HurdAudio Rotation: The Illusion of Progress

Chicago Tentet: American Landscapes 1. 2007. Okka Disk: OD12067.

Peter Brötzmann: clarinet, tarogato, alto saxophone, tenor saxophone
Mats Gustafsson: baritone saxophone, slide saxophone
Ken Vandermark: clarinet, baritone saxophone, tenor saxophone
Joe McPhee: trumpet, alto saxophone
Hannes Bauer: trombone
Per-Ake Holmlander: tuba
Fred Lonberg-Holm: cello
Kent Kessler: bass
Paal Nilssen-Love: drums
Michael Zerang: drums

It is an interesting experience to return to this disc after unexpectedly becoming immersed in the Chicago scene in the interim since last studying this recording. The individual personalities are clearer after having experienced so many of them play live over the past few months. This ensemble is a marvelous vehicle and medium for channeling Peter Brötzmann's ideas and approach toward improvisation. The shifting combinations of instruments produces some startling results over this long form improvisation. And there is a beautiful symmetry to this performance as the first ten minutes features a steady build up toward a thick texture and the final ten minutes drops back before building up toward a monstrous energy leading into a brief coda of tranquility. There is a softness to Brötzmann's music that is startling given his well documented ability to play with raw aggression.

Peter Brötzmann/Michael Zerang: Live in Beirut. 2005. Al Maslakh Recordings: 03.

Peter Brötzmann: tenor saxophone, tarogato, b-flat clarinet
Michael Zerang: drum set, darbuka, percussion

Peter Brötzmann has recorded several outstanding sax and drum duo sessions over the decades. Even within his stellar output on that front this disc is a standout. Michael Zerang dives right into the energy of the moment and brings something amazing to the creativity of this listening experience. The long drum solo early in "Yalla Kholoud" leading toward Brötzmann's tarogato work is particularly thrilling. Particularly as they lock in so quickly. The ragged, confident-yet-aggressive quality of the dialogue between these musicians makes this disc a thrill ride right from the start.

Peter Apfelbaum & The Hieroglyphics Ensemble: Jodoji Brightness. 1992. Polygram Records: 314-512-320-2.

Peter Apfelbaum: tenor saxophone, piano, organ, synthesizer, drums, percussion
Bill Ortiz: trumpet, flugelhorn
Jeff Cressman: trombone, pyramid bell, percussion
James Harvey: trombone
Paul Hanson: alto saxophone, tenor saxophone, bassoon
Tony Jones: tenor saxophone
Peck Allmond: soprano saxophone, tenor saxophone, baritone saxophone, trumpet
Norbert Stachel: soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, bass saxophone, clarinet, flute, piccolo
Will Bernard: guitar
Stan Franks: guitar
Jai Uttal: guitar, harmonium, dotar, percussion
Bo Freeman: bass
Joshua Jones V: drums, timbales, bass drum, congas, bata, vocals
Deszon X. Claiborne: drums, percussion
"Buddha" Robert Huffman: congas, bell tree, gongs, bata, vocals

A couple of things that struck me when revisiting this old friend of a recording; it has aged remarkably well and it's surprising how every sound and nuance is so deeply ingrained in my memory. I swear there's a "picture perfect" replica of it residing in my brain. This is music that takes up the sweep of "world music" without treating any of it as exotic. It is all music, and it is all jazz. The writing and playing on here is fantastic. This is one durable recording.

HurdAudio Rotation: Waging the Battle for Abstraction

Michael Zerang: Cedarhead. 2006. Al Maslakh Recordings: 06.

Michael Zerang: drums, darbuka and percussion
in duos with
Sharif Sehnaoui: electric guitar
Mazen Kerbaj: trumpet
Raed Yassin: tapes, electronics
Christine Sehnaoui: alto saxophone
Charbel Haber: electric guitar
Jassem Hindi: electronics
Bechir Saade: nay

The sound of transatlantic collaboration and a short glimpse into the creative depths and energies of the Beirut free improvisation scene. The vibrant, complex energies of the city delivering a sonic end-run to the international image of a society living under siege. The sometime brittle textures and aggressively extended techniques finding an easy conversation with the drumming of American Michael Zerang. There is plenty here to open ears to the sounds taking root in this region.

Bang On A Can & Don Byron: A Ballad For Many. 2006. Cantaloupe Music: CA21036.

