HurdAudio Rotation: Songs of Travel and Growth

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: Supporting and Destroying Tradition

The Flying Luttenbachers: ...The Truth is a Fucking Lie... 1999. UgExplode Records: GR61cd/ug10.

Weasel Walter: drums, trumpets, electronics, mellotron
Kurt Johnson: bass guitar
Fred Lonberg-Holm: cello
Chuck Falzone: electric guitar, abyssic guitar
William Pisarri: bass guitar, shriek, clarinet
Michael Colligan: reeds
Dylan Posa: conductor, casio
Julie Pomerleau: violin

The world may not have been - nor be - ready for The Flying Luttenbachers. But it does need them. Music bound up within a tight knot of contradictions. There is something deeply cleansing about their dirty, gritty sound. Along with an uncompromising honesty to see the "truth" as a lie. Improvising musicians from the Chicago scene late in the twentieth century guided by Weasel Walter's insatiable drive to realize a brutal prog sound. The open embrace of noise and a willingness to play with it with unbridled aggression has produced a record that has aged well.

Ellery Eskelin: Forms. 2004. Hat Hut Records: hatOLOGY 592.

Ellery Eskelin: tenor saxophone
Drew Gress: double bass
Phil Haynes: drums

Even the most talented free players are not immune to the charges of being somehow unable to play "straight" or inside the tradition. Often leveled by people who don't realize that playing "free" can be far more challenging. With Forms, Ellery Eskelin put together a nice F.U. to that kind of criticism. With tracks titled after the styles Eskelin employs; "Blues," "Ballad," "Latin," "Bebop" and so on, Eskelin shows off not only his ability to play "inside," but his compositional ability as well. Teamed up with a rhythm section of heavy hitters in Gress and Haynes, this music doesn't feel constrained at all by the tradition. Far from it. It turns out to be a good record full of inventive twists from one of the most relentlessly creative figures on the scene.

Dave Douglas: Sanctuary. 1997. Avant: 066.

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

Still a staple in the HurdAudio sonic ideal. The musicians on this recording have such strong personalities and the playing is so free that this becomes a double-disc game of picking out who is adding what to the overall sound at any given moment. This one hits a rare balance between structure and un-structure that soars in the hands and ears of these players. The presence of two samplers adding a constant destabilizing foil to the sound with the appearance and disappearance of sampled grooves combined with Dougie Bowne's excellent drumming. One can hear faint hints of the kind of electronic sound Dave Douglas would later be mining in the decade that followed.

HurdAudio Rotation: Interpretation and Improvisation

Erik Friedlander: Topaz. 1998. Siam Records: SMD-50003.

Erik Friedlander: cello
Andy Laster: alto saxophone
Stomu Takeishi: bass
Satoshi Takeshi: percussion

Erik Friedlander's highly developed technique and rich grasp of improvisation rarely gets nearly the credit that it deserves. He's been excellent for some time and his discography is well worth many listens. With this quartet his cello timbre weaves a vivid territory between the elastic electric bass of Stomu Takeishi (another player with mad technique deserving more attention) and Andy Laster's alto saxophone. And once again Andy Laster leaves these ears deeply impressed. He has been a standout talent on everything I've ever heard him on. The way this material balances against the rhythm section of Takeshi and Takeishi is another draw.

Ellery Eskelin/Andrea Parkins/Jim Black: Five Other Pieces (+2). 1999. Hat Hut Records: hatOLOGY 533.

Ellery Eskelin: tenor saxophone
Andrea Parkins: accordion, sampler
Jim Black: percussion

The Dance of Maya by John McLaughlin
April by Lennie Tristano
India by John Coltrane
Song for Che by Charlie Haden
Prelude II by George Gershwin
Cause and Effect by Ellery Eskelin
Ways and Means by Ellery Eskelin

I've been living with this recording in my life for some time now and still find startling details around every turn as this great trio anchors their fantastic flights to a handful of "covers" before launching back into the stratosphere inhabited by tenor saxophonist Ellery Eskelin. This particular take on "The Dance of Maya," with Andrea Parkins pumping out its iconic harmonic changes on accordion, is as thrilling as any take on the McLaughlin classic as you will ever hear. What follows is a wide ranging journey that shows off the collective sound this unique ensemble has forged. The reference points of Tristano, Coltrane, Haden and Gershwin showing off an inventiveness that pulls the ear deeper into this music. "India" develops along a large arcing form long before the melody reveals itself. The sensitivity reserved for "Song for Che" fits both the reverence of its subject along with a faithfulness to the beauty of the composition. The "+2" compositions from Eskelin mark the point this trio drops all anchors and takes the listener into fresh territory. This is one disc that endures and documents this remarkable combination of players.

