HurdAudio Rotation: Richter Scale

Bill Frisell: Richter 858. 2005. Songlines: SGL 2551-2.

Bill Frisell: guitars, electronics
Hank Roberts: cello
Jenny Scheinman: violin
Eyvind Kang: viola

Eight compositions for an electric guitar variant of the string quartet that draw upon Gerhard Richter's Abstract Pictures as the trigger for the formal, textural and substantive material of these works. Improvisation plays an important role, as it does in the paintings themselves. The strong sense of horizontal line and vibrant colors are beautifully captured. The fluidity of paint and brush stroke finding a strong parallel in bows and strings. Recorded live without overdubs, these performances hang in the air to be savored in the same manner the paintings hang on the wall. This recording is a small detour away from the Americana sound that Frisell has made into his signature style. Yet it is also a return to his earlier sound (and collaborations, in the case of Hank Roberts) as well as the kind of record long time fans of this guitarist have been hoping he would make. Much of the sound retains that familiar Frisell sound, in much the same way even the most abstract brush stroke of Gerhard Richter retains the DNA of its creator.

Marty Ehrlich: News On the Rail. 2005. Palmetto Records: PM 2113.

Marty Ehrlich: alto saxophone, clarinet
James Zollar: trumpet, flugelhorn
Howard Johnson: tuba, baritone saxophone, bass clarinet
James Weidman: piano, melodica
Greg Cohen: bass
Allison Miller: drums

Marty Ehrlich explores his brilliance as both composer and performer within the medium of the "large small" ensemble. Weaving material through the sextet as it alternates between big band type writing to smaller combinations of players that show off the considerable talents of the individuals involved. This material is focused, melodic and tight. There isn't a spare moment that doesn't propel toward the next on this set. Allison Miller's drum work in particular is a revelation.

Donkey Monkey: Ouature. 2007. Umlaut Records: UMCD 0005.

Yuko Oshima: drums, voice, sampler
Eve Risser: piano, voice, turntables

Oshima and Risser pack a lot into the 32-minutes of music found here. Along the way they don't forget to pack in a lot of fun. The first two tracks kick this adventure off with an aggressive dose of fun as this duo rocks things out with equal doses of whimsy and brutally intense playing. The feeling that exudes from this pair makes for a bright spot along the rotation. Highly recommended. It will make you want to get up and dance and put new wrinkles in the brain along the way.

HurdAudio Rotation: Otherworldly Dervishes

Clusone Trio: Clusone 3. 1992. Ramboy: 01.

Michael Moore: alto saxophone, clarinet, melodica
Ernst Reijseger: cello
Han Bennink: percussion

A trio that balances handily upon the musicianship and mischief from all three players involved. Improvisation and tunes shaped with so much spontaneity that it the distinction between the two is deliriously blurred. By the time this set gets to "Ao Velho Pedro" I'm swept up in the playful qualities of this music and marvel at the living, organic jazz history woven through this music without the slightest smell of stagnant, museum grade approach. This disc is worth spinning a few times with a focus on what each player is bringing to the sound and how each one practically bounces off the other with a conversant sense of humor. Big ears and big hearts at work in this music.

Michael Musillami Trio + 3: From Seeds. 2009. Playscape Recordings: PSR # 020109.

Michael Musillami: guitar, composer
Joe Fonda: bass
George Schuller: drums
Marty Ehrlich: alto saxophone
Matt Moran: vibes
Ralph Alessi: trumpet

Just looking at the musicians on this project is enough to set expectations sky high for a project led by a guitarist new to these ears. And does it ever deliver. Enough to put Michael Musillami on my radar for his thoughtful compositions and wicked guitar chops. The interaction between the guitar and vibraphone is fascinating here. And Marty Ehrlich is amazing as always on the alto saxophone for this session. Even the brief, programmatic linear notes by the composer are a joy. Particularly his description for "Graphite."

"Graphite" is a testament to the fact I still write everything out by hand with pencil, ruler and eraser. It's a ritual. Cats continue to shake their heads and tell me about all the great programs for music writing. I suppose it's too perfect. I need to see my past mistakes: changes from eraser marks, coffee stains, rips and tears.

That conversant humor and personality comes through in the music along with the meticulous, polished material worked out through practice and habit in an effort to tease music from imperfections and polished "mistakes." Though From Seeds is no mistake. It's rewarding listening.

Jack DeJohnette with Bill Frisell: The Elephant Sleeps But Still Remembers. 2006. Golden Beams Productions: GBP-CD-1116.

Jack DeJohnette: drums, percussion, vocals, piano
Bill Frisell: Guitar, Banjo

Two great artists with an established sound and a mutually compatible approach make a deeply enjoyable album. What is interesting here is just how well their respective sounds - which are easily perceived within these textures - fuse together so cleanly. When it doesn't sound like they've been collaborating for decades they at least sound like they would like to. Yet more continuity in Bill Frisell's recording career for playing with all the great drummers of the world.