Bang On A Can All-Stars:
Robert Black: bass
David Cossin: drum set, percussion
Lisa Moore: piano
Mark Stewart: electric guitars
Wendy Sutter: cello
Evan Ziporyn: clarinet, bass clarinet

with Don Byron: composer, clarinet

The familiar Bryon-esque riffs and forms performed under the polished, tight sheen of the Bang On A Can All-Stars. Music that grooves as the compositional turns and melodic lines fan out with a sinewy smoothness. The music written for film in this collection does follow a strong, programmatic sense while the performances of "Basquaiat", "Show Him Some Lub" and "Fyodorovich" showcase the stylistic range and substance of Don Byron as a composer. Ultimately qualifying this as another installment in the eclectic and impressive Byron catalogue.

Elliott Sharp/Orchestra Carbon: Abstract Repressionism: 1990-99. 1992. Victo: cd019.

Elliott Sharp: composer, double guitar bass
Gregor Kitzis: violin
David Soldier: violin
Wendy Ultan: violin
Ron Lawrence: viola
Michelle Kinney: cello
Margaret Parkins: cello
Mary Wooten: cello
Lindsey Horner: bass
Joseph Trump: drums, electronic percussion

"The title is journalistic although the music is not programmatic. Elements of control (government, police/military, religion, entertainment/news media, educational institutions, the aristocracy) continue to tighten up their absolute ability to shape what people think and do - not so much through overt means (although these are certainly being practiced) but by selecting against and undermining the ability of humans to process information and abstractify. This we must battle" - Elliott Sharp. A sentiment that speaks toward the disconnect between art and product. And a music that erupts with a burst of noise before laying waste to a textural soundscape of rhythmic ferocity. These "ir/rational " works for large ensemble providing an excellent medium for distilling a rich sonic substance. Abstract Repressionism occupying a prominent place within my own ears and psyche.

HurdAudio Rotation: Double-ö Dönkey

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

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

This one is completely ridiculous. And I say that in the widest sense of joy carried in that word. This one boogies off the track. Then woogies back on. All the while splashing a tight irreverence along a solid piano/drums duo plus turntables, prepared piano, voice and whatever else one can throw at a sound without losing a sense of joy an chops. In short: ridiculous fun! Highly, highly recommended.

Chicago Tentet: American Landscapes 1. 2007. Okkadisk: OD12067.

Peter Brötzmann: clarinet, tarogato, alto saxophone, tenor saxophone
Mats Gustafsson: baritone saxophone, slide saxophone
Ken Vandermark: clarinet, baritone saxophone, tenor saxophone
Joe McPhee: trumpet, alto saxophone
Hannes Bauer: trombone
Per-Ake Holmlander: tuba
Fred Lonberg-Holm: cello
Kent Kessler: bass
Paal Nilssen-Love: drums
Michael Zerang: drums

What better way to observe the American traditional Thanksgiving Holiday than a pure blast of Brötzmann driven expression of humanity through a prolonged scream realized in free jazz style through the medium of the Chicago Tentet? A landscape of nuanced brutality. A single movement that snakes through the urban and the underground gritty sincerity of placing horn to mouth and blowing one's brains out the other end. Aggressive, jarring and unbelievably beautiful.

Peter Brötzmann/Michael Zerang: Live in Beirut. 2005. Al Maslakh Recordings: 03.

Peter Brötzmann: tenor saxophone, tarogato, clarinet
Michael Zerang: drum set, darbuka, percussion

Another concentrated dose of that Brötzmann intensity, this time paired down to the sax and drum configuration that he frequents. The setting of Beirut - something only audible through knowing this was recorded there - adds a dimension to the unflinching coarseness of this duo collaboration. The willingness to apply sandpaper to the eardrums when called for makes the expression more credible. Though there are moments of relative solitude. Often just long enough to allow for healing. This serves to heighten the overwhelming sense of not knowing where the next aggressive gesture will come from. A fitting aesthetic for a city constantly on edge with the unsettling violence that inevitably erupts.

HurdAudio Rotation: Anti-Escapism

Michael Zerang: Cedarhead. 2006. Al Maslakh: 06.