John Coltrane: Giant Steps. 1960 (re-released in 1998). Atlantic Records: 1311-2.

John Coltrane: tenor saxophone
Tommy Flanagan: piano
Cedar Walton: piano
Wynton Kelly: piano
Paul Chambers: bass
Jimmy Cobb: drums
Lex Humphries: drums
Art Taylor: drums

There are any number of reasons why this is one of the great jazz albums of all time. And all of them point toward John Coltrane as a creative musical force. More than half a century later the sheets of sound that cascade from his horn retain their spark. While "Giant Steps" has taken on a life of its own as the standard for wood shedding musicians looking to master the rapid fire bebop changes it is followed by so many great Coltrane compositions that have also endured multiple interpretations and tributes. Especially the beautiful "Naima" or my personal favorite; "Syeeda's Song Flute." The alternate takes on so many of these classics providing insight into John Coltranes improvisational approach with these great tunes. Each performance on this recording is definitive while these pieces feel open. The itch to work out one's own interpretation of these pieces is felt throughout this classic record.

HurdAudio Rotation: 3 Reedsmen

Anthony Braxton Sextet: (Victoriaville) 2005. 2005. Victo: cd 098.

Anthony Braxton: alto saxophone, soprano saxophone, f soprano saxophone
Taylor Ho Bynum: trumpet
Jay Rozen: tuba
Jessica Pavone: violin
Chris Dahlgren: double bass
Aaron Siegel: drums, percussion, vibraphone

The creative direction and influence upon this sound is unmistakeably Braxton's as this Sextet of improvisers interprets Composition No. 345. And yet it remains a platform for hearing multiple angles from each of these players over this hour long experience. The lines of communication and interaction between players is taut as it crackles with a reserved, collaborative energy. Braxton's own saxophone lines drive home just how much of a master he is at the art of improvised music. The structural underpinnings that make this long form experience possible is also yet another testament to the systems and integrity of Braxton's deeply thought out approach to this music. One can hear these individuals listening just as much as one can hear them performing faithfully within the parameters of Braxton's vision. Beyond the considerable layers of intellect running throughout this music there is also the sonic beauty of it. Which is perhaps the strongest argument of all. An impressive slab from the prolific artistry of Anthony Braxton.

Ellery Eskelin: Vanishing Point. 2001. Hat Hut Records: hatOLOGY 577.

Ellery Eskelin: tenor saxophone
Mat Maneri: violin
Erik Friedlander: cello
Mark Dresser: bass
Matt Moran: vibraphone

This disc bolts into the air with one of Eskelin's signature tenor saxophone lines. And before long the string section and vibraphone are not far behind him as the individuals of this quintet weave around and respond to Eskelin's playing. Eventually a collective sound emerges that is more collective than individually driven. Unlike the Braxton Sextet - which is undeniably Braxton at every aesthetic turn - this one is a playground of five musicians of equal creative stature. The timbral combination of strings, vibraphone and tenor saxophone is incredibly pleasant. The extended techniques emanating from the string section offering a sharp contrast to the notion of "strings" as a lush backdrop for saxophone solo. The degree of attention at work behind the spontaneity of this sound is deceptive. This is music that finds a form through collective memory that is impressive to hear.

Ornette Coleman: Sound Grammar. 2006. Sound Grammar: SG 11593.



Ornette Coleman: saxophones, violin, trumpet
Denardo Coleman: drums, percussion
Gregory Cohen: bass
Tony Falanga: bass

A representative sampling of the current Ornette Coleman quartet at this late point in his career. By now the Ornette songbook is overflowing with compositions and the practice of harmolodics is a refined (if still not widely understood) philosophy and improvisational approach. Coleman's voice on saxophone is as strong and personal as it ever was. There's a feeling of effortlessness now with a sound that took a lifetime of struggle to forge. The two-bass quartet manages to find a sonic territory that encompasses the full breadth of Ornette's journey into a sound that is at once joy and a recapitulation of an impressive life in music. A worthy addition to any jazz collection.

HurdAudio Rotation: The Monk and The Nun

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

Ellery Eskelin: tenor saxophone

An unfettered stretching out through materials and ideas by the enormously creative tenor saxophonist. Other than the brief final track with its light pre-programmed percussion underpinning the Latin "Besame Mucho" by Torres Velazquez. The first half of this disc offers up conceptual purities of Eskelin's design. Melodic - even lyrical - textures torn at odd angles by controlled, ragged bursts. Each feeling a little short - no small feat within an extended period of unaccompanied monophonic instrument. Eskelin then takes a turn toward interpreting "Body and Soul" and Monk's "Off Minor" to reveal the manner in which he embraces song form with his stylistic bravado. Each sounds more beautiful and intimate than the piece before it. A worthy reedsman in a landscape of evolving jazz giants.

