and drums a sense of occupying a similarly software driven space. Everything about Lonelyville is practically pitch perfect and well worth repeated listening.

Burnt Sugar: If You Can't Dazzle Them With Your Brilliance Then Baffle Them With Your Blisluth. 2005. Burnt Sugar Index Publishing.

Gregory S. Tate: conduction
Jason DiMatteo: acoustic bass
Jared Michael Nickerson: electric bass
Shahzad Ismaily: banjo, stand up electric bass
Chris Eddleton, Trevor Holder, Qasim Naqvi: drums
Rene Akan, Tazayarah: guitar
Julia Kent, Okkyung Lee: cello
Mazz Swift: violin
Matana Roberts: alto saxophone
Petre Radu-Scafaru: tenor saxophone
Satch Hoyt: flute, percussion
Bruce Mack: synth
Vijay Iyer: piano, synth
Jeremiah, Lisala, Justice Dilla-X: voice
Omega Moon: MC

As clear an indication that the vibrations of Sun Ra and Butch Morris will have an unexpected resonance for some time to come. Gregory S. Tate has taken the Arkestra model and applied conduction to a multiplicity of groove and melodic sources and found his way to Saturn and back to bring us this noise. "A Night In Tunisia" gets deconstructed and reassembled with the outstanding talents of Matana Roberts front and center much of the time. Conduction breathing new life into a war horse of a standard. "Himatsuri (Fire Festival)" and "Ostinato for Octavia Estelle Butler" add a sense of ritual as patterns are drawn out to allow for a large canvas of conduction. These are live performances that do an end run around studio realization even as they freely use the sonic materials of studio technique.

HurdAudio Rotation: The B's

2011-07-03T09:55:00.000-05:00

Anthony Braxton: 9 Compositions (Iridium) 2006 [disc 8]. 2007. Firehouse 12 Records: FH12-04-03-001.

Composition No. 357 dedicated to the composer Galina Ustvolskaya
The Anthony Braxton 12+1tet
Mary Halvorson: electric guitar
Nicole Mitchell: flute, alto flute, bass flute, piccolo, voice
Sara Schoenbeck: bassoon, suona
Reut Regev: trombone, flugelbone
Carl Testa: acoustic bass, bass clarinet
Anthony Braxton: alto saxophone, soprano saxophone, sopranino saxophone, clarinet, e-flat contralto clarinet
James Fei: alto saxophone, soprano saxophone, clarinet, bass clarinet
Andrew Raffo Dewar: soprano saxophone, c-melody saxophone, clarinet
Jay Rozen: tuba, euphonium
Stephen H. Lehman: alto saxophone, sopranino saxophone
Jessica Pavone: viola, violin
Aaron Siegel: percussion, vibraphone
Taylor Ho Bynum: cornet, flugelhorn, trumpbone, piccolo trumpet, bass trumpet, shell

Technically, these ghost trance music are focused upon pulse and the relationship between a large ensemble with pulse. It's a relationship that includes operating both within and without the pulse. Beyond that theoretical level, ghost trance music is also about realizing a flat hierarchy between players. Which in and of itself is about playing within and without sublimation. The openness to trance states (which is aided through performing for extended periods of time) this music forms a beautiful tapestry of timbral and improvisational range. The appearance of percussion at the focal point during part 3 of Composition No. 357 is both remarkable and augmented by the absence (or non-reliance upon) percussive elements before and after this point in time. A fabric that moves effortlessly between multiple sub-groupings of the 12+1tet. This music is high achievement and listening to it is pure Braxtonian bliss.

Johann Sebastian Bach: Bach Edition [disc II-1]. 1999. Brilliant Classics: 93102/24.

The Well-Tempered Clavier, Book 1
- Prelude & Fugue No. 1 - 12

Leon Berben: harpsichord

The Well-Tempered Clavier is a known, and understandable obsession. Offered here on harpsichord. An important timbre for Baroque keyboard music and one that reveals the startling clarity of lines and fugue in this performance. The systematic exploration of each major and minor tonality with a prelude and fugue is deeply appealing and speaks of an exercise in creative play. Here J.S. Bach demonstrates both his mastery of tonal language and his obsession with key centers and what each one suggests on a melodic and harmonic level. This is listening that has withstood the test of centuries.

Ludwig van Beethoven: The Complete Quartets [disc 6]. 1994. Delos: DE 3036.

Orford String Quartet
Andrew Dawes: violin
Kenneth Perkins: violin
Terence Helmer: viola
Denis Brott: cello

String Quartet in D Major, Op. 17, no. 3
String Quartet in C-Sharp Minor, Op. 131

The pairings on these discs highlights the transition Beethoven's style underwent over the span of his career. Rendering an audible demonstration of the student of Joseph Haydn expanding outward from his classical roots. The C-sharp minor quartet exploring a much larger range of materials than the politely classical Opus 17. The variation in movement durations in the later work is striking with one movement lasting just forty-five seconds compared to the fourteen minute movement that follows it. The use of pizzicato, sul ponticello and mutes in the late work shows a compositional pallet that includes timbral considerations of the string quartet medium that was a bit more advanced than I would have assumed from Beethoven. The use of rhythmic propulsion is also startlingly contemporary sounding. The evolution of the string quartet clearly passed through these works.

HurdAudio Rotation: Heavy with Sound

2011-06-27T22:53:00.000-05:00

Jim Staley: Mumbo Jumbo. 1993. Einstein Records: 004.

Jim Staley: trombone
Wayne Horvitz: piano, dx-7, rx-11 drum machine
Elliott Sharp: double-neck guitar/bass, soprano saxophone
Shelley Hirsch: voice
Samm Bennett: drums, percussion, electronic percussion
Bill Frisell: guitar
Ikue Mori: drums, drum machine
Fred Frith: electric guitar, acoustic guitar, vocals
John Zorn: alto saxophone

Mumbo Jumbo is a set of trios that combine Jim Staley's trombone with two members of the downtown New York scene at a period when my ears fell hard for that downtown sound. And here we have the Bill Frisell sound that first captured and redirected my attention. Here we have the Elliott Sharp sound that became an early addiction. Ikue Mori at a time when drum machines were her noise device of choice. Jim Staley's trombone holds his own in these freely improvised trios. Leaving this gem of sonic shards.