Michael Zerang: drums, darbuka, percussion
duos with
Sharif Sehnaoui: electric guitar
Mazen Kerbaj: trumpet
Raed Yassin: tapes, electronics
Christine Sehnaoui: alto saxophone
Charbel Haber: electric guitar
Jassem Hindi: electronics
Bechir Saade: nay

There is a grim, unflinching honesty in the aesthetic fiber of the Lebanese experimental music scene that Michael Zerang's collaborators share with one another. The stark, extended techniques and occasional sonic reference points to contemporary Beirut in the form of concrete recordings or stylistic cues borrowed from folk musics of the Middle East point toward a common sensibility shaped by the absurd severity of centuries of regional conflict. The unflinching honesty of this music in its directness of free improvisation combined with its escapist-free integrity makes these soundscapes enormously compelling.

Bang On A Can & Don Byron: A Ballad For Many. 2006. Cantaloupe Music: CA21036.

Don Byron: composer, clarinet
Robert Black: bass
David Cossin: drums, percussion
Lisa Moore: piano
Mark Stewart: guitars
Wendy Sutter: cello
Evan Ziporyn: clarinets

My enthusiasm for this disc grows each time the ears become reacquainted with the Byron-esque melodic lines that weave everything together. With the Bang On A Can ensemble realizing these pieces the focus rests upon Don Byron the composer as they bring a swinging, polished shine to these works. The music composed for the documentary The Red-tailed Angels about the Tuskegee Airmen is particularly well realized while Basquiat is the resounding highlight of this collection. Show Him Some Lub closes out this disc like an imaginary encore as Byron sets aside the baton and applies his spontaneous energy on the clarinet that fills out the spectrum of groove and inventiveness these ears associate with this great improviser.

Elliott Sharp/Orchestra Carbon: Abstract Repressionism: 1990-99. 1992. Victo: 019.

Elliott Sharp: composer, double guitar bass
Gregor Kitziz: violin
David Soldier: violin
Wendy Ultan: violin
Ron Lawrence: viola
Michelle Kinney: cello
Margaret Parkins: cello
Mary Wooten: cello
Lindsay Horner: bass
Joseph Trump: drums, electronic percussion

This is one of Elliott Sharp's large-scale compositions that has resonated with me for a long time. The canonical treatment of its jagged themes and aggressively developed string textures make for a sound that courses through my own sensibilities as a piece I refer back to frequently.

HurdAudio Rotation: Three More Angles on Improvisation

Nels Cline: New Monastery: A view into the music of Andrew Hill. 2006. Cryptogramophone: CG130.

Nels Cline: guitar, effects
Bobby Bradford: cornet
Ben Goldberg: clarinets
Andrea Parkins: accordion, effects
Devin Hoff: contrabass
Scott Amendola: drumset, percussion
Alex Cline: percussion

One striking thing about the sound of these Andrew Hill compositions (plus a couple of Nels Cline originals in the mold of Andrew Hill's compositional sensibility) is the absence of piano. Hill's music takes so many interesting twists and turns in its arrangements and it isn't difficult to separate his ideas from the instrument he played. But with accordion as the only keyboard instrument in the mix - and Ben Goldberg's bass clarinet work having remarkable similarity to one-time Hill collaborator Eric Dolphy - this ensemble takes the music of Andrew Hill into a slightly different timbral direction and celebrates it with vigor. The effects employed by Nels Cline and Andrea Parkins never overwhelm the overall sound, but actually blend in a manner consistent with the aesthetic freedom and arranging pathos that makes this "view into" such a compelling listen.

The Bad Plus: Suspicious Activity? 2005. Columbia: CK 94740.

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

Suspicious? With an emphasis on activity this piano trio has no fear of drilling into a deep rhythmic vein while allowing for surprising twists within these arrangements that leave a groove that's anything but mindless. While "Anthem for the Earnest" still has the most immediate appeal of anything I've heard over the past few years I'm starting to find interesting details that deliver considerable pleasure in "Prehensile Dream" and "Lost of Love."

Michael Zerang: Cedarhead. 2006. Al Maslakh: 06.