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

Suite for Clarinet I (1932)
Daniel Goode: clarinet

String Quartet No. 1 (1933 - 1934)
Miwako Abe: violin
Aaron Barnden: violin
Erkki Veltheim: viola
Rosanne Hunt: cello

Three Songs for Soprano and Clarinet (1934)
Merlyn Quaife: soprano
Craig Hill: clarinet

Bees (date unknown)
Peter Dumsday: piano

The Federal Music Project (1936)
The Astra Choir
John McCaughey: conductor

Movement for Two Pianos (1936)
Peter Dumsday: piano
Kim Bastin: piano

Suite for Clarinet Ib (1932)
Craig Hill: clarinet

String Quartet No. 2 (1936)
Miwako Abe: violin
Aaron Barnden: violin
Erkki Veltheim: viola
Rosanne Hunt: cello

Ballad of the Star-Eater (1934)
Merlyn Quaife: soprano
Craig Hill: clarinet

Movement for Double Bass and Piano (1936)
Nicholas Synot: double bass
Kim Bastin: piano

Three Pieces for Choir (1937)
The Astra Choir
John McCaughey: conductor

Sonatina in C (1943)
Peter Dumsday: piano

Beautifully performed and recorded double-CD that fills in a missing contemporary of Ruth Crawford-Seeger, Henry Cowell and Carl Ruggles. (Missing for these ears until now, that is). An astonishing collection of modernist works realized through the Great Depression with an ear for the Dissonant Counterpoint theories developed by Pete Seeger. Each work included here is an absolute gem. The string quartets are a fantastic balance of texture, counterpoint and thematic development. The choral works feature turns of whimsy along with ghostly sustained tones trailing off from the sopranos. Deserving of many more listenings.

Thelonious Monk: The Complete Riverside Recordings [disc 1]. 1986. Riverside: RCD-022-2.

July 21 and 27, 1955 sessions with:
Thelonious Monk: piano
Oscar Pettiford: bass
Kenny Clarke: drums

March 15, 1956 & April 3, 1956 sessions with:
Thelonious Monk: piano
Oscar Pettiford: bass
Art Blakey: drums

It's Sunday morning, and there is no experience closer to deity than the interactions between Monk and Pettiford 54 years ago. This first disc features a generous selection of mostly Ellington tunes given the Monk treatment with precision brevity. With a melodic sensibility so inventive that the solos don't need to make any formal departure into a world of chord changes. "Caravan" is a highlight with the laid back forward momentum of the rhythm section of Pettiford and Clarke. The excellent Fats Waller tune "Honeysuckle Rose" is transformed into something other worldly and the often dreadful Van Heusen ballad "Darn That Dream" gets some much needed dissonant voicings. A case study in how to draw the most creative verve out of show tunes and standards.

HurdAudio Rotation: Standards and Lies

Anthony Braxton: Piano Quartet, Yoshi's 1994 [disc 1]. 1996. Music & Arts: CD 849.

Anthony Braxton: piano
Marty Ehrlich: alto saxophone, soprano saxophone, clarinet
Joe Fonda: bass
Arthur Fuller: percussion

As an interpretation of jazz standards this one is a train wreck. I keep coming back to these sessions - and there is plenty to gleam from the experience - but I have to admit to finding Braxton's pianism troubling. Marty Ehrlich's playing is outstanding. One can imagine the mix of curiosity, joy and confusion present at Yoshi's as these familiar Coltrane and Gillespie tunes get churned through the brittle and plodding churn of this quartet. The old standards are open to all different kinds of interpretations, and they are an unmistakable launching point for these ruminations. There's an irreconcilable disappointment that the twin forces of tradition and free improvisation was delivered with such a heavy pair of hands on the ivories.

The Flying Luttenbachers: ...the Truth is a Fucking Lie... 1999. ugEXPLODE Records: GR61cd/ug10.

Weasel Walter: drums, trumpets, electronics, mellotron
Kurt Johnson: bass guitar
Fred Lonberg-Holm: cello
Chuck Falzone: electric guitar
William Pisarri: bass guitar, shriek
Michael Colligan: reeds, etc.
Dylan Posa: conductor, casio
Julie Pomerleau: violin

There is a clenched fist quality to this music that steers this sound - and by proxy the ears tuned to it - away from even the slightest shade of the sentimental. Sounds driven by sheer necessity and brutal allegiance to sonic textures fueled by rage and unflinching layers of dissonance. Propelled by the raw kinetic drive of drummer Weasel Walter as he draws upon the considerable forces of Chicago free jazz and hard-core musicians this is an expression that is both ugly and necessary.