Roscoe Mitchell Sextet: Sound. 1966 (re-released in 1996). Delmark Records: DE-408.

Roscoe Mitchell: alto saxophone, clarinet, recorder, etc.
Lester Bowie: trumpet, flugelhorn, harmonica
Lester Lashley: trombone, cello
Maurice McIntyre: tenor saxophone
Malachi Favors: bass
Alvin Fielder: drums

Sound was an early shot across the bow from the AACM. A first aural glimpse into the sound worlds being crafted by Roscoe Mitchell and his collaborators. The spontaneity of this record manages to resonate through the decades with an unmistakable joy and many startling turns within the dialogue between players on the two takes of the title track. Roscoe Mitchell's prowess on reeds is already evident in his debut. The presence of Lester Bowie and Malachi Favors brings on the ache of their absence today. To my ears, it is the cello work of Lester Lashley on the two takes of "Ornette" that is a pleasant surprise. This record is more than a statement of what is to come with this movement of Great Black Music. It is a document that stands on its own as a masterpiece of free jazz.

Edgard Varese: The Complete Works. 1994, 1998. Decca: 289 460 208-2.

Royal Concertgebouw Orchestra
ASKO Ensemble
Riccardo Chailly: conductor

Tuning Up
Ameriques (original version)
Arcana
Poeme Electronique
Nocturnal
Un Grand Sommeil Noir (orchestral version)
Un Grand Sommeil Noir (original version)
Offrandes
Hyperprism
Octandre
Integrales
Ecutorial
Ionisation
Density 21.5
Deserts
Dance for Burgess

Dear Chicago Symphony,

You have a fantastic brass section. It is loud and sounds amazing in your concert hall. The music of Edgard Varese may be the ideal way to show off those brass chops. Think about it. I'd positively melt given a chance to hear Nocturnal in that concert hall. Or Ecuatorial. Or if we wanted to be ambitious; Deserts.

Yours truly,
HurdAudio

Taking in the full creative output of Edgard Varese in one sitting is an incredible listening exercise. With these recordings by the Royal Concertgebouw Orchestra and the ASKO Ensemble we have a solid collection of definitive performances that allow the ears to steep within this monumental touch stone of twentieth century music. Music that has aged well and is perpetually overdue for a revival. Or an orchestra boasting a top notch brass section looking for ways to show off.

Bang On

2011-06-26T19:49:00.000-05:00

Bang on a Can Marathon 2011 @ World Financial Center Winter Garden, New York, New York
Sunday, June 19, 2011

Carlton by STEW and Heidi Rodewald
Opus 81 by Yoko Ono
Asphalt Orchestra

The Self and the Other by Matthew Welch
Mirrors mvmt 1 by Matthew Welch
Hericlitus mvmt 3 by Matthew Welch
Queens College Percussion Ensemble
Matthew Welch: bagpipes
Amanda Accardi: piano
Michael Lipsey: conductor

Codigos secretos by Gabriela Ortiz
Alejandro Escuer: flute

Portrait of Eva Hesse (palindrome), for percussionists in unison contours by Anthony Gatto
Queens College Percussion Ensemble
Iktus Percussion

Three Small Pieces for String Quartet by Richard Ayres
JACK Quartet

Hymn by Kati Agocs
Prism Saxophone Quartet

Transamerica by Todd Reynolds
Todd Reynolds: violin

Xas by Iannis Xenakis
Prism Saxophone Quartet

Love Always Counts by Michael Nyman
Sinatra Shag by Michael Daugherty
Sentieri Sevaggi

Keen by Roshanne Etezady
Prism Saxophone Quartet

Risvegliatevi! by Filip po Del Corno
Brightness by Mauro Montalbetti
Zingiber by Carlo Boccadoro
Sentieri Selvaggi

Two Ships by David Byrne and Annie Clark
Ngoma Yekwedu by Thomas Mapfumo (arr. Alex Hamlin)
Asphalt Orchestra

Concerning the Doodle by Christine Southworth
O Shut Your Eyes Against the Wind by Bryce Dessner
Bang on a Can All-Stars

Hijaz by Michael Harrison
Young People's Chorus of New York City
Maya Beiser: cello
Michael Harrison: just intonation piano
Payton MacDonald: tabla, percussion

warmth by David Lang
Taylor Levine, James Moore: guitars

Exalted by Michael Gordon
Young People's Chorus of New York City
JACK Quartet

Songs and Rhapsodies by Poul Ruders
Athelas Wind Quintet
Frode Andersen: accordion

Zomby Woof by Frank Zappa (arr. Peter Hess)
Hyper Ballad by Bjork (arr. Alan Ferber)
Champagne by Goran Bregovic
Asphalt Orchestra

An Index of Metals by Fausto Romitelli
Talea Ensemble
Tony Arnold: soprano

At the River by Timo Andres
Timo Andres: piano

Cruel Sister by Julia Wolfe
Ensemble Signal
Brad Lubman: conductor

From Euridice: Playing in the Waves, E-U-R-Y-D-I-C-E, Orpheus at the Gates, Yes! Yes! Yes! by Toby Twining
Toby Twining Music

Metamorphosis 4 by Philip Glass
Music in Similar Motion by Philip Glass
Closing by Philip Glass
Bang on a Can All-Stars
Philip Glass: piano, keyboard

Various selections by The Sun Ra Arkestra

Hive by Evan Ziporyn
Carol McGonnell, Joshua Rubin: clarinets
Michael Lowenstern, Evan Ziporyn: bass clarinets

Various selections by The Glenn Branca Ensemble

The Bang on a Can Marathon is a bit like having a friend over for an extended round of "check this out" as you rifle through your personal music collection to expose and share the excitement of a range of music you've discovered. Except that Bang on a Can does this with live performances and a dizzying array of players shuffling on and off a stage in an exceptionally well organized way. Bringing the full Sun Ra Arkestra on stage feels nearly as effortless as dropping in a CD or clicking on a track on iTunes. The music that unfolds over a 13+ hour span revels in an all encompassing regard for music from a multiplicity of creative impulses. The infectious enthusiasm and welcome exposure of "check this out" is meticulously preserved.