HurdAudio Rotation: Big Picture, Quiet Spaces

Myra Melford/Mark Dresser/Matt Wilson (Trio M): Big Picture. 2007. Cryptogramophone: CG 134.

Myra Melford: piano
Mark Dresser: bass
Matt Wilson: drums

The glow that still resonated in the air after hearing Trio M perform live for the first time runs through this recorded set. That feeling of needing to have this disc after hearing that show one month before its release has not dulled with time spent drinking in the sounds preserved here. A rare meeting of creative equals forming something startling above and beyond the sum of its considerable parts. The layering of individual compositional contributions within the generosity and musicianship makes for an experience that will re-arrange the actively listening mind and raise expectations for what is possible within a trio collaboration. A great disc that is truly a joy to hear.

Petra Haden/Bill Frisell: Petra Haden and Bill Frisell. 2003. Songline/Tonefield: TND 312.

Petra Haden: vocals, violin
Bill Frisell: electric guitars, acoustic guitars, loops

Chills, meet spine. Spine, meet chills. This is what happens when Petra Haden and Bill Frisell interpret Frisell's "Throughout" with plenty of layers of multi-tracked harmonies in the service of this deceptively simple piece. Beyond this concluding track this is a collection of songs that levels the same respect towards Gershwin and the Foo Fighters. Petra Haden's harmonic sensibility appears to effortlessly escape the intonation issues that plague vocalists as if they never existed. Multi-tracked layers of her voice producing something almost too sublime. Not unlike the effect of multi-tracked Frisell guitars. A truly great collaboration full of warmth and reward.

Morton Feldman: Works for Piano. 1990. Hat Hut Records: hat ART CD 6035.

Marianne Schroeder: piano

Intermission 5 (1952)
Piano Piece to Philip Guston (1963)
Vertical Thoughts 4 (1963)
Piano (1977)
Palais De Mari for Francesco Clemente (1986)

To my ears these are definitive interpretations of this delicately quiet, fragile music of exquisite beauty that unfolds like crystals against the shaping forces of silences. Morton Feldman created vast sonic landscapes using very few notes along a large canvas of time. A well placed pair of notes at contrasting registral extremes on the piano setting just the right ripples of vibration along a tranquil pond.

HurdAudio Rotation: Passion and Poetry

Bill Frisell: Floratone. 2007. Blue Note Records: 0946 3 93879 2 2.

Bill Frisell: electric guitar, acoustic guitar, loops, vocals
Matt Chamberlain: drums, percussion, loops
Tucker Martine: production
Lee Townsend: production
with guests -
Viktor Krauss: acoustic bass, electric bass
Ron Miles: cornet
Eyvind Kang: viola

A Bill Frisell project that allows the production talents of Tucker Martine and Lee Townsend to flex their chops as all manner of overdubbing and processing is mixed in with some of the heaviest jazz chops on the planet. It's not easy to balance the qualities that make a good studio record out of players who can rip things pretty hard in a live setting. Jazz has traditionally stood on its own through recordings of the live experience that bring out the real time interaction between master players. The resulting sound on Floratone doesn't exactly invite the listener to get their freak on out on the dance floor. But the sense of time that unfolds in these gritty, layered pieces is a revelation in these textures. The "in the pocket" feel these musicians bring to the stage is expertly preserved and built upon.

McCoy Tyner: The Real McCoy. 1967 (re-issued in 1999). Blue Note Records: 7243 4 97807 2 9.

McCoy Tyner: piano
Joe Henderson: tenor saxophone
Ron Carter: bass
Elvin Jones: drums

There are few things that equal the hook and groove of "Passion Dance." The joyous appeal of that track alone is enough to mark The Real McCoy as a must have in any serious jazz collection. Followed up by four other outstanding tracks this is simply one of those Blue Note recordings where four outstanding musicians went into a session and came out with a great album. Though there is the heart break that comes from the unfortunate fade out at the end of "Passion Dance" that leaves the ears hungry for the unfettered, non-duration limited jam that is suggested underneath as the levels pull down artificially.

Harry Partch: 17 Lyrics of Li Po. 1995. Tzadik: TZ 7012.

Stephen Kalm: intoning voice
Ted Mook: tenor violin

The intoning voice was Partch's elegant solution for vocal music that remained true to the natural, spoken inflections of speech and its rhythms. Allowing for melodic contours to coalesce around the substance of poetry as well as the character of its narrator. This particular set of songs ranks as one of my personal favorites. An example of how to adapt the voice. And more importantly, how to not adapt the voice to a musical setting. One can almost picture Harry Partch quietly composing these revolutionary songs in the evenings in New Orleans as he toiled as a dish washer by day. Humble origins from a celebrated maverick.