Michael Zerang: drums
performing duets with:
Sharif Sehnaoui: electric guitar
Mazen Kerbaj: trumpet
Raed Yassin: tapes & electronics
Christine Sehnaoui: alto saxophone
Charbel Haber: electric guitar
Jassem Hindi: electronics
Bechir Saade: nay (flute)

That the creativity of the Beirut improvised music scene should have to toil within an environment of destabilizing violence and the crushing interference and indifference of competing world powers is just one of the massive cultural tragedies that continues to unfold in this part of the world. That such a vital subculture can thrive - as evidenced by the astonishing beauty found on the Al Maslakh label - is a profound testament of the perseverance and raw survival instincts of art. Chicago-based drummer Michael Zerang writes movingly about editing these master recordings from his second trip to Beirut to play with these intense and talented players as the "July War" of 2006 was unfolding. With a personal connection he had developed to a community now again under fire the documentation of Cedarhead takes on an urgency and stark sonic beauty that reverberates throughout these seven improvisations. The religious and political differences that spark such unrest seems petty compared to the artistic expression that it imperils. With generous use of extended techniques each performance finds the timbral range of drums, electric guitar, trumpet, electronics, saxophone and flute pulled closer together for an astonishing intimacy of sound between these players. The brief improvisation between Zerang and guitarist Charbel Haber mines a particularly fascinating zone of interaction and sound.

HurdAudio Rotation: A Whole Lot of Sax and Drums

Peter Brötzmann/Michael Zerang: Live in Beirut. 2005. Al Maslakh Recordings: 03.

Peter Brötzmann: tenor saxophone, tarogate, clarinet
Michael Zerang: drum set, darbuka, percussion

Peter Brötzmann paints with broad strokes, both with the horn and with a paint brush. And in both media his instincts, and improvisational range, is impressive. It's easy to be drawn in by the prolonged intensity that he is so good at. But on repeated listening - particularly of this duo with drummer Michael Zerang - I'm struck more and more by the quiet moments that form between these players. It's this willingness to find contrast and place equal creative energy toward all textures that makes this disc something to savor.

Peter Apfelbaum & The Hieroglyphics Ensemble: Jodoji Brightness. 1992. Polygram Records/Antilles: 314-512 320-2.

Peter Apfelbaum: tenor saxophone, piano, organ, synthesizer, drums, percussion
Bill Ortiz: trumpet, flugelhorn
Jeff Cressman: trombone, pyramid bell, percussion
James Harvey: trombone
Paul Hanson: alto saxophone, tenor saxophone, bassoon
Tony Jones: tenor saxophone
Peck Allmond: soprano saxophone, tenor saxophone, baritone saxophone, trumpet
Norbert Stachel: soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, bass saxophone, clarinet, flute, piccolo
Will Bernard: guitar
Stan Franks: guitar
Jai Uttal: guitar, harmonium, dotar, percussion
Bo Freeman: bass
Joshua Jones V: drums, timbales, bass drum, congas, bata, vocals
Deszon X. Claiborne: drums, percussion
"Buddha" Robert Huffman: congas, bell tree, gongs, bata, vocals
Rachel Durling: violin
Steven Bernstein: trumpet
Sekou Heath: bata, percussion, vocals

After having the sound of "Gypsies" rolling through my head - or more specifically, an exact aural image of this recording of "Gypsies" taking residence in my waking and sleeping moments - I had to reference the original along with the entirety of this outstanding collection from Peter Apfelbaum's west coast years. "Gypsies" was exactly as I remembered it - note for note. But what I hadn't realized before is what a great sound and arrangement "Light Leaving the Spirit Bridge" is. The rich detail and variety on this one leads to new discoveries no matter how familiar one becomes with this disc. And this is one that has been subjected to the test of time with frequent spins for over a decade now.

Chris McGregor's Brotherhood of Breath: Bremen to Bridgwater. Recorded June 20, 1971/February 26, 1975/November 11, 1975. Re-issued in 2004. Cuneiform Records: Rune 182/183.

June 20, 1971 set at Lila Eule, Bremen, Germany
Harry Beckett: trumpet
Marc Charig: trumpet
Nick Evans: trombone
Mongezi Feza: trumpet
Malcolm Griffiths: trombone
Chris McGregor: piano
Harry Miller: bass
Louis Moholo-Moholo: drums
Mike Osborne: alto saxophone, clarinet
Dudu Pukwana: alto saxophone
Alan Skidmore: tenor saxophone
Gary Windo: tenor saxophone