This was not my first marathon. And it will most certainly not be my last. I can't recall attending a better oiled machine of new music than this year's offering. It was remarkably smooth (running ahead of schedule for most of the day) and nearly every piece of music was compelling over an extended span.

The most astonishing experience of the day came in the form of An Index of Metals by Fausto Romitelli. This was my first exposure to Romitelli's music and it delivered a prolonged intensity and density of ideas that provokes me to learn much more about his music. One could feel the energy of this well attended performance mirroring the other worldly qualities of this hour long piece as it built outward like an expanding universe. The dimensions of this music take on an unusual scale without releasing the ears. The Talea Ensemble and soprano Tony Arnold gave it a knockout performance.

The highlight of the marathon was Ensemble Signal's transcendent performance of Julia Wolfe's Cruel Sister. An amazing composition for string orchestra that transitions beautifully into a pizzicato section that depicts the sound of a harp. Julia Wolfe has a remarkable knack for drawing upon the language of over 50-years of minimalism to say something unique and non-derivative.

Also impressive was Michael Gordon's Exalted for choir and string quartet. A brilliantly composed work that builds its layers with descending, cascading lines in the choir against looping material in the string quartet. It takes on the feel of a prayer uttered through rhythmic pulse.

The understated, sonic beauty of Kati Agocs's Hymn performed by the Prism Saxophone Quartet was a haunting work that resonated with me. It explored the contrast between the independent instrumental parts within the timbral unity of the ensemble. It was one piece that could have been longer. A rare quality in new music.

Another shimmering beauty worth noting was Michael Harrison's Hijaz for choir, cello, just intonation keyboard and tabla. A piece that thrives upon its simplicity and Harrison's wisdom in allowing the harmonic qualities of the "Hijaz" scale to resonate.

The energetic performances of the Asphalt Orchestra sprinkled through the marathon offered an accessible-yet-avant-garde take on the marching band. Bringing a refreshing mobility to this year's marathon that was later extended upon by the Sun Ra Arkestra - who have been playing with deft mobility within audiences for decades.

The marathon as a whole built toward a forceful conclusion toward a pair of established icons of new music: Philip Glass and Glenn Branca. Philip Glass performed Metamorphosis 4 on piano before being joined by the Bang on a Can All-Stars to play two of his significant early works.

Then came Glenn Branca with his arsenal of amplification and guitars. Closing out a long day of music with a loud foray into the rhythmic and sonic materials of rock and roll. Not to mention the "fuck it" attitude that oozes charismatically from Branca as he conducts 4/4 beats with surrealistically Elvis-like poses. His music is unmerciful and oppressively loud. And completely necessary. A dose of punk into a new music aesthetic that risks becoming too effete without such an open acknowledgement of beat and brutality.

There were only occasional hints that the World Financial Center Winter Garden is not an ideal concert hall. The acoustic challenges of what is essentially a large atrium within a mall were rarely evident. And for 13 hours it retained the intimate qualities of a living room as many performers took to the stage to reveal several wellsprings of musical inventiveness. The desire to commit the ears to every moment of the experience is rarely so richly rewarded.

Music After the Future

2011-06-26T18:25:00.000-05:00

Orchestra of the League of Composers @ Miller Theater at Columbia University, New York, New York
Saturday, June 18, 2011

John Schaefer: host
Louis Karchin: conductor

More Melisma (2006) by Milton Babbitt
Fred Sherry: cello

Silent Voices (2010) by Shulamit Ran
Peter Van Derick: reader

Concertino for Bass Clarinet and Chamber Orchestra (2008) by Elliott Carter
Virgil Blackwell: bass clarinet

Sound Merger (2011) by Arthur Kreiger

Talking Points (Right Wing Echo Chamber) (2010) by David Rakowski
Fred Sherry: cello

Violent, Violent Sea (2011) by Missy Mazzoli

The Orchestra of the League of Composers is a medium for realizing a musical aesthetic that was once touted as "the music of the future." A musical vein that passes through the second Viennese School of Schoenberg, Berg and Webern and into the sonic worlds of Milton Babbitt, Elliott Carter and Roger Sessions. Eventually, that future came and went and the emphasis of "the music of the future" dissolved into "a music of the future" as a plurality of stylistic approaches and aesthetics began to co-exist without a single set of rules to judge the "rigor" and intellectual brawn of each piece of new music. Now that careers and tenure are no longer gauged against fidelity to set theory it is possible to hear the current works within this tradition in a new light.

Milton Babbitt's More Melisma is a beautifully lyrical solo cello work. Fred Sherry gave an outstanding performance that never allowed the extreme virtuosic demands of the piece to overwhelm its gentle humanity. It was a ringing sonic reminder that Milton Babbitt possessed a remarkable compositional instinct and sense of humor that was in full command of the heady underpinnings of his musical language.

Silent Voices by Shulamit Ran is a piece based on Draft of a Reparations Agreement by Dan Pagis. Words and music about the Holocaust presented along side one another as Ran developed a sonic texture from the expressive qualities of her writing for chamber ensemble. The words and music were powerful enough to more than justify their temporal separation.

Speaking to the durability of the tradition of the League of Composers was Elliott Carter's Concertino for Bass Clarinet and Chamber Orchestra. A piece composed when Carter was 100 years old. And performed with Carter in the audience at age 103. Carter's own career has been intertwined with the League for many decades. Age has not dulled his ability to write demanding, virtuosic music.

Arthur Kreiger's Sound Merger is a tightly orchestrated piece for large chamber ensemble with an electronic track. It is an extremely polished set piece that blurs the distinction between the prepared recorded material with the live realization on stage. The widely dynamic sense of reverberation within the electronic component stood in stark contrast to the static, stage reverberation of the ensemble. While it was a nearly flawlessly realized and executed piece I was left craving a more improvised interplay between the two parts.