Ellery Eskelin: Forms. 2004. Hat Hut: hatOLOGY 592.

Ellery Eskelin: tenor saxophone
Drew Gress: double bass
Phil Haynes: drums

This one is more of an oblique approach to the idea and ideal of jazz tradition and its "standards." Other than an interpretation of Duke Ellington's "Fleurette Africaine" and Dizzy Gillespie's "Bebop" these are Ellery Eskelin originals cast within a standard tenor saxophone trio instrumentation and titled after deep stylistic nodes of the tradition: "Blues," "In Three," "Ballad," "Latin" and "Vignettes." The sound that comes out of this trio isn't overly steeped in tradition and the overall sonic voice retains much of the fresh qualities and individuality of these three improvisers (along with the high degree of musicianship each brings to this session).

HurdAudio Rotation: The Evolving Sound of Jazz

Erik Friedlander: Topaz. 1998. SIAM Records: SMD-50003.

Erik Friedlander: cello
Andy Laster: alto saxophone
Stomu Takeishi: bass
Satoshi Takeishi: percussion

Revisiting this disc is always a pleasure. Erik Friedlander's timbral range and lyrical qualities as an improvising cellist is well known (and celebrated) by these ears. The compositional quirks and turns of these pieces are something to anticipate. The rhythm section of Takeishi and Takeishi is a great sound on its own. But this time through this standard of the late 1990's New York jazz sound I'm struck by Andy Laster's alto saxophone playing. His playing compliments Friedlander's so well - often receding into the sonic canvas with a tone evenly matched against bowed and pizzicato lines - and weaving along melodic contours with such tight articulation that the cello and alto saxophone nearly become a single instrument running in counterpoint to the fretless electric bass and percussion.

Ellery Eskelin/Andrea Parkins/Jim Black: Five Other Pieces (+2). 1999. Hat Hut Records: hatOLOGY 533.

Ellery Eskelin: tenor saxophone
Andrea Parkins: accordion, sampler
Jim Black: percussion

Ellery Eskelin gets a sound - particularly with this trio - that takes odd turns through expansive textural territory. With Five Other Pieces (+2) that range is applied to the anchoring reference points of five "covers" contrasted against two originals. The result is a compelling argument for Eskelin's evolving place in jazz history and the sonic fabric of its ever expanding traditions. "The Dance of Maya" retains the visceral thrill of the McLaghlin original within the stripped down (and accordion driven) instrumentation while Coletrane's "India" holds its characteristic beauty after a long, freely improvised introduction. This one continues to grow on me with each pass through the rotation.

Jewels & Binoculars: Floater. 2003. Ramboy: 20.

(plays the music of Bob Dylan)
Michael Moore: alto saxophone, clarinet, bass clarinet, melodica, bells
Lindsey Horner: bass
Michael Vatcher: percussion

My listening history puts me at an odd perspective with Jewels & Binoculars in that I haven't spent any time getting familiar with the music of Bob Dylan - the compositional source and inspiration for the music performed by this trio. What I do hear is the inspiration. The reverential yet playful vibe at work in performing and improvising around these melodic beauties. These particular players are worth paying attention in any context. That they choose to ply their ability to this particular body of work makes for fascinating vibrations.

HurdAudio Rotation: Ears on the Reeds

Joe Lovano Ensemble: Streams of Expression. 2006. Blue Note Records: 946 3 41092 2.

Joe Lovano: tenor saxophone, alto clarinet, aulochrome
Gunther Schuller: conductor, arranger
Tim Hagans: trumpet
Barry Ries: trumpet
Larry Farrell: trombone
Steve Slagle: alto saxophone, flute
George Garzone: tenor saxophone
Ralph Lalama: tenor saxophone, clarinet
Gary Smulyan: baritone saxophone
John Hicks: piano
Dennis Irwin: bass
Lewis Nash: drums
Charles Russo: clarinet, bass clarinet
Michael Parloff: flute
James Weidman: piano

Gunther Schuller is a rare talent who can directly reference the miraculous sound of the collaboration between Miles Davis and Gil Evans and produce an aural image thick with homage that still crackles with all the vitality and contemporary verve that made this body of music so electric more than a half century ago. He does more than emulate the sound of those brilliant Evans arrangements, he caresses an evolutionary sheen that reveals just how rich a large ensemble sound still is. With Joe Lovano as the focal point of these performances - and as composer for the works surrounding the Birth of the Cool Suite - Streams of Expression presents an experience not unlike encoutering Miles Ahead or Sketches of Spain for the first time. Lovano has a knack for drawing upon deep jazz roots and delivering the sound of a living history. There is no stench of conservative revivalism in this music. These are great arrangements combined with passionate performances that are more than worthy of any Blue Note recording of any era.