February 26, 1975 set at the Bridgwater Arts Centre, Bridgwater, England, U.K.
Keith Bailey: drums
Harry Beckett: trumpet
Marc Charig: trumpet
Elton Dean: alto saxophone
Nick Evans: trombone
Mongezi Feza: trumpet
Malcolm Griffiths: trombone
Chris McGregor: piano
Harry Miller: bass
Mike Osborne: also saxophone, clarinet
Dudu Pukwana: alto saxophone
Alan Skidmore: tenor saxophone

November 11, 1975 set at the Bridgwater Arts Centre, Bridgwater, England, U.K.
Harry Beckett: trumpet
Marc Charig: trumpet
Elton Dean: alto saxophone
Nick Evans: trombone
Mongezi Feza: trumpet
Bruce Grant: baritone saxophone
Radu Malfatti: trombone
Chris McGregor: piano
Harry Miller: bass
Louis Moholo-Moholo: drums
Mike Osborne: alto saxophone, clarinet
Evan Parker: tenor saxophone, soprano saxophone
Dudu Pukwana: alto saxophone

This documentation is a revelation to my ears. Sun Ra's Arkestra may have come by way of Saturn via Chicago and the pyramids of Egypt. Comparisons to that great Arkestra frequently spring to mind when hearing this other worldly sound formed by South African expatriates and British jazz musicians. The remastering work of Michael King and Mikki Dandy coaxes a beautiful sound out of these old recordings and offers a glimpse at some outstanding big band textures. While Sun Ra may have penned "El is a Sound of Joy" this band infuses a sounding joy into every moment whether painting with rapid strokes of free improvisation or playing in lock-step through some well arranged melodic material. The opening track, "Funky Boots March," in particular serves an invitation to the sounds found on the rest of this double-CD compilation.

HurdAudio Rotation: The 3 B's - Beethoven, Brotzmann and Big Band

Ludwig van Beethoven: Symphonies No. 1 & 2 (disc 1). Performed by the Royal Philharmonic Orchestra, conducted by Barry Wordsworth, James Lockhart and Guenther Herbig. Recorded August 1994 at C.T.S. Studios, London, England. The International Music Company: 205297-305.
Symphony No. 1 in C major (Op. 21) (1800)
Symphony No. 2 in D major (Op. 36) (1803)
I revisited these old, old juggernauts today. This is clearly "early" Beethoven as these symphonies retain their classical 4-movement form and the harmonic modulations are more restrained than what would follow later in Beethoven's creative output. Hearing these works reminds me why these symphonies continue to be a fetish for so many.

Peter Brotzmann/Michael Zerang: Live in Beirut 2005. Al Maslakh Recordings 03.
Peter Brotzmann: tenor saxophone, tarogato, B flat clarinet
Michael Zerang: drums, darbuka, percussion
Hearing Brotzmann play live last Friday night left me hungry for more from this forceful improviser. There's an undeniable pleasure to hearing the Dionysian release from both sides of this duo. This set was recorded at the 2005 Irtijal Festival of Improvised Music in Beirut, Lebanon as a cross-pollination between the German-born free-improviser and the middle-eastern/Arabic underground scene. I'm curious to hear more documentation like this from the Al Maslakh label. My Brotzmann craving is still not entirely sated.

Peter Apfelbaum & The Hieroglyphics Ensemble: Jodoji Brightness. 1992. Antilles: 314-512 320-2.
Peter Apfelbaum: tenor saxophone, piano, organ, synthesizer, drums, percussion
Bill Ortiz: trumpet, flugelhorn
Jeff Cressman: trombone, pyramid bell, percussion
James Harvey: trombone
Paul Hanson: alto and tenor saxophones, basoon
Tony Jones: tenor saxophone
Peck Allmond: sprano, tenor and baritone saxophones, trumpet
Norbert Stachel: soprano, alto, tenor, baritone and bass saxophones, clarinet, flute, piccolo
Will Bernard: guitar
Stan Franks: guitar
Jai Uttal: guitar, harmonium, dotar, percussion
Bo Freeman: bass
Joshua Jones V: drums, timbales, bass drum, congas, bata, vocals
Deszon X. Claiborne: drums, percussion
"Buddha" Robert Huffman: congas, bell tree, gongs, bata, vocals
Rachel Durlin: violin
Steven Bernstein: trumpet
Sekou Heath: bata, percussion, vocals
This one makes a return appearance to the HurdAudio rotation as I keep coming back to hear the writing/arranging.