HurdAudio Rotation: Out of the Night

Jim Black: Alasnoaxis. 2000. Winter & Winter: 910061-2.

Jim Black: drums
Hilmar Jensson: electric guitar
Chris Speed: tenor saxophone, clarinet
Skuli Sverrisson: electric bass

When experienced as a live performer, Jim Black is a kinetic, out-of-the-box drummer who rewards one's visual sensibilities with a glimpse at how he gets so many different sounds with his props and drum kit. Much of that same frenetic energy is present on recording with the additional mystery to exactly what techniques he is applying at any given time. With Alasnoaxis that same, barely controlled energy makes its way into the electric guitar and bass parts. As Skuli Sverrisson might simply carve out a groove over the top of Hilmar Jensson's noise beds. All while Jim Black deliberately speeds up or slows down the overall tempo. Given all the creative elements and unexpected turns of this music, Alasnoaxis is a surprisingly structured set. Short pieces with plenty of pre-composed materials and several melodic turns. This is an incredibly rewarding listen on many levels.

Herculaneum: Olives & Orchids. 2010. Herculaneumsound: EF 001 (LP only).

Dylan Ryan: drums, vibraphone
David McDonnell: alto saxophone
Nate LePine: tenor saxophone, fluteNick Broste: trombone
Patrick Newbery: trumpet, flugelhorn
Greg Danek: bass
with guest:
John Beard: guitar

Every self respecting urban center needs a band like Herculaneum that can throw down the beat and keep things in a groove. With Chicago there is the additional heft of jazz players with deep chops. Bringing on the difficult balance of keeping things fun and keeping things deep at the same time. Cut into a slab of green vinyl, Olives and Orchids is a DIY feast of groove heavy arranging with plenty of variation to keep things fresh. Impressive arrangements abound and this band never loses its forward momentum. The bass line from "Black Cloud" promises to keep running through my mind well after the needle leaves the groove.

Joe Henderson: Page One. 1963 (re-released in 1988). Blue Note Records: CDP 7-84140-2.

Joe Henderson: tenor saxophone
Kenny Dorham: trumpet
McCoy Tyner: piano
Butch Warren: bass
Pete La Roca: drums

Recordings from an era when this music was at its most resonant and alive. Long before this sound became relegated to lounge acts. A sonic glimpse into the compositional originality of Kenny Dorham and Joe Henderson as tune smiths. Page One is strong evidence of why this sound continues to be so resonant over the decades. And "Blue Bossa" makes the case for Dorham as a true original as composer and arranger. It's records like this that make the Blue Note back catalog so intimidating and a sonic joy to wrap the ears within.

HurdAudio Rotation: J.H., J.T. & J.S.B.

Joe Henderson: Mode for Joe. 1966 (1988 re-issue). Blue Note Records: CDP 7-84227-2.

Joe Henderson: tenor saxophone
Lee Morgan: trumpet
Curtis Fuller: trombone
Bobby Hutcherson: vibraphone
Cedar Walton: piano
Ron Carter: bass
Joe Chambers: drums

This time through Mode for Joe I'm waking up to the fact that Bobby Hutcherson is an incredible player and a key part of this outstanding sound. His sense of rhythmic time and dynamicism makes his presence into something extraordinary. Easily holding his own within an ensemble of heavy hitting hard boppers. And coming well to the foreground with the Latin number "Caribbean Fire Dance." Beyond being blinded by the vibes there is the undeniable excellence of Joe Henderson's compositions and arrangements. Not to mention his solos. What kind of world would this be if Henderson wrote more original tunes? Cedar Walton and Lee Morgan also contributed original numbers to this set list as this septet throws several hard punches in a short span of time. In a Blue Note catalogue filled with perfect gems this one ranks as one of the greatest jazz recordings of all time.

James Tenney: Postal Pieces. 2004. New World Records: 80612-2.

