Sunday, September 27, 2009

HurdAudio Rotation: Long Views

Marty Ehrlich: The Long View. 2002. Enja: 9452 2.

Marty Ehrlich: alto saxophone, tenor saxophone, soprano saxophone, flute, muted alto saxophone, bass clarinet
Sam Furnace: alto saxophone, flute
Ned Rothenberg: alto saxophone, bass clarinet
Robert Debellis: tenor saxophone, clarinet, soprano saxophone
JD Parran: tenor saxophone, contrabass clarinet
Andy Laster: baritone saxophone, clarinet
Eddie Allen: trumpet
James Zollar: trumpet
John Clark: french horn
Clark Gayton: trombone
Marcus Rojas: tuba
Mark Dresser: bass
Michael Sarin: drums
Mark Helias: conductor, bass
Mark Feldman: violin
Ralph Farris: viola
Erik Friedlander: cello
Eddie Bobe: bongos, cowbell
Bobby Previte: drums, bass drum, tambourine
Wayne Horvitz: piano
Ray Anderson: trombone
Pheeroan akLaff: drums

A multi-movement long-form jazz composition that is highly revered at HurdAudio. Marty Ehrlich's musical ideas are filtered through the shifting instrumentation between each movement to great effect. The all-wind (plus bass) ensemble of the third movement setting a shimmering sonic texture leading into the quartet of the fourth movement. And that fourth movement is achingly beautiful as it opens with an understated set of phrases played on the piano by Wayne Horvitz. The writing and arranging is spectacular. The performances are even more so. It's amazing to me that accomplishments such as this aren't more widely on people's radar.

Dave Douglas Quintet: Live at the Bimhuis. 2002. Greenleaf Music: GRE-P-011/GRE-P-012.

Dave Douglas: trumpet
Rick Margitza: tenor saxophone
Uri Caine: fender rhodes
James Genus: bass
Clarence Penn: drums

An earlier manifestation of a quintet that has since evolved. And a reminder at how good this group has sounded along the way. Two discs documenting two sets at Amsterdam's Bimhuis drawing upon the early Dave Douglas originals found on the first two studio releases from this group and few covers. The take on Beck's "Ramshackle" feels more like a bass feature and transition out of Bjork's "Unison" than a full on arrangement. There's generous helpings of Uri Caine solos (who sounds absolutely smokin' on the fender rhodes) on "Waverly" and "The Frisell Dream." This quintet has been a great vehicle for Dave Douglas that has been generously documented.

The Peter Brötzmann Trio: For Adolphe Sax. 1967 ("Lovingly remastered" in 2002). FMP: UMS/SLP230CD.

Peter Brötzmann: tenor saxophone, baritone saxophone
Peter Kowald: bass
Sven-Ake Johansson: drums

plus Fred Van Hove (on one track): piano

The debut recording of Peter Brötzmann and his cathartic release of aggression through the saxophone. His role in the European free jazz scene and his ability to completely unload through his instrument is a particular fascination of mine and this recording represents the necessary origin for tracing that noise arc. The bonus track offers an insight into how Fred Van Hove integrated piano improvisation into this brutal texture. It's not as forceful as Machine Gun, but that legendary session is cleanly foreshadowed here. Peter Brötzmann is a forceful argument for trusting one's intuition with musical rage.

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