HurdAudio Rotation: Three Faces of Rare Beauty

Muhal Richard Abrams/George Lewis/Roscoe Mitchell: Streaming. 2006. Pi Recordings: 22.

Muhal Richard Abrams: piano, bell, bamboo flute, taxi horn, percussion
George Lewis: trombone, laptop
Roscoe Mitchell: soprano saxophone, alto saxophone, percussion

Three legends with a lifetime of achievement in creative improvised music collide for a long set of spontaneous dialogue. It's no surprise that Streaming is excellent. The surprise is the calm reactions that develop between these players. The astonishing maturity of George Lewis' electronic vocabulary on the laptop combined with the ways Abrams and Mitchell weave their own textures into that sound. My own ambivalence toward George Lewis' computer music work eroding completely away as it emerges with all the nuance and creative verve of his trombone playing. The sensitivity of Muhal Abrams' touch at the piano combined with his sense of when to insert himself into the real-time composition. Roscoe Mitchell bringing an expansive sense of timbre - particularly his mouthpiece work - in ways that reveals how his ears are interpreting these fleeting moments. I look forward to each time this one comes up in the rotation.

Miles Davis: The Complete On The Corner Sessions [disc 4]. 2007. Sony BMG Music Entertainment: 88697 06239 2.

Miles Davis: trumpet, electric piano, organ
Dave Liebman: tenor saxophone, flute
John Stubblefield: soprano saxophone
Reggie Lucas: guitar
Pete Cosey: guitar
Michael Henderson: electric bass
Al Foster: drums
Mtume: congas, percussion
Dominique Gaumont: guitar

Disc 4 takes the thick, funky stew and breaks it down into two half hour studies of restraint. The invisible hand of Miles Davis can be detected directing this stripping down after the initial burst of energy on "Calypso Frelimo." The Michael Henderson fueled groove holds steady with a rhythmic bed while shards of trumpet and saxophone improvisations emerge and disappear into the salty mist. The overall impression is an admiration of what is possible when time is allowed to recede into the distance without the confines of form. An oddly urban expansiveness in sound.

Ornette Coleman: Beauty is a Rare Thing [disc 3]. 1993. Rhino/Atlantic Jazz: R2 71410.

Ornette Coleman: alto saxophone
Don Cherry: pocket trumpet
Charlie Haden: bass
Ed Blackwell: drums

The third disc in this box focuses squarely upon the threads spun by this quartet that continues to reside at the roots of free jazz. This time with Ed Blackwell sitting in for the original Billy Higgins - with just a noticeable ripple along the fabric of this sound with the change in drummers. The spontaneity of this ensemble retains the forceful turns and intervallic contours that made this sound such a spark half a century ago. Cascading sheets of melodic material that continue to be such an important part of Ornette Coleman's sound. The value of abundance that this box set offers allows the ears to alternate between the wonder of Don Cherry's improvisation, Charlie Haden's unerring instincts and the raw beauty of the performances offered on such pieces as "Some Other" or "The Legend of Bebop."

A Power Stronger Than Itself

George E. Lewis: A Power Stronger Than Itself: The AACM and American Experimental Music. 2008. Chicago University Press.

By a strange twist of life's unknowable destinations this book I pre-ordered in Baltimore, finally got around to starting while living in California became my constant companion as I relocated to the roots of this book's story in Chicago. Providing a deeper understanding to a musical scene that has always held strong gravity for these ears accompanied by the palpable thrill of experiencing this living, local history as part of exploring the sonic terrain of the Windy City.

It would be hard to imagine a better writer to document the story of the Association for the Advancement of Creative Music. The impressive academic credentials of Professor Lewis balances well against his considerable clout as a member and practitioner of creative music of the highest order. This labor of profound love and discipline never loses sight of the rich story and the many personalities involved. The affection for the individuals comes through as several biographies and episodic chapters unfold a history of collectivism and sound that paints a vivid image of an organization that has survived and thrived well within and beyond the vision of its original founders. The honest assessment of the collective's successes and short comings providing an insight to the evolution of a musical movement that has infused and continues to contribute significant vibrations in American music.

George E. Lewis confronts the role, and controversies, of race and gender in avant jazz and new musics with devastating honesty. Confronting the sharp contrast in critical reception that awaited (and to an embarrassing extent still awaits) musicians who cross or blur musical genres. From speaking candidly about the indifference and disdain toward jazz held by white American composers of the early twentieth century seeking to define a cultural identity with more Eurocentric roots, to observing the lack of panelists of color at New Music Chicago's "New Music and Our Changing Culture" session in Chicago in 1982 to the long struggle toward institutional support for African-American musicians and composers. Culminating in an observation of how Anthony Braxton's music is frequently regarded as a betrayal of his ethnic roots while John Zorn is embraced for plunging musical style into the same omnivorous appetite pioneered by Braxton without being subjected to such accusations. The AACM's own evolution as an organization that admitted few women (who were often not treated as equals) to its current form with Nicole Mitchell at its helm portrays a membership willing to reflect upon their own sensibilities as it strives to correct injustices from within.

The communal impact of the long running presence of an AACM in Chicago is noticeable. I am struck by the difference in the quality of audience at new music and jazz concerts in Chicago compared to other cities. The community outreach has developed an audience that understands and respects this music in ways that are profoundly different from audience reception in Seattle, San Francisco or Baltimore. The level of diversity and engagement is striking and a testament to the positive impact this association has built up over many years. The quality of the music and the improvisers also reflects the level of development that is possible with this kind of open support structure that is in place.

Ultimately, A Power Stronger Than Itself is a much needed voice on behalf of a substantial part of the American musical landscape. George Lewis has added a new permanence to this incredible tradition by telling its story and offering an insider’s view that further realizes the high ideals that its founding members set in motion in 1965.