HurdAudio Rotation: Time Changes and Then Some

Mark Dresser/Denman Maroney: Time Changes. 2005. Cryptogramophone: CG 124.

Mark Dresser: bass
Denman Maroney: hyperpiano
Michael Sarin: drums, percussion
Alexandra Montano: voice

Massive helpings of polyrhythms as various lines of 2-against-3-against-4-against-5-etc. move in and out of phase with one another as the ensemble moves through fields of metric modulation and other systemic "time changes." Yet this music never buries the players under the formal tricks and hyper-inventive design of these charts. The hyperpiano - really an improvised form of preparing the instrument in real time and using plenty of inside the instrument techniques - is afforded plenty of room for subtle shifts without falling into a novelty of extended techniques. And the music maintains a fierce swing and fidelity to jazz traditions. Making all the uncompromising formal machinations even more impressive. This one continues to be a strong favorite in the rotation.

Andrew Drury: A Momentary Lapse. 2003. Innova: 581.

Andrew Drury: composer, drum set
Eyvind Kang: violin
Briggan Krauss: alto saxophone, clarbone
Chris Speed: tenor saxophone, clarinet
Myra Melford: piano
Mark Dresser: bass

Another long standing favorite in the rotation. It's hardly a coincidence that it features Mark Dresser on bass as well. He's never been involved in a disappointing session. Great band all around (Myra Melford on piano is a real stand out) playing some outstanding tunes with plenty of polish. As good as any jazz record of the last 25 years as far as my ears are concerned.

Bill Frisell/Dave Holland/Elvin Jones: Bill Frisell with Dave Holland and Elvin Jones. 2001. Nonesuch: 79624-2.

Bill Frisell: electric guitar, acoustic guitar, loops
Dave Holland: bass
Elvin Jones: drums

Three legends of extreme musicianship and jazz chops get together and play through the Bill Fisell songbook. Knowing these tunes so well from earlier recordings adds a spark to hearing these wickedly tight interpretations. Music such as this is an indulgence.

HurdAudio Rotation: The House That Hope Built

Gunda Gottschalk/Peter Jacquemyn/Ute Volker: Baggerboot. 2005. Henceforth Records: 102.

Gunda Gottschalk: violin, viola
Peter Jacquemyn: bass
Ute Volker: accordion

Free improvisation with strong parallels to improvised painting. Big, multi-colored paint brushes dripping with thick gobs of paint being flung into the frame of time to produce an aural image that fills every part of the canvas. The three tracks are labeled "Cascade I," Cascade II" and "Cascade III" for a music that cascades with the violence and beauty of a waterfall along a sheer cliff on its way toward a fierce splash and spray at the bottom. The reedy accordion pulled along by strong currents as the string instruments are sawed at mercilessly by Gottschalk and Jacquemyn. A spontaneous creation that loses nothing with repeated listening.

Ron Miles: Heaven. 2002. Sterling Circle Records: SC5151.

Ron Miles: Trumpet
Bill Frisell: guitar

Two forces of creativity and musicianship in its purest form in this outstanding duo recording. The sense of play takes on a particularly even handed quality through its treatment of Ron Miles originals along side Thelonious Monk, Jelly Roll Morton, Duke Ellington, Bob Dylan and a devastating take on Hank Williams' "Your Cheatin' Heart." All played as a flowing conversation between trumpet and guitar. The joyful, rootsy folksiness of "Just Married" is a strong initial draw into this listening journey that invites the ears to listen to the varied nuances that unfold between these players.

Future of the Left: Travels with Myself and Another. 2009. 4AD Ltd: CAD2913CD.

Jack Egglestone: drums, percussion
Kelson Mathias: bass, guitar, synths, vocals
Andrew Falkous: guitar, bass, synths, vocals

Punk music walks a fine balance between intelligence and stupidity. Not enough of either tends to make the end result intolerable. Future of the Left walks that line better than most I've heard. An ability to draw from unfiltered rage without being utterly consumed by it. More "polite" aesthetics rarely give ground to angry and stupid. Future of the Left opens up and traps it within conviction that is vaguely political and indignant. Somewhere along the way they hit upon some brilliant song writing. "The Hope That House Built," "You Need Satan More than He Needs You" and "That Damned Fly" hitting that sweet spot that makes this collection so imminently enjoyable.

HurdAudio Rotation: Ramboy in the Elephant Sanctuary

Dave Douglas: Sanctuary. 1997. Avant/Disk Union: AVAN 066.