David Rakowski's Talking Points (Right Wing Echo Chamber) presented a transparency of process as the solo material in the cello part formed the generative material for the ensemble as a whole. This worked extremely well.

The program concluded with Missy Mazzoli's Violent, Violent Sea. A through-composed, lush work that drew more heavily upon intuitive sensibilities than the other pieces on the program. And it packed a more emotionally loaded punch as a result. It was a detail rich piece that deserves performances well beyond this world premier.

The Orchestra of the League of Composers reminds these ears that "the music of the future" thrives when it is so well rehearsed and presented. It is not served nearly as well by the in between interviews conducted by John Schaefer. While Schaefer is a passionate host who mercifully kept these interviews with the composers limited to the duration needed to change the instrument configurations on the stage, they were still an unnecessary dialog for a music that stands well on its own merits. Empty moments to reflect upon this music more introspectively would be an improvement.

Miserable Pieces Exquisitely Performed

2011-06-05T19:15:00.005-05:00

International Contemporary Ensemble (ICE): ICElab
Saturday, June 4, 2011 @ Museum of Contemporary Art, Chicago, IL

Ryan Nelson: conductor
Claire Chase: flute
Eric Lamb: flute
Campbell MacDonald: clarinet
Joshua Rubin: clarinet
Rebekah Heller: bassoon
David Byrd-Marrow: horn
Gareth Flowers: trumpet
Dan Peck: tuba
Daniel Lippel: guitar
Erik Carlson: violin
Jennifer Curtis: violin, mandolin
Katinka Kleijn: cello
Jacob Greenberg: piano
Nathan Davis: percussion
Tony Arnold: narrator, soprano
Ryan Ingebritsen: sound engineer

Nathan Davis: Bells (2011) for 2 flutes, clarinet, percussion, and live electronics activated by cellular phones

Du Yun: The Last Post, music for the film by Shahzia Sikander (2011) for flute, clarinet, bassoon, tuba, percussion, guitar and voice

Nathan Davis: On the Nature of Thingness (2011) for flute, clarinet, bassoon, horn, trumpet, piano, vioin, cello, soprano, conductor, guitar and engineer

Marcos Balter: AEsopica (2011) for flute, clarinet, bassoon, horn, tuba, piano, two violins, cello, soprano, guitar and conductor

At the sound of a bell the audience milling about in the lobby of the Museum of Contemporary Art pulled out their cell phones and dialed into a conference call. Each entering a code for one of four electronic tracks from the Nathan Davis piece being performed within their midst. With speakers turned on and turned out, the soft presence of tiny speakers added a delay to the electronic sounds within the reverberant space. Performers armed with flutes and percussion instruments moved within the crowd. Occasionally adding to the sonic texture. A clarinetist could be heard from one balcony. A percussionist on another along with live electronic manipulations.

The audience participation of collective cellular phones brings to mind the new music holiday tradition of Phil Kline's Unsilent Night with its boom boxes strolling down the street. Much of the spatial energy was similar. Even if the communal element was conspicuously absent. What the din of tiny speakers did bring out is the sense of impoverishment common to many pieces where live electronics and acoustic instruments. The full spectral beauty and richness of real gongs, bells and flutes contrasted sharply against the lo-fi sounds from the phones.

Nathan Davis' other piece of the evening, On the Nature of Thingness used amplification to similar effect. Dulling the qualities of live acoustic sound by stretching the timbre into a caricature of itself. This was accompanied by a text that effectively did the same thing to language.

Du Yun's The Last Post was a study in beautiful textures worn thin. Accompanied by an astonishingly beautiful video by Shahzia Sikander. The extreme distance between performers at opposite ends of the stage added a strange sense of detachment between media and sound.

Marcos Balter's AEsopica began with some amazing orchestration that quickly dissolved into an overly theatrical mashing together of disjointed extended techniques. Each promising moment cut short along the way.

ICE executive director Claire Chase repeatedly referred to the ICElab project as a vehicle for the music of this generation. There is no doubt that this generation will produce amazing music. But there were no keepers in this evening's program. Like every emerging generation, there are a number of aesthetic dead ends to be worked out. And several were on display here. The talent and precision of this well rehearsed ensemble was clearly not at fault.

One thing that made this performance far more difficult than it needed to be were the brief conversations between Claire Chase and the composer before each piece. Such dialog means little before a piece is heard and is often unwelcome after it has been played. Composers are rarely articulate in a concert setting and Chase often sounded like one of the "NPR Ladies" from Saturday Night Live speaking as quickly as possible. Musical works need to speak for themselves and they rarely live up to the verbal baggage thrown at them when presented in this manner.

The desire to give a pre-performance presentation is unique to formal concert spaces. An attitude has evolved in concert halls and orchestral venues that believes the audience needs to be spoon fed its information about the music. Chances are that the audience is there because they're already informed or at least interested and there is no shortage of information readily available in this wired world. Spoon feeding is not needed and is often defeating. Many of these conversations should have been done as a podcast for those inclined to hear them.

Also, formal concert spaces need to learn from the experience found in less formal spaces. The Umbrella Music concerts are an excellent example. With at least three concerts every week in bars and art galleries this series succeeds by consistently presenting great music that never feels precious. The music is respected by a "keep the talking to none" policy that respects both performers and listeners. I have to think that New Music could grow and give voice to this generation much more quickly if allowed to flourish in less formal venues with this kind of frequency. The access to quality beers doesn't hurt the experience either.

HurdAudio Rotation: Of Toys and Surrealism

2011-06-04T15:20:00.000-05:00

Erik Friedlander: Maldoror. 2003. Brassland: HWY-005.

Erik Friedlander: cello

Solo cello improvisation loosely based upon and inspired by the surrealist writings of Comte de Lautreamont. Music translated from stark images and labyrinthine texts from an altered version of this reality through a filter of the nineteenth century. Ultimately, it is Friedlander's own talent and abilities as an improviser that breathes life into this solo yarn. For these thirsty ears, a perfect chance to hear the cellist in isolation relying upon his own sense of musicality. A recording that I gladly come back to again and again.

Mad Love: White With Foam. 2009. Ipecac Recordings: ipc-115-2.

