HurdAudio Rotation: Shards of Surmountability

Susie Ibarra: Flower After Flower. 2000. Tzadik: TZ 7057.

Wadada Leo Smith: trumpet, brushes
Chris Speed: clarinet
Assif Tsahar: bass clarinet
Charles Burnham: violin
Cooper-Moore: flute, piano
Pauline Oliveros: accordion
John Lindberg: bass
Susie Ibarra: drums, kulintang, percussion

Music of transparent sophistication and primitivism. Susie Ibarra provides a compositional form that invites deep listening based improvisation from an outstanding ensemble. Sequentially, these eight pieces alternate between solo "Fractal" performances and larger scale compositions for various instrumental configurations. "The Ancients" covers a surprising range of territory with Ibarra's solo material on temple bells as its unifying motif. "Fractal 3," performed by Cooper-Moore as a solo piano piece is outstanding. The decision to fade out the ending of "Human Beginnings" is the only point of disappointment on this disc. There had to be a better way out of that piece. But overall it is the skilled listening that lurks behind each of these performers that shines through Flower After Flower.

Marc Ribot: Shoe String Symphonettes. 1997. Tzadik: TZ 7504.

Death by Unnatural Causes (1991) directed by Karen Bellone and Lisa Rinzler
Greg Cohen: bass
Jill Jaffe: violin, viola
Marc Ribot: guitar, sampler

Landlord Blues (1987) directed by Jacob Burkhardt
Marc Ribot: trumpet, banjo, guitar
Brad Jones: bass
Bill Ware: vibes
Curtis Fowlkes: trombone
Jim Nolet: violin
Roy Nathanson: saxophone
EJ Rodriguez: drums, percussion
Gregory Ribot: flute

Alita Queen of Mars (1928) directed by Yakov Protazanov
Paul Clarvis: drums, percussion
Dave Meric: keyboards
Phil Boyden: violin
Marc Ribot: guitar
Helen Thomas: cello
Mike Kearsey: trombone

Pieces From An Incomplete Project (1995-1996) directed by Joe Brewster
Dave Douglas: trumpet
Vicki Bodner: oboe
Charlie Giordano: piano, keyboards
Mauro Refosco: percussion
Jill Jaffe: violin, viola
Maxine Neuman: cello
Tony Garnier: bass

Summer Salt (1993) directed by Charlie Levi
John Zorn: saxophone
Andy Haas: saxophone
Cyro Baptista: drums
Marc Ribot: guitar, e-flat horn

Film scores tend to be a mixed bag. Without the linear visuals present we are left with a music that is formally subverted by unseen forces. Rather than building or transitioning by the internal, compositional logic, we have music that darts around and frequently leaves many ideas undeveloped and incomplete. Shoe String Symphonettes ranges wildly from atmospheric material to idiomatically grounded music ranging from surf guitar rock to blues to Latin and swing. While nearly everything on this disc is entirely too short, it is overwhelmingly pleasant. With sounding combinations that stick with the ears and invite further listening.

Paul Plimley Trio: Safe-Crackers. 1999. Victo: cd066.

Paul Plimley: piano
Lisle Ellis: contrabass
Scott Amendola: drums

I would put this recording up against any piano trio set in the history of jazz. The humor and taut transparency of this music is astonishing given the sheer density of these pieces and the deep roots that touch upon a full range of music history. This set gives so much to the listener upon each encounter with this disc. The richness of detail keeps the music fresh no matter how familiar the ears become with it. The effortless dialog that passes through these players is remarkable. The chemistry they bring is incredible. Easily one of my top ten discs.

HurdAudio Rotation: Expansive Forces

Don Cherry: Tibet. 1981. Piccadilly (LP): PIC 3515.