Dave Douglas: trumpet
Cuong Vu: trumpet
Yuka Honda: sampler
Anthony Coleman: sampler
Hilliard Greene: bass
Mark Dresser: bass
Chris Speed: saxophone
Dougie Bowne: drums

This one is a much revered recording in the rotation and in the land of HurdAudio. The nod toward Ornette Coleman's Free Jazz comes across in a downtown take on the almost double ensemble. Part of the joy of listening to Sanctuary comes in the moment-to-moment unfolding of this improvised texture as it ranges freely between pulse and open rhythmic ripples. More joy still comes from puzzling which of the two trumpets, which of the two samplers and which of the two bassists are making the individual layers of this sound. The familiarity I have with these players adds a dimension to that part of the listening. One of Dave Douglas' more "avant" projects and one of his best.

Clusone Trio: Trio Clusone. 1991. Ramboy: 01.

Michael Moore: alto saxophone, clarinet, melodica
Ernst Reijseger: cello
Han Bennink: percussion

Given the kinetic force that is Han Bennink combined with the tight-yet-free skittering through a wide spectrum of jazz and creative music styles that marks the Clusone Trio's sound I'm still struck by the pockets of unhurried calm that form within the tapestry of music found on this recording. The trio that could veer off into any direction is equally adept at delivering a solid cover of Hermeto Pascoal's "Bebe" or stretching out long sheets of freely improvised tranquility. But it's the expectation of wild flights that keep the ears reaching for this disc. And it hardly disappoints on that front. It's the tension of that potential energy lurking in the sound - with explosive bursts into kinetic - that makes for a standout listening experience with this one.

Jack DeJohnette - featuring Bill Frisell: The Elephant Sleeps But Still Remembers. 2006. Golden Beams Productions: GBP-CD-1116.

Jack DeJohnette: drums, percussion, vocal, piano
Bill Frisell: guitar, banjo

Bill Frisell gets to play with all the best drummers. In a list that includes the likes of Joey Baron, Ginger Baker, Kenny Wollesen, Elvin Jones and numerous others, adding Jack DeJohnette to that list is a natural. Recorded live in Seattle at the Earshot Jazz Festival in 2001 and touched up with some light post production work from Ben Surman, this one continues Frisell's track record of outstanding recordings. The range of textures (DeJohnette is a fine pianist - as evidenced by a sensitive rendition of John Coltrane's "After the Rain") and musicianship is staggering. Individually these players inspire awe. As co-conspirators they've turned in a great record for the ages.

HurdAudio Rotation: Petra-fied, lower-cased and Drinking in a London Trio

Petra Haden and Bill Frisell: Petra Haden and Bill Frisell. 2005. Songline/Tonefield: TND 312.

Petra Haden: vocals, violin
Bill Frisell: electric guitars, acoustic guitars, loops

This one is a stunner. If more vocalists had the intonation, humor and taste that Petra Haden has in spades there would be a lot more voices pouring past these eardrums. With plenty of overdubs from both of these artists to fill out a rich, beautiful sonic canvas this pair takes a non-dogmatic tour through multiple song sources and identities. Giving each song the Lee Townsend production sound that often elevates well above the original versions of these songs. "Moon River" is outstanding, and has the clear stamp of Frisell's frequent visits to this tune. "Floaty" takes the Foo Fighters sound toward a decidedly different Seattle sensibility. "Yellow" leaves no trace of the egos behind Coldplay. The traditional Tuvan "Bai-laa Taigam" maintains its spiritual connection. And this arrangement of Frisell's "Throughout" leaves these ears hungry for a full treatment of the Frisell songbook.

Morton Feldman: Works for Piano. 1990. Hat Hut Records: hat ART CD 6035.

Marianne Schroeder: piano

Intermission 5 (1952)
Piano Piede to Philip Guston (1963)
Vertical Thoughts 4 (1963)
Piano (1977)
Palais De Mari for Francesco Clemente (1986)

I've been hearing this kind of texture referred to as "lower-case music." Slight traces of quiet piano gestures that barely leave a ripple in the silence. It's a thoughtful tranquility made up of a sequence of gestalts that stubbornly refuse to develop beyond mere temporal proximity of one to the other. Listening to it is like finding hidden details in a freshly raked rock garden. The rigor behind this meditative space is deceptive. It demands a calm from both the performer and listener that is a rare commodity in this world. Easily disturbed by the slightest murmur from the surrounding environment. Even "lower-case" thoughts leave reflections when the mind is submerged within this suspended state.

Anthony Braxton/Evan Parker/Paul Rutherford: Trio (London) 1993. 1993. Leo Records: CD LR 197.