Maximusic
Tatiana Koleva: percussion

Swell Piece
The Barton Workshop
Jos Zwaanenburg: flutes
Alex Geller: cello
Nina Hitz: cello
Judith van Swaaij: cello
Marieke Keser: violin
Jacob Plooij: violin
Elisabeth Smalt: viola
John Anderson: clarinets
Gertjan Loot: trumpet
Krijn van Arnhem: bassoon, contrabassoon
Frank Denyer: melodica
Charles van Tassel: baritone
Theo van Arnhem: contrabass
Jos Tieman: contrabass
James Fulkerson: conductor

A Rose Is a Is a Round
The Barton Workshop

Beast
Jos Tieman: contrabass

Swell Piece #2
The Barton Workshop

Having Never Written a Note for Percussion
Tobias Liebezeit: percussion

Koan
Elisabeth Smalt: viola

For Percussion Perhaps, Or... (night)
James Fulkerson: trombone, live electronics

Swell Piece #3
The Barton Workshop

Cellogram
Nina Hitz: cello

August Harp
Ulrike von Meier: harp

Studies of radical simplicity. Drawing upon the audible immediacy of conceptual form. A singular shape drawn out on a postcard becomes an ensemble of swelling sounds. A reminder that sound materials are like lumps of clay waiting to be sculpted into shapes. And that simple shapes draw out unexpected detail and acoustic phenomena. The rich, focused attention toward the beating found between two slightly detuned strings of the contrabass in "Beast," animating an inner being within that instrument. The mechanics of "August Harp" plucking through its sequences like a mobile suspended from a ceiling as it reflects and deflects the sunlight across the room. The whimsical snapshot of a round sung in "A Rose is A Rose is A Round." Or the invitation to slowly immerse the ears into a sheen of enharmonics and noise in "Having Never Written A Note for Percussion." Each performance brings the ear and mind closer toward understanding the limitless potential within even the most deliberately restricted of ideas.

Johann Sebastian Bach: Bach Edition [disc I-3]. 1994. Brilliant Classics: 93102/3.

La Stravaganza Koln
Andrew Manze: musical direction

Ouverture (Orchestral Suite) No. 1 in C Major, BWV 1066 for 2 oboes, bassoon, strings and continuo
Sinfonia from Cantata BWV 29 "Wir danken dir, Gott, wir danken dir"
Ouverture (Orchestral Suite) No. 2 in B minor, BWV 1067 for flute, strings and continuo

The music of J.S. Bach represents the loftiest of human achievements. A body of music that shaped, and continues to shape, an entire tradition of music in its wake. His material is so timeless that the ideas animating his music still resonates even through the most amateurish of performances or any number of arrangements. But when experiencing an outstanding performance by La Stravaganza Koln playing on period instruments this music positively soars. These ears were ready to pack up and head to Europe just to experience this kind of beauty up close. There is something unmistakeable about the construction of Bach's music. These are meticulously worked out while still retaining the sense of joy and reverie of the material. There is a reason why this music retains such strong gravity.

HurdAudio Rotation: Spiritually Impious

Joe Henderson: Page One. 1963. Blue Note Records: CDP 7 84140 2.

Joe Henderson: tenor saxophone
Kenny Dorham: trumpet
McCoy Tyner: piano
Butch Warren: bass
Pete La Roca: drums

The jazz loving ear is enticed from several different directions from this one. Joe Henderson is a known entity of excellence in tenor saxophone playing from this era of Blue Note Records. But just lurking beneath that band leader draw is a dose of Kenny Dorham's trumpet and arranging chops. Add in the ivory stylings of McCoy Tyner and this one shapes up to be a straight ahead classic that does not disappoint.

Satanized: Sickness and Hellth: The Secular Chansons of ... 2007. Badmaster Records: BM010.

Andrew Gaspar: voice, turntable
Alex Nagle: guitar
Evan Lipson: bass
Pete Angevine: drums

"Purple Pickle" deserves hit status in the world of lewd-core music. Satanized is an indulgence of Philadelphia's collision of noise, rage and creativity. Alex Nagle's guitar dominates my impression of this collection of jams and screaming this time through. And of course, I came back for seconds on "Purple Pickle."

The Bad Plus: Prog. 2007. Do the Math Records/Heads Up International: HUCD 3125.

