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.

Brötzmann's State of the Alto = LOUD!

Peter Brötzmann/Han Bennink Duo @ An Die Musik, Baltimore, MD
Saturday, April 19, 2008

For all the forceful, aggressive energy that fuels a Peter Brötzmann and Han Bennink collaboration there is the duality of the necessary Dionysian release of such a kinetic sound against the Apollonian subtleties that spring from the ongoing dialogue that has passed between these improvising giants for decades. The reputation for "sonic terror" that precedes Peter Brötzmann gives short shift to the deft manner in which he navigates quiet, introspective territory while still maintaining his considerable intensity. The balance and range of territory explored by this pair carves a wide path of sound delivered in large slabs pouring from Brötzmann's alto and Bennink's drum kit.

Peter Brötzmann's roots as a painter are evident in his approach toward improvisation. The rich sheets of sound pouring from the tarogato, clarinet and saxophones splash against the canvas of time with a deliberate abandon. Leaving behind a music that is at once thoughtful and freed from overly intellectualized constraints.

Han Bennink's sense of whimsy and energetic approach toward percussive textures makes this duo sound complete in its relentless probing. Unwilling to be contained by the kit, Bennink resorts to ad hoc re-arrangements that allow him to focus on exploring the percussive potential of the room. Drum sticks along the edge of the hardwood floor and carpet takes on an expressive focus. The sound of passing sirens outside the venue are folded into the performance as each instinctively pauses and reacts to the sounding reality. These performers tap into a creative wave that unleashes massive tidal forces containing small, detailed parts within its wake. The currents within this music holds considerable gravity for these ears.

Double Dutch Jazz

Misha Mengelberg Quartet
Friday, January 18, 2008 @ International House, Philadelphia, PA

Misha Mengelberg: piano
Dave Douglas: trumpet
Brad Jones: bass
Han Bennink: drums

The sense of theatrical absurdity that permeates the physical force of Han Bennink at the drum kit (often as he dissembles it) or the fluxus tinged clusters beneath the fists and palms of Misha Mengelberg at the piano coexists with deep jazz roots that seemingly extend to the very source of dixieland swing, tin pan alley and the blues with assertive swipes at bop, modal jazz and fusion along the way. That these Europeans have come to be masters of this musical genre and living treasures of improvised music speaks to the lessons learned from the expatriate years of Eric Dolphy, Don Cherry and Albert Ayler.

Misha Mengelberg made his recording debut in 1964 as a sideman for Eric Dolphy's final album. Three years later he founded the Instant Composer's Pool Orchestra, a large ensemble that continues to tour and expose ears to the outstanding avant jazz scene of Amsterdam. The fact that his current quartet includes Dave Douglas - one of the most consistently engaging American trumpet players, improvisers and label mavens of this age - and still gets top billing speaks to the enduring qualities of his music that my own ears are only starting to comprehend.

As a live concert, the Misha Mengelberg Quartet put on a world class performance in Philadelphia. Four musicians with intense creativity and a responsiveness that makes each one of them an ideal collaborative partner. Brad Jones effortlessly picked up phrases and gestures tossed off by Dave Douglas and wove them into the sonic fabric on bass. And the wealth of ideas and sense of play developed between Mengelberg and Bennink was a pure joy to behold.

The evening's long set began with a solo, unaccompanied Bennink putting more energy into a drum solo than most percussionists a fraction of his age. His relentless search for sonic (or visual) resources from anything and everything at hand nearly stole the focal point all evening long. As Mengelberg casually walked on stage and shifted the dynamic toward a duo the chemistry of the understated and overstated sense of the absurd took hold. As the house and stage lights malfunctioned through much of the first half of the set - often plunging everything into complete darkness before casting both performers and audience under the same harsh glow of the house lights - this quartet pressed on, treating the unplanned light show as a natural part of their uncontainable creativity. Bennink and Mengelberg's response toward reemerging into the light often took the form of flightless birds attempting to fly as they soundlessly waved their hands - a gesture of unrehearsed synchronicity.