Anthony Braxton: reeds
Evan Parker: reeds
Paul Rutherford: trombone

Having, and listening, to this CD is simply not optional. If you are a "friendly experiencer" of the creative music of Anthony Braxton there is already the considerable gravity of his presence on this set of improvisations. Then there is Evan Parker, another luminary of saxophone improvisation. Inserted between this pair of titanic reedsman from either side of the Atlantic is Paul Rutherford on trombone. The fact that it manages to exceed expectations already set high by these figures makes for a rewarding spin of trio improvisation that spans wide dynamic and textural range while adding a few happy wrinkles onto the attentive brain. Recorded live at the Bloomsbury Theatre during the 1993 London Jazz Festival at a moment in time when all three of these players were way on top of their game, this is exactly the kind of experience that drives free jazz archivists to keep seeking more.

HurdAudio Rotation: Real Frisell, Real McCoy, Real Li Po

Bill Frisell: Floratone. 2007. Blue Note Records: 0946 3 93879 2 2.

Bill Frisell: electric guitar, acoustic guitar, loops, vocals
Matt Chamberlain: drums, percussion, loops
Tucker Martine: recording, post-processing, production
Lee Townsend: recording, post-processing, production
Viktor Krauss: acoustic bass, electric bass
Ron Miles: cornet
Eyvind Kang: viola

There hasn't been a Lee Townsend produced Bill Frisell recording that hasn't glazed these ears over with a fine mist of pure joy. And this one is even better than most. With Matt Chamberlain and Bill Frisell improvising some initial tracks/layers as raw materials for Tucker Martine and Lee Townsend to play with (working with Frisell improvisations is a bit like cooking with obscenely fresh ingredients) along with additional material recorded once the initial layers were assembled, Floratone brings a sophisticated re-mix/studio mentality without obscuring the sublime flavors or spontenaity of the initial source material. This is an unmistakable Frisell sound, complete with all the twists and turns this master guitarist is known for, presented with a slightly altered perspective. The result may be one of his best recordings yet.

McCoy Tyner: The Real McCoy. 1967 (Rudy Van Gelder edition from 1999). Blue Note Records: 7243 4 97807 2 9.

McCoy Tyner: piano
Joe Henderson: tenor saxophone
Ron Carter: bass
Elvin Jones: drums

One of the classic piano quartet recordings of all time. Each of the five Tyner compositions has its own hook that sinks deep into the ear drums with the most infectious syncopation and melodic turns imaginable. Even the ballad, "Search for Peace" has that great bass part at the onset as Ron Carter bends the notes, leaving a deep impression on the soul in the process. Then there is the playing. McCoy Tyner, Joe Henderson, Ron Carter, Elvin Jones... if each of these figures doesn't individually tug at your jazz loving heart then you haven't been paying attention.

Harry Partch: 17 Lyrics of Li Po. 1995. Tzadik: TZ 7012.

Stephen Kalm: intoning voice
Ted Mook: tenor violin

With an attentive ear tuned to the harmonies of spoken voice and its natural rhythms, Harry Partch found a troubadour voice that allows the poetry to emerge unscathed by musical treatment. These pieces form a substantial touchstone in the HurdAudio psyche as spinning this eerily perfect performances (Stephen Kalm practically channels an exact vocal match of Partch's own intoning sound) adds more layers of appreciation to these early works.

HurdAudio Rotation: From Andrew Drury to Zs

Andrew Drury: A Momentary Lapse. 2003. Innova: 581.

Andrew Drury: composer, drums
Eyvind Kang: violin
Briggan Krauss: alto saxophone, clarbone
Chris Speed: tenor saxophone, clarinet
Myra Melford: piano
Mark Dresser: bass

Outstanding arrangements/compositions + six great improvisers = third spin in the HurdAudio Rotation with nothing but praise to heap upon this disc. Between the variation of textures and styles of the nine compositions featured in this set and the ample room smartly extended toward each performer this one hits several sweet spots that make for an underrated 2003 release from Drury. In particular, the prominence of Myra Melford on "Geek's Revenge" was especially appreciated in this spin.

Bill Frisell/Dave Holland/Elvin Jones: Bill Frisell with Dave Holland and Elvin Jones. 2001. Nonesuch: 79624-2.

Bill Frisell: electric guitar, acoustic guitar, loops
Dave Holland: bass
Elvin Jones: drums

The already insane talents of Bill Frisell + one of the most enviable rhythm sections of all time + a beloved section of the Frisell songbook (along with a take on "Moon River" and "Hard Times") = fourth spin in the HurdAudio Rotation with ears greedily drinking up a sound even greater than the concept behind it. I hesitate to call these definitive takes on this block of compositions written to accompany a documentary about Far Side cartoonist Glen Larson, but these do make a compelling argument for these enduring and endearing Frisell originals. Hearing these pieces thrive with the support of the potentially overwhelming slice of jazz history Holland and Jones bring to this session reinforces an already high opinion of this music. This one is deserving of many more spins.

The Zs: 4 Systemz: Brown 1951. 2007. Socketscdr: 32.

