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: 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: Solo, Trio, Solo

Forbes Graham: Another Return. 2007. CD-R - available from the composer at Polyrhythmatics.net.
Forbes Graham: trumpet, laptop computer.
The laptop computer serves as a microscope into the plumbing of the trumpet as Forbes Graham builds sonic worlds from the minutia of the brass instrument. After seeing Graham performing live at the Red Room a few weeks ago I had to come back and listen to this music on CD just to hear how it would strike me without the visual element of his performance. The characteristics of "trumpet" are still in the sounds. One can hear the shape of the tubing amplified, the spit rolling around the pipes and the air moving through the columns through all the electronic manipulations. Graham has an ear for the tension of amplified quiet.

Bill Frisell: Bill Frisell with Dave Holland and Elvin Jones. 2001. Nonesuch. 79624-2.
Bill Frisell: electric and acoustic guitars, loops
Dave Holland: bass
Elvin Jones: drums
The pieces on this disc will be familiar to anyone who has followed Bill Frisell's career. It's the trio, and the way they interpret these compositions, that becomes the focal point here. And I always come away from hearing this one with renewed awe for the drumming of the late Elvin Jones. Frisell has played with so many great drummers. But teaming up with Elvin Jones may be the most inspired combination on record.

Gunda Gottschalk: Wassermonde. 2002. Elephant 002.
Gunda Gottschalk: solo violin and viola
This is a well-recorded representation of the solo Gottschalk experience. She has a unique, beautiful sound and a fascinating approach toward solo improvisation. Though on this recording, the formal structure of this 66-minute work is incredibly clear, and a little more obvious than what I heard live. Perhaps I bring a different level of attentiveness to this recording than when seeing her perform. Her ability to return to themes and sounds developed earlier within a single improvisation is convincing and does make for a satisfying listening experience.