Anthony Braxton Sextet: (Victoriaville) 2005. 2005. Victo: cd098.

Anthony Braxton: alto saxophone, soprano saxophone, sopranino saxophone
Taylor Ho Bynum: trumpet
Jay Rozen: tuba, electronics
Jessica Pavone: violin
Chris Dahlgren: bass
Aaron Siegel: drums, percussion, vibraphone

Musicologists will have an abundance of riches to sort through when studying the music of Anthony Braxton. The overwhelming substance of his theoretical underpinnings is backed up by an expansive recorded catalogue that could take several lifetimes to fully absorb. Somewhere in that ocean of Braxtonian bliss is this sampling of "second species ghost trance music" as performed by this sextet of brilliant improvisers. The near-meditative quality of this long-form composition ripples with the intense layering and sensitive contributions from the members of this group.

Ellery Eskelin: Vanishing Point. 2000. Hat Hut: hatOLOGY 577.

Ellery Eskelin: tenor saxophone
Mat Maneri: viola
Erik Friedlander: cello
Mark Dresser: bass
Matt Moran: vibraphone

This could almost be thought of as Eskelin's "Tenor and strings (with vibraphone)" with the way this sound contrasts against the aural image of a lone reeds man soaring against a "lush" bed of strings. The reality of this recording is that this is a quintet of equals where no one plays "second fiddle." The sonic interaction between players and the complete spontaneity of these free improvisations is a showcase of real-time composition from five of New York's finest creative talents. The low to mid-range territory of this instrumentation is never clouded as the ears applied to these performances keeps the thickness of this sound well in check with startling contrasts and an intuitive grasp of form.

HurdAudio Rotation: Roots, Preomintion and Gravitas

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

Misha Mengelberg: piano
in duos and trios with configurations of:
Steve Potts: alto saxophone, soprano saxophone
Thomas Heberer: trumpet
Michel Godard: tuba, serpent
Achim Kremer: percussion

Misha Mengelberg mines an unusual space within the nearly limitless confines of free improvisation. There is a calm, unhurried exhilaration that the sequence of moments and gestures could go in any direction - with a technique to back up the stylistic demands of any journey. With unfailing taste for improvising partners these snapshots convey a mature yet wild sound that is rarely so deftly navigated as it is in The Root of the Problem. These ears are taking notice of Mengelberg and curious to hear more from the Dutch jazz scene.

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

Ellery Eskelin: tenor saxophone

There's a part of me that wants to hear a "For Tenor" follow up to Anthony Braxton's groundbreaking For Alto recording from 1969. Eskelin's Premonition, a solo tenor saxophone outing is a high accomplishment of its own that carves out a singularly different territory from the monophonic language of Braxton. The balance of three solos from Eskelin's structured improvisations of "Song Cycle" against three standards sheds light on the common thread that runs through Eskelin's sound as both composer and interpreter. The "Song Cycle" makes it clear that Eskelin's distinctive sound is his own, and in full sonic view even when unaccompanied by the extreme talents with which he normally surrounds himself. The light, pre-programmed percussion on the brief "Besame Mucho" clouds the solo experience to some extent, but makes for a pleasant coda. "For Tenor" it isn't, but it is a strong case for outstanding creative and lyrical voice of Ellery Eskelin.

Wayne Horvitz/Gravitas Quartet: Way Out East. 2006. Songlines: SGL SA1558-2.

Wayne Horvitz: piano, electronics
Peggy Lee: cello
Ron Miles: trumpet
Sara Schoenbeck: bassoon

The "chamber jazz" that Wayne Horvitz has been mining in recent years takes on the hues of improvising piano, cello, trumpet and bassoon on Way Out East. This disc shares several melodic and formal qualities with Horvitz's Otis Spann release from 2001 with the Seattle Chamber Players. But the group improvisation - and the prominence of Shoenbeck's bassoon sound - takes this music into slightly different territory. The short durations of these pieces and the strong harmonic and melodic focus keep things within a "composed" sensibility even as the improvisation adds considerable detail and texture. The few pieces that are free improvisations - either as a duo with Schoenbeck in "Our Brief Duet" or as a group on "Between Here and Heaven" and "Reveille" - manage to fold completely into the familiar treads of Horvitz's distinct sound. This makes for a sonically attractive, shimmering listening experience.