4 Systems (1951) composed by Earle Brown, performed by The Zs.

Essentially a single. This is the full length version of the 4 Systems excerpt included on the Tzadik compilation Folio and Four Systems. Using Brown's graphic score the Zs navigate a quiet texture of breathtaking restraint. Each gesture is carefully added to the soundscape so that it barely leaves a ripple. The Zs demonstrate an intensity within near-silence equal to the high-decibel excursions of their late-night venue existence.

HurdAudio Rotation: Sometimes I Feel Like a Drummerless Child

Thomas Ulrich/Elliott Sharp/Carlos "Zingaro"/Ken Filiano: T.E.C.K. String 4tet. 2007. Clean Feed: CF089CD.

Thomas Ulrich: cello
Elliott Sharp: acoustic guitar, national tricone
Carlos "Zingaro": violin
Ken Filiano: bass

String timbres have often been at the heart of Elliott Sharp's most attractive works. Be it his string quartets (of the "conventional" instrumentation) or his work with guitars his is a familiar voice to pick out within this quartet of free improvisers. And improvisation has also been a strong facet of Sharp's output. Here the sound bends and undulates with the creative additions of Ulrich, Zingaro and Filiano filling out the soundscape with their own distinctive mark. The music that flows, unpremeditated from this ensemble is quiet and intense. Focused on details while leaving plenty of space for new sonic territory to be initiated from any quarter.

Gunda Gottschalk/Peter Jacquemyn/Ute Volker: Baggerboot. 2003. Henceforth Records: 102.

Gunda Gottschalk: violin, viola
Peter Jacquemyn: bass
Ute Volker: accordion

Three arcing, long-form improvisations with the reedy timbre of Volker's accordion deftly bridging a territory between the high and low strings of Gottschalk and Jacquemyn. Each makes up part of a complete set, like three large canvases hanging next to one another, offering up a study in shading and texture. There's a grounded sense of drone within this sound even as none of these individual players stands still for long, allowing the texture to develop with a sense of unfolding and hearing with ears wide open.

Ron Miles: Heaven. 2002. Sterling Circle: SC5151.

Ron Miles: trumpet
Bill Frisell: guitar

If you've had this disc up on the shelf for a while you might have forgotten how good it is. And if you don't have it on your shelf at all (or on your hard drive, your portable player and all the other ways music worms into it's "non-physical" media) then you're missing one of the most amazing works of understated duo collaboration recorded. Named after the Duke Ellington piece represented in this set, along with Bob Dylan's "A Hard Rain's A-gonna Fall," Jelly Roll Morton's "King Porter Stomp" and a take on Hank William's "Your Cheatin' Heart" that virtually weeps, it's the Ron Miles originals that shed the most light on a collaborative sensibility that runs deep between these two players.

Carving Melodic Lines Along a String Trio

Bill Frisell's Disfarmer Trio @ An Die Musik, Baltimore, MD
Wednesday, October 31, 2007

Bill Frisell: guitars, effects, loops
Greg Leisz: lap steel guitar
Jenny Scheinman: violin

Bill Frisell has a way of filling a room with sound (and packed venues). And while he was using far more effects than I'd seen him use in the past he still occupies a focal point with understatement and restraint. Not to mention his usual awe inspiring musicianship. It's takes a rare talent to make ring modulated bluegrass lines sound so introspective and natural.

Frisell's approach toward melody continues to fascinate my ears. At times the melodic line is barely a whisper within the soft haze of loops and improvised phrases that swirl in a tight orbit around the core melody. There are moments of surprising familiarity, such as "When You Wish Upon A Star" begins to float to the surface, detected by the ears just ahead of its clearest articulations. Sometimes the melody feels like the framework for the sound, at other times it is just the opposite. Either way the sound is incredible with enormous pull through its earthy tone and surprising arrangements.

Greg Leisz and Jenny Scheinman make excellent partners for the Americana sound that Frisell has been mining for some time now. The deliberate strokes and intriguing amplified sound from Scheinman carve a rich territory drawing from jazz and bluegrass traditions while Leisz is an impressive force on the lap steel guitar. (I hope Scheinman brings one of her bands back to An Die Musik sometime soon as she's been actively recording and touring with her own music recently.) The first set featured Frisell's looping textures, some blues and hints of Appalachia while the second set lurched into material from Frisell's The Intercontinentals - a recording that all three of these musicians were part of - followed by a pair of encores. The haze of sound from "Your Cheatin' Heart" seemed to linger as the large crowd shuffled from the hall. To be engulfed in this wonderful sound in such a small, comfortable venue is an experience to savor.

HurdAudio Rotation: Charlie Must Be Understandably Proud of Petra

Charlie Hunter: Charlie Hunter. 2000. Blue Note Records: 7243 5 25450 2 5.