Reid Anderson: bass
Ethan Iverson: piano
David King: drums

Perhaps too much is made of choice of cover tunes featured by the Bad Plus. Perhaps a generation raised on show tunes as the body of accepted jazz "standards" has not yet comprehended the straight parallel of a piano trio interpreting Tears for Fears or David Bowie. What is apparent in this music - most of it originals composed by the members of The Bad Plus - is a polished, tightly realized music from this world. Ethan Iverson hears around the confines of didactically defined jazz and draws out a sound that grooves, pounds and finds pools of carefully placed lyricism. Making direct references to Rush or Burt Bacharach with the same rhythmic crispness of Thelonius Monk brings a refreshing respect to all music regardless of its position on the spectrum between sacred and profane.

HurdAudio Rotation: Original Concepts

Joe Henderson: Mode for Joe. 1966. (re-released in 1988). Blue Note Records: CDP 7 84227 2.

Joe Henderson: tenor saxophone
Lee Morgan: trumpet
Curtis Fuller: trombone
Bobby Hutcherson: vibes
Cedar Walton: piano
Ron Carter: bass
Joe Chambers: drums

The iconic title track - a staple sound when calling the sound of Joe Henderson to mind - is actually composed by pianist Cedar Walton. As is the excellent bop classic "Black." Given the incredible improvisational prowess of Joe Henderson, it's surprising how few Joe Henderson originals spring to mind when feeding the addiction to his tone. Mode for Joe offers a glimpse into the creative mind of Henderson's world with such originals: "A Shade of Jade," "Caribbean Dance" and "Granted." The rest of this disc is the impossible talent assembled for this session along with "Free Wheelin'" penned by the trumpet great Lee Morgan. All in all, a recording that belongs on even the shortest lists of jazz must-haves.

James Tenney: Postal Pieces. 2004. New Worlds Records: 80612-2.

The Barton Workshop
Jos Zwaanenburg: flutes
Alex Geller, Nina Hitz, Judith van Swaaij: cellos
Marieke Keser, Jacob Plooij: violins
Elisabeth Smalt: viola
John Anderson: clarinets
Gertjan Loot: trumpet
Krijn van Arnhem: bassoon, contrabassoon
Frank Denyer: melodica
Charles van Tassel: baritone
Theo van Arnhem, Jos Tieman: contrabasses
James Fulkerson: conductor, trombone, live electronics
Tatiana Koleva, Tobias Liebezeit: percussion
Ulrike von Meier: harp

Maximusic (1965)
Swell Piece (1967)
A Rose Is a Rose Is a Round (1970)
Beast (1971)
Swell Piece #2 (1971)
Having Never Written a Note for Percussion (1971)
Koan (1971)
For Percussion Perhaps, Or... (night) (1971)
Swell Piece #3 (1971)
Cellogram (1971)
August Harp (1971)

James Tenney was a friend and an important mentor for me personally. His encouragement to keep one's ears open carries on as these Postal Pieces present the conceptual riches contained within "simple" - often singular - ideas communicated on a score no larger than a post card. Having Never Written a Note for Percussion is presented as a single note (with tremelo) notated with a crescendo and decrescendo underneath. In practice, this shape unfolds as a stunning texture of enharmonic partials rolling off of a cymbal struck repeatedly over a meditative duration. A conceptual idea that suggests endless permutations on gongs, electronics, ensembles or any other imagined instrumentation. For Percussion Perhaps, Or... is performed on trombone and live electronics by James Fulkerson on this collection. The beauty of this sound drawing its form and impetus from the bare essentials communicated from the small score. The Swell Pieces are exquisite, artful texture studies realized by the Barton Workshop. Each realization is a drama-free, taut study in focused listening and understanding that gently celebrates the wonders of human auditory perception.

Anthony Braxton: 9 Compositions (Iridium) 2006 [disc 6]. 2006: Firehouse 12 Records: FH12-04-03-001.

Recorded live: March 17, 2006 at Iridium Jazz Club, New York City.