HurdAudio Rotation: Two Sax Trios and a Piano Quartet

Thomas Chapin Trio: Anima. 1991. Re-released as Disc 2 of Alive. Knitting Factory Records: 35828 02482-2.

Thomas Chapin: alto saxophone, flute, alto flute, voice changer, laff box
Mario Pavone: bass
Steve Johns: drums
with guest:
Michael Sarin: drums

With the tragic loss of Thomas Chapin - gone far too soon - and the loss of the Knitting Factory as the jazz institution it once was this recording hits the ears with the same vibrancy and frozen moments from a golden age of creative excellence one hears from an Art Blakey recording. Mario Pavone has a rich, warm timbre on the bass and the sense of time that sits deep within the pocket. These Thomas Chapin compositions and improvisations peel away the passing seconds with brilliant vitality. At times he finds a looping pattern that reinforce a deeply satisfying groove. At other times he carves longer melodic lines across the surface. The end result is an achingly beautiful legacy.

Anthony Braxton: Piano Quartet, Yoshi's 1994 [disc 1]. 1994. Music & Arts: CD 849.

Anthony Braxton: piano
Marty Ehrlich: alto saxophone, soprano saxophone, clarinet
Joe Fonda: bass
Arthur Fuller: percussion

As a die-hard Braxton fanatic I've found this particular set hard to embrace with the same enthusiasm that comes naturally with his more aggressively genre defying compositions and free improvisations. But it's hard not to keep coming back to this music given the outstanding musicianship contained within this quartet. And this time through the ears have hooked onto some unexpected pleasures. There is more dynamic range in Braxton's thorny pianism than I'd given credit for - particularly in the quiet moments of "Bluesette"and the unusual accompaniments he plies behind the other soloists. The focal points on these jazz standards is a complete departure from how one would listen to them in more museum-esque presentations, but that's what Braxton brings to the table with his considerable creative energy harnessed toward the service of these jazz war horses. The rough edges of Braxton's piano technique are tough to hear beyond- but there is a different light cast on these familiar pieces that is startling.

Ellery Eskelin: Forms. 1990 - re-released in 2004. Hat Hut Records: hatOLOGY 592.

Ellery Eskelin: composer, tenor saxophone
Drew Gress: bass
Phil Haynes: drums

This early effort puts Eskelin's tenor within a conventional trio instrumentation and showcases his compositional and improvisational brilliance beyond the textural manipulations he has navigated since. The titles of Eskelin's original compositions read like the generic labels of a no-frills shelf: "Blues," "Ballad," "Latin," "Bebop" and so on while the moment to moment unfolding of this sonic fabric is anything but vanilla. The rhythm section of Gress and Haynes provides an outstanding sound for these pieces with a creative impulse that clearly helps drive Eskelin's creative energy on these performances.

HurdAudio Rotation: Two From New York and One From Montreal

Erik Friedlander: Topaz. 1998. Siam Records: SMD-50003.

Erik Friedlander: cello
Andy Laster: alto saxophone
Stomu Takeishi: electric bass
Satoshi Takeishi: percussion

The rhythm section of Takeishi and Takeishi lock in with an electric bass language of elastic, rubbery timbres and natural harmonics complimented by a soft touch on the cymbals and skins. Added to this inviting ground is the merging and diverging raspy tone of Friedlander's sawing against Laster's reedsmanship. This is a Friedlander led quartet, but each player cycles into sharp focus with enormous fluidity and I am struck by Andy Laster's sense of melody on this one.

Ellery Eskelin/Andrea Parkins/Jim Black: Five Other Pieces (+2). 1999. Hat Hut Records: hatOLOGY 533.

Ellery Eskelin: tenor saxophone
Andrea Parkins: accordion and sampler
Jim Black: percussion

Eskelin's "klangfarbenmelodie of textures" takes on particular clarity with his treatment of the five "other" pieces on here and it makes for a particularly satisfying listening experience. John McLaughlin's "The Dance of the Maya," John Coltrane's "India" and Charlie Haden's "Song for Che" retain all the same verve and immense appeal of the original versions while still drawing from a sonic pallet that is clearly Eskelin. Following these up with almost half an hour of original compositions makes for a compelling argument for Eskelin as an artist and innovative improviser worthy of comparisons to McLaughlin, Coltrane and Haden.

Marianne Trudel: Espaces libres. 2004. TRUD 2004.

Marianne Trudel: piano

Individually, the 16 tracks on this disc cover a lot of territory with poetic brevity and startling transitions. Taken as a whole, this is a unique pianistic voice with refined technique and an almost whimsical sense of phrasing. The shortness of these pieces leaves the ears hungry for longer expressions of extended intensity, which is part of its charm. There are shades of Abdullah Ibrahim, Erik Satie and Vince Guaraldi in this music. The ears come away deeply intrigued by this Montreal pianist.