Charlie Hunter: 8-string guitar
Peter Apfelbaum: tenor saxophone
Josh Roseman: trombone
Leon Parker: drums, percussion
Stephen Chopek: percussion
Robert Perkins: percussion

Charlie Hunter has all the characteristics one looks for in a Blue Note release with the heavy helping of chops combined with a distinctive sound. But there's also a lot of raw fun lurking in this groove-heavy disc. The Latin treatment of Monk's "Epistrophy" being one of the highlights along with the driving infectiousness of "Two for Bleu." Hunter proves - yet again - that one can fall squarely within the jazz tradition without sounding dated or derivative.

Andrew Hill: Point of Departure. 1964. Re-released in 1999. Blue Note Records: 7243 4 99007 2 1.

Andrew Hill: compositions, piano
Kenny Dorham: trumpet
Eric Dolphy: alto saxophone, flute, bass clarinet
Joe Henderson: tenor saxophone
Richard Davis: bass
Tony Williams: drums

A disc dripping with musicality that continues to reveal fresh surprises with each spinning. Dorham, Dolphy and Henderson all turn in outstanding solos that deliver exactly what one expects from such a stacked roster. But it's the Andrew Hill compositions that make this session so enduring as he shapes many different textures and sounds out of the sonic verve these players bring to the table.

Petra Haden/Bill Frisell: Petra Haden and Bill Frisell. 2003. Songlines/Tonefield: TND 312.

Petra Haden: vocals, violin
Bill Frisell: electric guitar, acoustic guitar

I can't believe this has been sitting on my shelf for over six months waiting for this listening. A combination of trepidation of a vocal heavy recording and a wealth of new music to listen to kept this one in the back of the cue. Faith in Bill Frisell's taste and musicality pulled it forward today and I was reminded that while vocals and poetry often fail, they can also capture truth and expression with painful immediacy. And in the case of Petra Haden, with her exquisite sense of intonation and grasp of song, this is a collaboration that wins these doubting ears completely over. Even the cover of Coldplay's "Yellow" - a completely over-exposed song that has never held my attention prior to this cover - takes on a human vulnerability and confidence that is startling. "Moon River" breathes with a vitality that conveys a sense of why that song has such longevity. And the wordless interpretation of Frisell's "Throughout" is pure joy.

HurdAudio Rotation: From Lapse to Grace

Andrew Drury: A Momentary Lapse. 2003. Innova: 581.

Andrew Drury: compositions, drums
Eyvind Kang: violin
Briggan Krauss: alto saxophone, clarbone
Chris Speed: tenor saxophone, clarinet
Myra Melford: piano
Mark Dresser: bass

A Momentary Lapse covers a lot of compositional territory that allows the massive improvisational forces of these great players plenty of room to maneuver and paint large, vibrant sonic canvases. From the unmistakable Krauss screams on the alto saxophone of "The Schwartzes" to the clear, Dresser-tones on "Keep the Fool," this is an all-star ensemble focused on some stellar compositions.

Bill Frisell/Dave Holland/Elvin Jones: Bill Frisell with Dave Holland and Elvin Jones. 2001. Nonesuch Records: 79624-2.

Bill Frisell: electric guitar, acoustic guitar, loops
Dave Holland: bass
Elvin Jones: drums

This is one of those Bill Frisell records that the ear keeps reaching for out of fascination with how this rhythm section plays these familiar Frisell compositions. The sound is squarely in the Americana realm and Holland and Jones turn in a laid back, supportive performance. There's so much detail lurking around the edges of this sound in how this trio brings out the melodic phrasing and the relaxed sense of time. These make for definitive interpretations of Frisell's "Twenty Years," "Tell Your Ma, Tell Your Pa" and "Convict 13." At least these are the arrangements that come to mind when I reflect upon them. The interpretations of the non-Frisell "Moon River" and "Hard Times" are also particularly engaging and a hint of the depth of music lurking within all three of these players.

Michele Rabbia/Marilyn Crispell/Vincent Courtois: Shifting Grace. 2006. Camjazz: CAMJ 7791-2.

Michele Rabbia: percussion
Marilyn Crispell: piano
Vincent Courtois: cello

Opening with Crispell's incredible piano playing bathed in warm reverb - perhaps a bit more reverb than I care for - this trio of outstanding improvisers "shift" between duos, solos and the full trio over a span of a dozen brief pieces of incredible restraint and detail. The brevity lends to an aching, wispy quality that pulls away before any trace of indulgence can form. Rabbia's bowed cymbals and silence-framed percussion is a perfect layer for this intense and quiet music. Courtois runs a wider gamut of dynamic range as he pulls sustained crescendos on sustained tones into sharp focus.

HurdAudio Rotation: Jenkins and Monk in Heaven

Ron Miles: Heaven. 2002. Sterling Circle Records: SC5151.