Trevor Dunn: bass, vocals, keyboards
Sunny Kim: vocals
Hilmar Jensson: guitar
Ches Smith: drums, vibraphone
Shelley Burgon: harp
Marika Hughes: cello
Mazz Swift: violin
Jessica Troy: viola

For a band made up of such an outstanding lineup of musicians and the compositional and arranging prowess of Trevor Dunn this music makes a poor first impression. The rock driven song forms feel just a little too polished and the sticky sweet vocal style of Sunny Kim just seems to glide along the surface of this music as a brittle focal point. It takes a few spins to hear the qualities buried within this set and the inspired moments that weave throughout. But there is precious little enticement for repeated listening once the slick veneer of "accessibility" hits these ears.

Gavin Bryars: The Marvelous Aphorisms of Gavin Bryars: The Early Years. 2007. Mode: 177.

The Squirrel and the Ricketty-Racketty Bridge (1971) for 2 guitars (1 player) or multiples of this
Seth Josel: electric guitars

Pre-Mediaeval Metrics (1970)
Ulrich Krieger: soprano saxophone, tenor saxophone, contrabass saxophone, tom-tom
Seth Josel: electric guitar, 12-string guitar, electric bass

Made in Hong Kong (1970)
Ulrich Krieger: diverse toys

1, 2, 1-2-3-4 (1971) interpolating music by The Beatles
Ulrich Krieger: tenor saxophone, recorder, tambourine, maracas
Seth Josel: electric guitar, acoustic guitar, 12-string guitar
Eli Friedmann: electric guitar
Yayoi Ikawa: piano
John Davis: electric bass
Kenny Growhowski: drums

A glimpse into the sonic and conceptual territory of Gavin Bryars that reveals a mixture of the austere with humor. The obsessive rhythmic territory of Pre-Mediaeval Metrics contrasted against the minimalism of The Squirrel and the Ricketty-Racketty Bridge. These are in turn balanced against the humor of the soup of Beatles riffs in 1,2,1-2-3-4 and the deeply unpleasant Made in Hong Kong. Much of the humor exists as an undercurrent running through the selection of material (or instruments). The Marvellous Aphorisms of Gavin Bryars is a mixed bag of compositions. Each succeeds on its own merits. Though occasionally those merits are set fairly low.

HurdAudio Rotation: The Physics of Angels

2011-05-15T17:36:00.000-05:00

Satanized: In Sickness and Hellth: The Secular Chansons of Satanized. 2007. Badmaster Records: BM010.

Andrew Gaspar: voice, turntable
Alex Nagle: guitar
Evan Lipson: bass
Pete Angevine: drums

Satanized has a sound that could convince the devil to take up residence in Philadelphia. Which would be a local move given its proximity to New Jersey. In Sickness and Hellth is a twenty minute burst of face ripping tracks complete with screaming, distortion and screaming distortion. All of it entirely therapeutic and sonically necessary as a counterbalance for all that is calculated to be "nice." And in the case of "Purple Pickle" it even flirts with clever hookiness. Put this on to cleanse the mind of those unhellthy thoughts.

The Bad Plus: Prog. 2007. Do the Math Records/Heads Up International: HUCD 3125.

Reid Anderson: bass
Ethan Iverson: piano
David King: drums

The Bad Plus bring a lot of polish to their arrangements, their performances and especially to their choice of pieces and sequencing. Each aspect of The Bad Plus is a near flawless gem that manages to maintain an immediacy. A piano trio that pays homage to the deep history of jazz piano trios while at the same time putting moving a long distance from any kind of stuffy, museum-like reverence for the music. Mixing in covers of music by Tears for Fears, David Bowie, Rush and Burt Bacharach, The Bad Plus draw upon a familiarity while lurching toward something deeply original. And it is the original compositions that absolutely soar as their ideas are free from the tethers of song form and familiar hooks. Reid Anderson's "Physical Cities" in particular gives an acoustic twist to the pounding rhythmic propulsion of metal. And Ethan Iverson proves again and again that it is possible to play melodic lines in octaves without inviting the "elevator music" vibe. The Bad Plus strives to be contemporary, vibrant and relevant and they succeed incredibly on every front.

Matthew Shipp Duo with Roscoe Mitchell: 2-Z. 1996. Thirsty Ear Recordings: thi 21312.2.

Matthew Shipp: piano
Roscoe Mitchell: alto saxophone, soprano saxophone

This recording captures these two improvisers at such interesting trajectories in their respective creative voices. Roscoe Mitchell is completely at the top of his game while Matthew Shipp is at an early stage in developing his distinctive voice on the piano. Ultimately, 2-Z is a study in densities from a duo that expertly mines the extremes. It is the transitions and the journey between thick and thin that gives this session longevity.

HurdAudio Rotation: Out of the Night

2011-05-15T09:40:00.000-05:00

Jim Black: Alasnoaxis. 2000. Winter & Winter: 910061-2.

Jim Black: drums
Hilmar Jensson: electric guitar
Chris Speed: tenor saxophone, clarinet
Skuli Sverrisson: electric bass

When experienced as a live performer, Jim Black is a kinetic, out-of-the-box drummer who rewards one's visual sensibilities with a glimpse at how he gets so many different sounds with his props and drum kit. Much of that same frenetic energy is present on recording with the additional mystery to exactly what techniques he is applying at any given time. With Alasnoaxis that same, barely controlled energy makes its way into the electric guitar and bass parts. As Skuli Sverrisson might simply carve out a groove over the top of Hilmar Jensson's noise beds. All while Jim Black deliberately speeds up or slows down the overall tempo. Given all the creative elements and unexpected turns of this music, Alasnoaxis is a surprisingly structured set. Short pieces with plenty of pre-composed materials and several melodic turns. This is an incredibly rewarding listen on many levels.

Herculaneum: Olives & Orchids. 2010. Herculaneumsound: EF 001 (LP only).