The Anthony Braxton 12+1tet
Anthony Braxton: composer, alto saxophone, soprano saxophone, sopranino saxophone, clarinet and Eb contalto clarinet
Taylor Ho Bynum: cornet, flugelhorn, trumpbone, piccolo trumpet, bass trumpet, shell
Andrew Raffo Dewar: soprano saxophone, c-melody saxophone, clarinet
James Fei: alto saxophone, soprano saxophone, clarinet, bass clarinet
Mary Halvorson: electric guitar
Stephen H. Lehman: alto saxophone, sopranino saxophone
Nicole Mitchell: flute, alto flute, bass flute, piccolo, voice
Jessica Pavone: viola, violin
Reut Regev: trombone, flugelbone
Jay Rozen: tuba, euphonium
Sara Schoenbeck: bassoon, suona
Aaron Siegel: percussion, vibraphone
Carl Testa: acoustic bass, bass clarinet

Disc 6 = Composition 355 - dedicated to the multi-instrumentalist/composer Gino Robair

Ghostrancendentalism from a hot, large ensemble. Instrumental big bands may be the most attractive medium of all - and few have worked out such a methodical application of multi-layered group free improvisation with as much rigor and result as Anthony Braxton. My slow ride through this multi-night stint at New York's Iridium has finally reached the sixth disc. So far each has been a wonder. Each has been a hour-long mural of vibrant color and detail. Music that begs for total immersion into its own, inner logics. Composition 355 offers up some heavy contrast between group unison and independence as well as pulse-state textures and wild flights of fancy.

HurdAudio Rotation: Postcards from Napoleon

Joe Henderson: Mode for Joe. 1966. Re-released in 1988. Blue Note Records: CDP 7 84227 2.

Joe Henderson: tenor saxophone
Lee Morgan: trumpet
Curtis Fuller: trombone
Bobby Hutcherson: vibes
Cedar Walton: piano
Ron Carter: bass
Joe Chambers: drums

For those not yet smitten by Joe Henderson's tenor saxophone this one makes for a good introduction. And for those who have already fallen for his tone and inventive improvisations this disc is a knockout. My ears are fascinated by the Henderson originals "A Shade of Jade" and "Caribbean Fire Dance" and wonder why he isn't given more due for his compositional side. The chemistry of this 7-piece is unbelievable in the same way these 1960s Blue Note sessions seem to leave one's jaw on the floor.

James Tenney: Postal Pieces. 2004. New World Records: 80612-2.

Performed by The Barton Workshop
James Fulkerson: director

Maximusic (1965)
Swell Piece (1967)
A Rose Is a Rose Is a Round (1970)
Beast (1971)
Swell Piece #2 (1971)
Having Never Written a Note for Percussion (1971)
Koan (1971)
For Percussion Perhaps, Or...(night)(1971)
Swell Piece #3 (1971)
Cellogram(1971)
August Harp (1971)

Conceptual simplicity captured by notated scores no larger than post cards. Simplicity that unfolds in startling detail as the Barton Workshop applies earnest ears and sensibility to put this music in motion. The complex harmonic partials of the steady, rumbling crescendo played on a gong for Having Never Written a Note for Percussion is an endless source of awe and reward for the attentive ear. The unhurried pace of August Harp or the deliberate beating dissonance of Beast are persistent reminders of what sound - and by extension - music is and could be.

Ludwig van Beethoven: The Symphonies [disc 5]. Recorded in 1994. The International Music Company: 205299-305.

Symphony No. 7 in A major (op.92)
Barry Wordsworth: conductor
The Royal Philharmonic Orchestra

Symphony No. 8 in F major (op. 93)
James Lockhart: conductor
The Royal Philharmonic Orchestra

Composed in close proximity to one another, these two symphonies are widely regarded as the "anti-Napoleon" symphonies written as a response to the self-appointed emperor's betrayal of the ideals of the French Revolution. One rarely sees these works promoted as such in current times. Current political disillusionment would be a deep well for expressive intent of all forms with a spiritual forbearer in these works.

The first movement of the seventh symphony packs far more bombast than I've acquired a taste for. But more than makes up for it with three fascinating movements in its wake. Upon this listening it occurs to me that the eighth symphony is perhaps the most neglected of the nine. I know I'm guilty of not spending enough time with it. It feels like the calm before the brewing storm of the ninth.

HurdAudio Rotation: Going Postal and Other Modes

Joe Henderson: Mode for Joe. 1966. Re-released in 1988. Blue Note Records: CDP 7-84227-2.