Ron Miles: trumpet
Bill Frisell: guitar

This improvising duo is balanced and tinged by a deep chemistry forged through long friendship and a history of multiple collaborations. It's a quiet, melodious project that is every bit as transcendent as its title would suggest. There's a seamlessness between the originals and covers - even when rendering an unmistakeably "true" take on Hank Williams' "Your Cheatin' Heart." The balance of creativity and musicianship runs deep and comes off so effortless as to feel unassuming.

Elliott Sharp: Sharp? Monk? Sharp! Monk! - Elliott Sharp Plays the Music of Thelonius Monk. 2006. Clean Feed: CFG001CD.

Elliott Sharp: acoustic guitar

There are moments when the angular melodies of these Monk tunes take surprising turns as Sharp coats them with unusual timbral variations from his Dell Arte Grande Bouche acoustic guitar. When "Well You Needn't" emerges with a tone similar to plucked, high pitched piano wire it's hard to suppress a smile. There's a wealth of smiles on this disc as Sharp brings a thoughtful and not overly solemn angle to Monk that highlights the joy of Monk's harmonic language and melodic sensibilities.

Leroy Jenkins: Themes and Improvisations on the Blues. 1994. CRI: CD 663.

Themes & Improvisations on the Blues (1986)
The Soldier String Quartet:
Laura Seaton: violin
David Soldier: violin
Ron Lawrence: viola
Mary Wooton: cello

Panorama 1 (1983)
Leroy Jenkins: violin
Henry Threadgill: flute
Don Byron: clarinet
Marty Ehrlich: bass clarinet
Vincent Chancey: french horn

Off Duty Dryad (1990)
Soldier String Quartet plus
Lindsey Horner: bass

Monkey on the Dragon (1989)
Leroy Jenkins: solo violin
Henry Threadgill: flute
Don Byron: clarinet
Marty Ehrlich: bass clarinet
Janet Grice: bassoon
Vincent Chancey: french horn
Frank Gordon: trumpet
Jeff Hoyer: trombone
Thurman Barker: traps
Myra Melford: piano
David Soldier: violin
Jane Henry: violin
Ron Lawrence: viola
Mary Wooton: cello
Lindsey Horner: bass
Tania Leon: conductor

The focus on this recording is Leroy Jenkins as composer for these four, vivid chamber works recorded in 1992. The fact that so many of the performers involved with this presentation have since recorded so many staggering works of their own can be at least partially attributed to their involvement with Leroy Jekins' music. The same qualities that make Jekins the improviser so compelling to listen to carry over into his written scores.

HurdAudio Rotation: Lapse and Guitars

Andrew Drury: A Momentary Lapse. 2003. Innova: 581.

Andrew Drury: composer, drums
Eyvind Kang: violin
Briggan Krauss: alto saxophone, clarbone
Chris Speed: tenor saxophone, clarinet
Myra Melford: piano
Mark Dresser: bass

Here is an all-star lineup that includes so many of my favorite improvisers. Andrew Drury wisely gives generous space for each within these tight compositions. The result is a disc that has been sticking to my ears over the past four years that still reveals intoxicating details with each listening. This time through I'm struck by the textural range. "The Schwartzes" opens things up with a groove-heavy sound with the inspired combination of Krauss's wailing alto saxophone over the top of Melford's driving improvisation on the piano. Then "Salal" follows with its open, delicate sound in a relatively pulse-free space. Seven other tracks follow that trace a wide path through many traditions and this lineup hits the target at each destination along the way.

Bill Frisell/Dave Holland/Elvin Jones: Bill Frisell with Dave Holland and Elvin Jones. 2001. Nonesuch: 79624-2.

Bill Frisell: electric guitar, acoustic guitar, loops
Dave Holland: bass
Elvin jones: drums

One is tempted to envy Frisell for his chops and the great players he's teamed up with over the years. And this is one great trio that puts a solid spin on the Bill Frisell songbook (plus a great read on Henry Mancini's "Moon River" and "Hard Times" by Stephen Foster). For anyone familiar with earlier (or later) takes on these pieces this disc is a genuine pleasure and one that gets a regular spin in the HurdAudio rotation.

Derek Bailey/Cyro Baptista: Derek. 2006. Amulet Records: AMT 023.

Derek Bailey: guitar
Cyro Baptista: percussion, voice

This is free improvisation of the "compare and contrast" variety as the focus of creative energy between these players highlights the differences and commonalities found between them. Baptista's voice, percussion and digital delay give him a vast timbral arsenal that he forms into an impressively cohesive and responsive sound. The "vastness" of Bailey's material emerges less from the timbral range and more from the unpredictable sequence of ideas that makes up his own sonic fingerprint. Between these two players is an oscillation of reinforcement and subversion of the sonic texture from moment to moment. One of the things that makes this listening experience so engaging is even handed treatment of steady states and jagged transitions.