Dylan Ryan: drums, vibraphone
David McDonnell: alto saxophone
Nate LePine: tenor saxophone, fluteNick Broste: trombone
Patrick Newbery: trumpet, flugelhorn
Greg Danek: bass
with guest:
John Beard: guitar

Every self respecting urban center needs a band like Herculaneum that can throw down the beat and keep things in a groove. With Chicago there is the additional heft of jazz players with deep chops. Bringing on the difficult balance of keeping things fun and keeping things deep at the same time. Cut into a slab of green vinyl, Olives and Orchids is a DIY feast of groove heavy arranging with plenty of variation to keep things fresh. Impressive arrangements abound and this band never loses its forward momentum. The bass line from "Black Cloud" promises to keep running through my mind well after the needle leaves the groove.

Joe Henderson: Page One. 1963 (re-released in 1988). Blue Note Records: CDP 7-84140-2.

Joe Henderson: tenor saxophone
Kenny Dorham: trumpet
McCoy Tyner: piano
Butch Warren: bass
Pete La Roca: drums

Recordings from an era when this music was at its most resonant and alive. Long before this sound became relegated to lounge acts. A sonic glimpse into the compositional originality of Kenny Dorham and Joe Henderson as tune smiths. Page One is strong evidence of why this sound continues to be so resonant over the decades. And "Blue Bossa" makes the case for Dorham as a true original as composer and arranger. It's records like this that make the Blue Note back catalog so intimidating and a sonic joy to wrap the ears within.

HurdAudio Rotation: The Gradual Instant

2011-05-08T14:44:00.000-05:00

Arrington de Dionyso & Gust Burns: Ataque Holotropical. 2006. Limited edition CD-R.

Arrington de Dionyso: reeds
Gust Burns: piano

Arrington de Dionyso and Gust Burns launch themselves into a free improvisation based primitivism that allows frenetic eddies to form around singular gestures before bolting off toward other sonic currents. Arrington allows his heart and gut to pour through his bass clarinet without impediment from intellect. Though intellectual currents do run strong through this physically demanding set. Gust Burns allows for rhythmic, often predominantly percussive playing for extended periods of time as he explores textures that both compliment and act as a foil for de Dionyso's excesses. Though he is often at his best with blurs of sound that form a rich harmonic canvas.

Kenny Dorham: Quiet Kenny. 1959 (re-released in 1992). Prestige/New Jazz: OJCCD-250-2.

Kenny Dorham: trumpet
Tommy Flanagan: piano
Paul Chambers: bass
Arthur Taylor: drums

Quiet Kenny for the gentle soul who was never brash with his hard bop trumpet skills. A style of music and an instrument known for drawing out the over-the-top showman, Kenny Dorham delivers devastating performances through restraint, calm focus and an unbelievable tone. This is one of the greats from the jazz tradition that simply deserves more awe. And certainly deserves more focused listening to discover the unerring logic behind each of his improvisations. His is clearly the mind of a great arranger. It doesn't hurt that Quiet Kenny includes a quartet of legends. The feel of Tommy Flanagan's piano playing combined with the luminaries of Paul Chambers and Arthur Taylor is evidence of Dorham's taste in bringing equals to the recording session.

Reuben Radding: Fugitive Pieces. 2006. Pine Ear Music: 002.

Reuben Radding: double bass
Matt Bauder: tenor saxophone, clarinet
Andrew Drury: percussion
Nate Wooley: trumpet

Listening is an exercise in memory and the ability to focus on the present moment in the face of memory. Fugitive Pieces has been an exercise in long term memory. In my mind, I had remembered this disc as a textural exercise with frictions and extended techniques that completely obscured the instruments contributing to these stark textures. This time through Fugitive Pieces that obfuscation was completely gone. The individual instruments appear in the soundscape with remarkable clarity. My increased familiarity with the individual players contributing to an ease at recognizing the improvised contributions to these austere sonic landscapes. An otherworldly sound that embodies the overwhelming beauty and grandeur of a windswept desert or slowly melting glacier. A sound imbued with humanity even as it operates on an almost geologic scale. In the end, the memory comes out stronger from focusing on this sound as I look forward to how my next encounter with this music will strike me.

HurdAudio Rotation: Noises and Suites

2011-05-07T09:27:00.000-05:00

Wolf Eyes & Anthony Braxton: Black Vomit. 2006. Victo: cd 099.

Nathan Young: electronics, metal, harmonica, voice

John Olson: electronics, metal, saxophones, gong

Mike Connely: electronics, metal, guitar, voice

Anthony Braxton: alto saxophone, soprano saxophone, sopranino saxophone

Anthony Braxton's open embrace of both the "friendly experiencer" and the "friendly practitioner" finds a startling kinship with the noise artists of Wolf Eyes. Who in turn recognize a kindred sonic artist in Anthony Braxton. While the musical territory is frequently dark and prone to a language of amplified harshness, there is a striking common ground explored here. Wolf Eyes and Anthony Braxton both share an uncanny sense of formal shape. The noise exploits here are only an arrival from a journey through surprisingly delicate textures. Ultimately, this too-short set states a powerful argument for creativity that transcends stylistic barriers.

William Parker Double Quartet: Alphaville Suite: Music Inspired by the Jean Luc Godard Film. 2007. Rogue Art: 0010.

William Parker: bass
Rob Brown: alto saxophone
Lewis Barnes: trumpet
Hamid Drake: drums
Mazz Swift: violin
Jessica Pavone: viola
Julia Kent: cello
Shiau-Shu Yu: cello
special guest -

Leena Conquest: vocals

A composed jazz suite inspired by the dystopian story put on screen by Jean Luc Godard. A soundtrack composed and performed more than forty years after its cinematic inspiration. Pointing toward a strong artistic tendon that flexes over large swaths of time. Oblivious to the marketing machine limited to the present and its disposable fare. The two "Natasha's Theme," which feature Leena Conquest on vocals, are fleeting, hook heavy songs within an ocean of swirling comprovisation. The augmentation of the jazz quartet with a 2-cello string quartet adds a richness to this sound that expands well beyond any "plus strings" arrangement. The improvisational chops of Mazz Swift, Jessica Pavone, Julia Kent and Shiau Shu Yu playing along side the rhythm section of Parker and Drake offers up a sound where the demarcation between improvisation and composition is evenly distributed throughout this large ensemble. Experienced within a single sitting as a feature-length work, this music churns through a wide swath of thematic materials without ever losing its edge.