Don Cherry: piano, percussion
Christer Bothen: piano
Bernt Rosengren: taragot
Agneta Ernstrom: Tibetan bell, percussion
Bengt Berger: piano, mridangam

A great record and evidence that Don Cherry did not confine his creativity to the boundaries of genre or style. His improvisations were not confined by political borders or provincialism either. "World music" that retains an edge lurking beneath soft textures. The cyclical patterns of "Bass Figure for Ballatune" applied to a piano opens up a repetitive texture in the middle of a listening experience that can honestly be described as mind expanding. Not to mention gently persuasive.

Thomas Helton: Experimentations In Minimalism. 2006. FreeBass Productions: CD-R.

Thomas Helton: doublebass
Karl Fulbright: tenor saxophone, alto saxophone, baritone saxophone, clarinet, bass clarinet
Seth Paynter: tenor saxophone, soprano saxophone
Martin Langford: tenor saxophone, baritone saxophone, clarinet, bass clarinet
Josh Levy: tenor saxophone, bass saxophone
Carol Morgan: trumpet
Brad Clymer: trumpet
Brian Allen: trombone
Thomas Hulten: trombone

Like Tibet, this is an expansive exploration of the softer side of creative improvisation. With Experimentations In Minimalism the focus narrows along abstract musical lines. An ostinato line or walking bass carving a path through a few of these compositions. While the "Pious" sets explore ideas within a single instrument type. The three "Experimentations In Minimalism" draw upon the Terry Riley-esque figures in the wind instruments as a textural point of reference. These compositions leave plenty of open space that this impressive set of performers never saturates. Almost hovering within the spaces carved out by these compositional ideas.

Susie Ibarra: Flower After Flower. 2000. Tzadik: TZ 7057

Susie Ibarra: drums, kulintang, percussion
Wadada Leo Smith: trumpet, brushes
Chris Speed: clarinet
Assif Tsahar: bass clarinet
Charles Burnham: violin
Cooper-Moore: flute, piano
Pauline Oliveros: accordion
John Lindberg: bass

It's strange how listening to Don Cherry can cast a new light on everything you hear in its wake. Susie Ibarra takes a heady mix of composition and stellar improvisers for a blend of deep listening and "downtown" sensibilities. Wadada Leo Smith's sound takes on new color after hearing Cherry on the same instrument. The lineage and evolution of ideas travels favorably between these two forces. The presence of Pauline Oliveros on accordion as unaccompanied soloist on "Fractal 2" as well as ensemble member on "Human Beginnings" adds an important shading to this listening experience. An excellent set of compositions that compliment Ibarra's always impressive abilities as a drummer.

HurdAudio Rotation: Understated Sublimation

Terry Riley: The Harp of New Albion. 1986. New Albion/Celestial Harmonies: CEL 018/019.

Terry Riley: composer, piano (in just intonation)
5-limit scale, C# as root: 1/1, 16/15, 9/8, 6/5, 5/4, 4/3, 64/45, 3/2, 8/5, 5/3, 16/9, 15/8, 2/1

This one is riddled with qualities highly valued in the HurdAudio pantheon. An epic piano composition filled with improvisation and Terry Riley's melodic sensibilities. And it happens to feature a 5-limit tuning system as Riley uses repeated patterns to build up rich standing waves of exquisite consonance and dissonance. The opening chords of "The New Albion Chorale" is imbued with anticipation of the journey that follows. And it's a journey of cascading harmony and compelling instrumental story telling. The rich, ringing tones of the Bosendorfer make this a journey worth revisiting.

Thomas Helton: Experiments In Minimalism. 2006. FreeBass Productions: CD-R available from the composer.

Thomas Helton: doublebass
Karl Fulbright: tenor saxophone, alto saxophone, baritone saxophone, clarinet, bass clarinet
Seth Paynter: tenor saxophone, soprano saxophone
Martin Langford: tenor saxophone, baritone saxophone, clarinet, bass clarinet
Josh Levy: tenor saxophone, baritone saxophone, bass saxophone
Carol Morgan: trumpet
Brad Clymer: trumpet
Brian Allen: trombone
Thomas Hulton: trombone

As if any further evidence were needed that the old ways of distributing music are over here is a self-produced disc offering a glimpse into the creative music scene in Houston. And it's a quiet, well-crafted wonder. Rich textures of bass and winds build up slowly and unhurriedly into a warm fabric of sound woven together from dark strands. The musicianship of this ensemble is solid and tuned toward the larger sonic image with only passing glances at the individuals involved. This is some impressive ensemble writing.