HurdAudio Rotation: Tenor, Alto and Latin Prayers

Ellery Eskelin: Vanishing Point. 2001. Hat Hut Records: hatOLOGY 577.

Ellery Eskelin: tenor saxophone
Mat Maneri: viola
Erik Friedlander: cello
Mark Dresser: bass
Matt Moran: vibraphone

Ah, the sweet sounds of Eskelin's tenor with strings. But this isn't the saccharine, faceless wash of backing strings over sinewy show tune melodies any more than Matt Moran's vibraphone is a "heavy metal" addition to this sound. This is a meeting of five equals as each spontaneously contributes to the final sound. And putting five great improvisers in a studio together is a winning formula. This one even more so. There's some big ears, big chops and lot of surprising moments on this disc.

Ornette Coleman: Sound Grammar. 2006. Sound Grammar: SG11593.

Ornette Coleman: saxophone, violin, trumpet
Denardo Coleman: drums, percussion
Gregory Cohen: bass
Tony Falanga: bass

We should all sound this good at age 76. Ornette Coleman keeps the harmolodic fires burning with this great quartet. With a melodic sensibility and improvisational genius that has never stopped evolving as Coleman is completely "on" for this live set in Ludwigshafen, Germany. The texture of one arco bass, one pizzicato bass, and the loose-yet-centered drumming of Denardo Coleman is an ideal sonic bed for Ornette's sonic language. Everything he's ever done will always be compared to those breakout Atlantic recordings. One should not be blinded by his brilliant past when drinking in his thrilling recent outings.

Giacinto Scelsi: Natura Renovatur. 2005. ECM: New Series 1963/476 3106.

Francis-Marie Uitti: cello (on all tracks)
Munchener Kammerorchester:
Christoph Poppen: conductor
Muriel Cantoreggi, Max Peter meis, Romuald Kozik, Clara Baek, Michaela Buchholz, Viktor Konjaev, Bernhard Jestl, Mary Mader: violins
Kelvin Hawthorne, Nancy Sullivan, Stefan Berg, Aidan Pendleton: violas
Peter Bachmann, Michael Weiss, Benedikt Jira, Claudia Weiss: cellos
Veronika Papai: double-bass

Ohoi for 16 strings (1966)
Ave Maria for violoncello solo (1970) from: Three Latin Prayers for solo voice
Anagamin for 11 strings (1965)
Ygghur for voiloncello solo (1961) from Trilogy - The three ages of Man
Natura renovatur for 11 strings (1967)
Alleluja for voiloncello solo (1970)

While each work in this collection is an astonishing piece of shimmering beauty - each well recorded and superbly performed - it is the solo pieces played by Francis-Marie Uitti that are the most devastating in this collection. Ygghur for solo cello being the most intense, focused work of them all. Given the unique working relationship formed between Uitti and Scelsi and the depths of Scelsi's creativity and spiritual focus that Uitti plumbs with so much authenticity I can only wish that ECM had had the courage to make this a full length CD of solo cello music. But given a choice between exquisite versus devastatingly exquisite this is a small complaint. The strains of Alleluja from Three Latin Prayers for solo voice that Uitti lovingly unfolds at the close of this listening experience painfully superb.

Chamber Music/Extended Technique/Creative Improvisation Synthesis @ An Die Musik

Vincent Courtois/Sylvie Courvoisier/Ellery Eskelin Trio @ An Die Musik, Baltimore, MD
September 14, 2007

Vincent Courtois: cello
Sylvie Courvoisier: piano
Ellery Eskelin: tenor saxophone


From the first deliberate sound of the opening set - a natural harmonic from a piano string with one hand muting the node and the other bringing the hammer solidly against the string from the keyboard - Sylvie Courvoisier
possessed an aggressive and uncontainable creative edge that had her springing from the piano bench. Even the idiosyncratic creaks and squeaks from that very bench were seized upon as a coherent answer - and brilliant accompaniment - to Courtois's amplified micro-sound explorations on the cello.

The convergence upon the similarities of bow scrapes, tenor keypads and a piano bench is just one example of the reactive approach toward improvisation that marks the textural territory mined by this fantastic trio. These master improvisers fill the sonic canvas by matching one another and making transitions through subtraction and addition as they tastefully withdraw their own contributions to expose duos and solos before finding a new texture to match. Vincent Courtios made his own "perfect pitch" abundantly clear several times as he answered several gestures with an exact match of his own.