Jason Kao Hwang / Edge: Stories Before Within. 2007. Innova: 689.

Jason Kao Hwang: violin, viola, composer

Taylor Ho Bynum: cornet

Andrew Drury: drum set

Ken Filiano: string bass

Jason Kao Hwang is first and foremost an amazing composer and arranger. It is upon this foundation that such a significant accomplishment as the music found on Stories Before Within is possible. He also happens to be an accomplished improviser and performer on the violin and viola. Throw in the talents of Taylor Ho Bynum on cornet and the rhythm section of Andrew Drury and Ken Filiano and Hwang has a perfect vehicle for exploring a startling synthesis of Asian musics with contemporary jazz and improvisation. The silken threads that binds this music together works flawlessly with the comprovisation approach to a music that blurs not just boundaries between global identities, but between pre-composed and improvised materials. Music that works on so many levels as this is rare and deeply compelling. Jason Kao Hwang's compositional prowess is one to watch for while his recorded output offers plenty to savor that reveals more detail with each repeated listening.

Diary of a Mad Archivist

2011-05-01T17:30:00.004-05:00

There has been relatively little reflection upon the medium of transmission on this blog. I've rarely weighed in on the state of the record industry, streaming media or the demise of physical media in favor of downloads. This is largely because the focus of this blog has been on the musical content. And also because I have become heavily invested in physical formats over the years. Still holding fast to the experience of listening to a single disc from beginning to end while perusing the information contained within the included booklets.

A few too many cross-country moves have driven home the sheer mass taken up by years of collecting as well as the perishable nature of any physical media. Accompanied by the failure to admit that there will never be enough hours in a lifetime to develop the intimate familiarity craved for so many thousand discs. But an undiminished passion for the musical treasures both known and unknown in the piles of discs remains.

The process of archiving this lovingly assembled collection has begun in earnest at HurdAudio. A 3-terabyte drive slurping up gigs of flac files for more than a month now. The very act of ripping each individual disc driving home even more forcefully the embarrassing abundance of creative expression. Reacquainting and rediscovering so many old and new treasures. Cursing and admiring the prolific output of Anthony Braxton and Sun Ra or realizing how substantial the 256 Cantatas of JS Bach are. I would not be surprised if the CD reader on the computer needed to be replaced before this is done.

In the end, one hopes that 3-terabytes will hold a complete collection. That a second 3-terabytes can back it up. That an increased fluidity of access can enhance the ongoing efforts to build familiarity with such a collection. How many profound musical voices and centuries of human artistic striving can practically vanish onto a platter of bits and bytes? The wilderness is more vast than any of us can really know.

Tradition for the End of Time

2011-04-18T22:05:00.006-05:00

Quatuor Pour la Fin du Temps by Olivier Messiaen @ Covenant Presbyterian Church of Chicago, May 17, 2011

Rebekah Cope: violin
James Falzone: clarinet
Karen Schulz-Harmon: cello
Rick Ferguson: piano

One of the more inspired Chicago traditions - now having been observed over the past three Palm Sundays - is the annual performance of Olivier Messiaen's Quartet for the End of Time within the architecturally impressive Convent Presbyterian Church of Chicago. The large chapel playing host to one of the most vibrant, emotional and spiritually intense compositions of the twentieth century. A work that embodies the dual strains of serenity and anxiety as it was composed within the darkness of a German prisoner of war camp where Messiaen was interned.

The eight movements of this profound work of chamber music are an expression of faith. Faith as a foil against the despair of incarceration and an uncertain future. Faith as a necessary companion in the face of adversity.

Musically, it is a challenging piece that explores an elastic approach toward pulse and time and harmonic materials frequently drawing upon octotonic scales. Challenges deftly met by the well rehearsed quartet at Covenant Presbyterian.

James Falzone's use of a slide projector to display the composer's own notes for each movement was a welcome touch. His thoughtful introduction to the piece and post-performance question and answer session gently invited the audience to hear and understand this music. I appreciated the statement that Messiaen's music "is not entertainment." The best music often isn't. Fortunately, Chicago has no shortage of people intellectually curious enough to grasp, and even enjoy, music that challenges our sense of what is possible.

The cavernous echo of Covenant Presbyterian quickly added a thick layer to this sound that took some getting used to. I struggled to hear the rhythmic precision of the first movement and found myself concentrating to hear the cyclical patterns that were buried within a wash of sound. The room acoustics offered similar challenges for the Interlude and "Dance of Fury" movements with their rhythmically propelled energy washing against the acoustic delay. The solo clarinet movement, "Abyss of the Birds," took on an interesting quality within this space. While the long tails of sound at the end of each note and phrase were substantially different for these ears, the harmonies that came out revealed a new perspective on this familiar material. And the cello feature "Praise to the Eternity of Jesus" and violin feature of the final movement, "Praise to the Immortality of Jesus" were absolutely stunning within this wash of harmonic sound. Slow as these movements are, I imagine playing them even slower within that live space would accentuate the qualities of this music even more.

As a non-believer, this is a tradition I can respond to. Just as Messiaen's music draws upon a mysticism that can be admired (and even envied) from the outside. This is thoughtful, reasoned tradition that touches upon meaning and expressions of faith from a grounded perspective. A reason to perform this fantastic piece with these dedicated musicians. Something I'm happy to get on board with.

HurdAudio Rotation: The Sound of One Finger Snapping

2011-04-17T14:35:00.000-05:00

Don Byron: Romance with the Unseen. 1999. Blue Note Records: 7243-4-99545-26.