Susie Ibarra: Flower After Flower. 2000. Tzadik: TZ 7057.

Susie Ibarra: drums, kulintang, percussion
Wadada Leo Smith: trumpet, burshes
Chris Speed: clarinet
Assif Tsahar: bass clarinet
Charles Burnham: violin
Cooper-Moore: flute, piano
Pauline Oliveros: accordion
John Lindberg: bass

Hearing this understated beauty on the heals of Helton's quiet wonder makes for an interesting wash of focused, sublime intensity. Here the compositional mind comes with an ear for percussion and generous space for these incredible improvising musicians. Cooper-Moore's solo piano piece on "Fractal 3" in particular draws the ears toward the talents and sensibilities of this player as he realizes Ibarra's composition. The soft ringing of metallic bowls in "The Ancients" and the sustained pulsing groove within "Human Beginnings" are other notable highlights from this experience.

HurdAudio Rotation: Poets, Writers and Flowers

Elliott Sharp/Tectonics: Errata. 1999. Knitting Factory Records: KFR-255.

Elliott Sharp: compositions, studio recording and editing (guitar, computer, alto saxophone, etc.).

Tectonics is electronica as envisioned by Elliott Sharp. And when Sharp is responsible for the creative decisions there will be steep twists on the genre as he steers these multi-layered textures into some heady territory. Fearless in applying steady, intensely propulsive grooves he is equally fearless in piling on similarly aggressive noise or even pulling the rug out from under the pulse. But it is the final sequence of the last three tracks from "Goomy" to "Kargyraa" to "Errataka" that Sharp proves he has a knack for finding (and destroying) a good hook.

Ornette Coleman: Dedication to Poets and Writers. (Also released as Town Hall, 1962) 1962. Magic Music: 30010-CD. (The last link is a free download of the whole recording!)

Ornette Coleman: saxophone
David Izenzohn: bass
Charles Moffet: percussion
Selwart Clark: violin
Nathan Goldstein: violin
Julian Barber: viola
Kermit Moore: cello

Recorded at an important transition point in Ornette Coleman's creative development, this CD continues to haunt and beckon to be heard. The trio format that would play such an important role in his future is documented for the first time. And then there is the beautiful string quartet composition "Dedication to Poets and Writers" that serves as a precursor to the masterpiece of Skies of America that lay in store. For some reason, Coleman encountered a great deal of friction in realizing his "classical" compositions and subsequently there isn't nearly enough of it on record. But what there is is outstanding and this particular recording is a gem.

Susie Ibarra: Flower After Flower. 2000. Tzadik: TZ-7057.

Susie Ibarra: composer, drums, kulintang, percussion
Wadada Leo Smith: trumpet, brushes
Chris Speed: clarinet
Assif Tsahar: bass clarinet
Charles Burnham: violin
Cooper-Moore: piano, flute
John Lindberg: bass
Pauline Oliveros: accordion

As a drummer, Susie Ibarra has a light, fluid approach that is a joy to behold in live venues. As a composer, that same light fluidity carries over as she gives her mixed ensemble of deep listening improvisers plenty of space to add their own slight imprints on the sound. The slow growth and organic beauty of flowers is readily apparent in the music that blooms on Flower after Flower. It's the unexpected textural turns that these compositions take that make this such an engaging listen. While never abrupt, the sequence of transitions is surprising and rendered all the more remarkable by the way it sneaks into the listening foreground as improvising duos and trios converge and merge into the larger overall ensemble. The brief solo excursions of every other track offer a nice contrast to the large scale compositions. Cooper-Moore's solo piano interpretation of "Fractal 3" is particularly good.