Ellery Eskelin has made a career out of crafting and creating situations that allow these kinds of textures to emerge and transform. Much of this is well documented (and quietly emerging as a point of fixation at HurdAudio) as he has developed an approach toward weaving his own sound and impulse into an astonishing range of situations. Here, his linear contributions and deft pointillistic exchange made for a nice counterbalance to the elastic timbral explorations of the piano and cello. The moments of piano and tenor saxophone duos that emerged from time to time within these free improvisations took on beautiful, Messiaen-like hues.

The use of amplification brought out an interesting dimension to Vincent Courtois's cello sound. As the only amplified instrument on stage, it wasn't used to "compete" with the piano and saxophone volumes. It did bring out the micro-sounding world of cello string and body sounds as scrapes and percussive taps were brought into sharp focus. The dynamic use of the volume pedal had me wondering how such technique might be employed for the extended piano sounds. And in a moment of improvisative generosity, Courtois angled his cello so that the contact microphone would pick up Eskelin or Courvoisier's playing, adding the resonance of the body of the cello and the emanation from the amplifier to the overall sonic image. This worked particularly well.

Sylvie Courvoisier has impressively integrated extended techniques into her overall approach. Each movement toward the inner guts of the piano was a natural part of her sound. With mallets, gaffer tape, metal balls and picks within easy reach she shaped the piano sounds with an even consistency no matter what method was employed to vibrate the piano wire. There was a period of strummed chords across the strings with the harmonic tones silently depressed from the keyboard - a technique reminiscent of Henry Cowell's Aeolean Harp - that unfolded with fantastic spontaneity and textural logic. The restlessness of constantly folding new material and timbres into her playing combined with an unfaltering deliberateness that made the live Courvoisier experience a revelation.

HurdAudio Rotation: One by Trio, Two by Quartet

Ellery Eskelin/Andrea Parkins/Jim Black: Five Other Pieces (+2). 1998. Hat Hut: hatOLOGY 533.

Ellery Eskelin: tenor saxophone
Andrea Parkins: accordion, sampler
Jim Black: percussion

The five "other" pieces are interpretations of works by other composers from this idiosyncratic trio that has become an important vehicle for Ellery Eskelin's original compositions over the years.

The 5 "others" -
"The Dance of Maya" by John McLaughlin
"April" by Lennie Tristano
"India" by John Coltrane
"Song for Che" by Charlie Haden
"Prelude II" by George Gershwin

The liner notes - written by Eskelin himself - touch briefly upon the "Klangfarbenmelodie" of textures idea that marks Eskelin's creative approach (which explains how he develops such fantastic sonic textures) and how he applied this approach to selecting five pieces for interpretation. Eskelin writes every bit as well as he plays and just reading his words is almost as stimulating as hearing the music contained on this disc. Hearing how he prods and respectfully re-forms these familiar compositions reveals a great deal about how his sensibilities shape his original pieces. And with the "+2" of two Eskelin originals at the end of this set one can hear these same creative impulses and intensity directed at a blank canvas.

Elliott Sharp: Dispersion of Seeds. Performed by the Sirius String Quartet. 2003. zOaR Music: ZPO-03.

Elliott Sharp: composer, computer
Sirius String Quartet:
Meg Okura: violin
Gregor Huebner: violin
Ron Lawrence: viola
David Eggar: cello

Dispersion of Seeds is a 16-minute work for string quartet that is presented as an acoustic work followed by two versions run through various electronic processing techniques. As a 3-movement experience one can hear the "seeds" take root as the string sounds transform into something formally consistent, yet transformed into new timbres of increasing density. One parameter that goes untouched is time. I wonder if the metaphor of "growth" could have been strengthened conceptually with more variable durations between movements. As these are modular works - composed as stand alone works or as as a single 3-movement work - this does not detract from the sonic beauty and rich textures of this piece. The processing never loses sight of the quality of bowed strings as rich layers of resonance are applied in thick slabs of sound. Sharp's string writing continues to be a peculiar obsession for my ears.

Terry Riley/Kronos Quartet: Cadenza On The Night Plain. 1984. Gramavision: RS 79444.

Terry Riley: composer
David Harrington: violin
John Sherba: violin
Hank Dutt: viola
Joan Jeanrenaud: cello

This one is a staple in the HurdAudio Rotation. The title work is the centerpiece of this collection. And it's a fantastic piece of program music spun with rich story-telling instincts. But it's the three early works that precede it that grow on me more and more. I'm swept up by "Sunrise of the Planetary Dream Collector" every time. The arrangement of "G Song," clearly an adaptation of Riley's piano music, soars in this medium. And "Mythic Birds Waltz" is like a vivid still life with great contrast painted with deft rhythmic strokes.