Don Byron: clarinet
Bill Frisell: guitar
Drew Gress: bass
Jack DeJohnette: drums

Boasting a lineup that easily puts this disc into the "must hear" camp, the impressive musicians collected together for this session deliver a surprisingly understated effort. Though there are pockets here and there where Bill Frisell cuts loose with his ridiculous chops. As a group, their deeply original take on Herbie Hancock's "One Finger Snap" makes this listening experience entirely worthwhile. Don Byron drills new holes into that tune that exposes something entirely original within a familiar piece. Likewise, the collaborative interpretation of Byron's "Basquiat" is filled with revelations not found in the earlier version recorded by the talented clarinetist. Like so many great jazz records, the deep qualities of this music do not leap out of the speakers or attempt to impressive the passive, casual listener with any kind of gimmick. This is a music that patiently waits for an active listener ready to draw the connections between this performance and the jazz tradition writ large before leaving an impression. It is entirely worth the effort.

Albert Ayler: New Grass. 1968 (re-released in 2005). Impulse: A-9175.

Albert Ayler: tenor saxophone, recitation, vocals, whistling
Bill Folwell: electric bass
Burt Collins: trumpet
Joe Newman: trumpet
Garnett Brown: trombone
Seldon Powell: flute
Buddy Lucas: baritone saxophone
Bert De Coteaux: arranger, conductor
Call Cobbs: electric harpsichord
Bernard Purdie: drums
Rose Marie McCoy: vocals
Mary Maria Parks: vocals

The fact that this set opens with Ayler's recitative imploring the listener to accept, or possibly even dig this new direction is a tacit acknowledgement by Ayler that this music fails to speak for itself. Beyond that heartfelt plea, this music is a pure train wreck. One can't help wondering what could have been if Albert Ayler had simply written off the American audience and pursued his course in Europe where his creative force was better understood. Then perhaps he would not have poured his creative energy and heart into the creative cesspool that is New Grass. An obvious pandering to the American rock and roll audience of the late '60s that has aged poorly. It fails as rock and roll and it fails as free jazz. The fact that it emanated from the otherwise profound creative wellspring of Albert Ayler less than a handful of years before his untimely demise is heart wrenching.

Gregorio, Roebke, Labycz Trio: Colectivos. 2010. Peira: 04.

Guillermo Gregorio: clarinet
Jason Roebke: contrabass
Brian Labycz: electronics

The striking thing about Colectivos is the dialogue that forms between these three players as each bends their individual voice, register and timbral qualities toward the other. Brian Labycz's modular electronics unfolding as a sonic film of controlled bands of noise and tone that weaves delicately at times around and within the acoustic instruments. At times complementing the almost square-tone qualities of the clarinet. At other times offering up an enharmonic texture along side Jason Roebke's bowed tones and scrapes on the bass. Colectivos is a collective approach toward improvisation. Each role within this trio is an equal coexistence between contrasting instruments. Featuring eleven short sonic canvases - alternating between free improvisation and interpretations of compositions (that invite improvisation) by Roebke and Gregorio. Beautifully recorded to reveal a range of brush strokes of varying density. These are austere studies of abstraction that gently pull the ears toward an inviting and otherworldly sonic territory.

HurdAudio Rotation: Improvisation and Restraint

2011-04-16T20:32:00.000-05:00

Albert Ayler: Holy Ghost [disc 3]. 2004. Revenant Records: 213.

Albert Ayler Quintet @ La Cave, Cleveland, Ohio. April 16-17, 1966
Albert Ayler: tenor saxophone
Don Ayler: trumpet
Michel Samson: violin
Mutawef Shaheed: bass
Ronald Shannon Jackson: drums

To my ears, these La Cave performances are the most substance rich part of the Holy Ghost box set in terms of capturing this amazing quintet at a particularly explosive point of their creativity. Michel Samson in particular is a blistering part of this sound. These sets play like a suite of familiar Albert Ayler compositions and themes that weave in and through a texture of free improvisation. "Spirits Rejoice," "Our Prayer" and "Ghosts" making multiple appearances within this performance. Leading the ears through a tight sense of how this material lived and breathed within the collective space of these performers. And how it developed and balanced within a dialogue between deeply introspective players. These are sets that overcome the technical failings of the recording by sheer brute force of content.

Dawn of Midi: First. 2010. Accretions: ALP048CD.

Qasim Naqvi: drums, toys
Aakaash Israni: contrabass
Amino Belyamani: piano

Dawn of Midi hit upon a sound so naturally, so instinctively and so intellectually taut that it triggers multiple "why didn't I think of that?" moments. The trio of Nqavi, Israni and Belyamani are a pure collective. Free improvisation with an egalitarian sense of each member making an equal contribution. No single player emerges into the foreground. But even more striking is the incredible restraint employed in crafting these real-time compositions. Restraint that not only leaves room for three collaborators, but also leaves enormous open space within these composition/performances. Even more striking that that is the deliberate restrictions of harmonic materials. This music is a new minimalism employing free improvisational means. The image of this trio rehearsing and recording in the dark (a practice going back to Dawn of Midi's origins as students at CalArts) speaks of a sense of communication through focused and restricted means. What emerges is a sparse and lyrical music that hints at a startlingly accessible avenue for drawing more ears toward improvised music. This is a sound with an incredibly promising future.

Curlew: Gussie. 2003. Roaratorio: roar 05 (LP).

George Cartwright: alto saxophone, tenor saxophone, soprano saxophone
Davey Williams: electric guitar
Chris Parker: piano
Fred Chalenor: electric bass
Bruce Golden: percussion and such

Curlew has undergone many transformations over the decades. Bending to the compositional and improvising impulses of George Cartwright. In this live set recorded in Minneapolis in 2001 (Cartwright's home base at that juncture) we hear several strands and wisps of the Curlew sound and energy dissipating through extended free improvisation. The relatively late addition of a piano to the group sound balancing against the familiar antics and extended techniques of Davey Williams on guitar. Part of the sense of "dissipation" or expansive quality to the sound is the focus upon smaller subgroups and the complete absence of charts being performed by the full group. Within the individual players there remains the kinetic, frenetic energy that has long marked the Curlew sound. A persistent resiliency to forge ahead along the same creative impulse after so much change. This LP release is one for the fans already steeped with the spirit of Curlew that may hear this set as a long echo extending both forward and back. Free improvisation that embraces an expansive sense of possibility and a restrained sense of dipping sparingly into such vast musicianship.