Joe Henderson: tenor saxophone
Lee Morgan: trumpet
Curtis Fuller: trombone
Bobby Hutcherson: vibes
Cedar Walton: piano
Ron Carter: bass
Joe Chambers: drums

Here's a perfect example of what made Blue Note such a consistent label in the '60s. There's the immediacy of the sound of Mode for Joe, the compositions and the rich ideas pouring through so many of the improvisations. Joe Henderson, in particular, is in top form for this session and Cedar Walton's composition: "Mode for Joe" is tailor made to bring out the best of Henderson's blowing. This disc is a significant point of reference for so many reasons.

James Tenney: Postal Pieces. 2004. New World Records: 80612-2.

James Tenney: compositions
"Maximusic" (1965) - Tatiana Koleva, percussion
"Swell Piece" (1967) - The Barton Workshop
"A Rose Is a Rose Is a Round" (1970) - The Barton Workshop
"Beast" (1971) - Jos Tieman, contrabass
"Swell Piece #2" (1971) - The Barton Workshop
"Having Never Written a Note for Percussion" (1971) - Tobias Liebezeit, percussion
"Koan" (1971) - Elisabeth Smalt, viola
"For Percussion Perhaps, Or... (night)" (1971) - James Fulkerson, trombone and live electronics
"Swell Piece #3" (1971) - The Barton Workshop
"Cellogram" (1971) - Nina Hitz, cello
"August Harp" (1971) - Ulrike von Meier, harp

Unified by formal conceptions simple and focused enough to be conveyed by full scores no larger than postcards, Postal Pieces are austere, transcendent compositions that draw the ears into clear, physical manifestations of sound in near suspended animation. Time appears to stand still as "August Harp" unfolds spare intervals like sunlight caught in a chandelier. "Having Never Written a Note for Percussion" gently pulls one's attention into the rich detail of enharmonic partials and "Koan" buoys the listener in the wake of see-sawing intervals of ever changing proportions. Musically, and sonically, these are psycho-acoustic phenomena as focal points - stripped clean of drama or expressive intent. And in their simplicity they retain a richness in detail that stretches the ears of the attentive listener and stimulates the compositionally inclined.

Ludwig van Beethoven: The Complete Quartets, Volume IV. Recorded in 1994. Performed by the Orford String Quartet. Delos International: DE 3034.

String Quartet in E Minor, Op. 59 No. 2 ("Razumovsky")
String Quartet in F Minor, Op. 95 ("Serioso")

Andrew Dawes: violin
Kenneth Perkins: violin
Terence Helmer: viola
Denis Brott: cello

Beethoven's Op. 59 could easily become an obsession in the HurdAudio rotation and a clear candidate for following a score on the next go around with that piece. Both of these quartets are "middle period" works as Beethoven was making his aesthetic transition into the early Romantic Era. And it's these middle works that I'm finding most surprising because of the stitching of familiar classical technique with an emerging personal sensibility.

HurdAudio Rotation: Of Bebop and Form

Michael Moore Trio: Chicoutimi. 1993. Ramboy #06.

Michael Moore: clarinet
Fred Hersch: piano
Mark Helias: bass

Over a span of 16 exquisite pieces this trio ranges through a lot of different textures. The balance between composition and improvisation - and the seamlessness between the two - makes for a rewarding listen. There's a spare softness to this music that draws the ears to the surprising ripples that sweep across the surface.

Joe Henderson: Mode for Joe. 1966. Blue Note: CDP 7 84227 2.

Joe Henderson: tenor saxophone
Lee Morgan: trumpet
Curtis Fuller: trombone
Bobby Hutcherson: vibes
Cedar Walton: piano
Ron Carter: bass
Joe Chambers: bass

When you reach for a Blue Note recording from this era - and with this lineup of musicians - you know you're going to hear something solid and enduring. I like Mode for Joe in particular because it features some Joe Henderson original compositions like "A Shade of Jade," "Caribbean Fire Dance" and "Granted." So many of the same qualities that made Henderson such a great improviser are lurking within these compositions and this ensemble brings it out.

James Tenney: Postal Pieces. 2004. Performed by the Barton Workshop. New World Records: 80612-2.

Eleven performances of a series of compositions consisting of instructions or notations that fit within the confines of a single postcard. These are radically simple conceptions that reveal a great deal about sound, form and the act of listening.