HurdAudio Rotation: Confluxed with Monumental Disappointment

Available Jelly: Monuments. 1994. Ramboy: 07.

Eric Boeren: tumpet, alto horn
Jimmy Sernesky: trumpet
Michael Moore: alto saxophone, clarinet, bass clarinet
Tobias Delius: tenor saxophone
Gregg Moore: trombone, tuba, mandolin, electric bass
Alexei Levin: piano, accordion, organ
Eric Calmes: bass, bass guitar
Michael Vatcher: percussion

A sonic vehicle of the Dutch jazz scene and an approach to large ensemble jazz writing with enormous appeal for these ears. This sound is a staple in the HurdAudio rotation. Music that darts off at odd angles around a solidly melodic sensibility. Textures that bend toward whimsy and frolic or languid and brooding. Just underneath this sound is an astonishing grasp of jazz history combined with a willingness to draw from any era.

The Rempis Percussion Quartet: The Disappointment of Parsley. 2009. Not Two Records: MW 811-2.

Dave Rempis: alto saxophone, tenor saxophone
Tim Daisy: percussion
Frank Rosaly: percussion
Anton Hatwich: bass

An improvising quartet as a sonic dialogue between creative equals. However, three quarters of this particular ensemble is rhythm section. The resulting sound is like an "extended trio" with the two drum kits weaving together into a texture that crackles with a little extra energy. The percussive elements never feel layered or doubled. Just expanded. Hatwich adds a distinct personality to the mix with his bass while Dave Rempis takes full advantage of this solid and extremely responsive sound that surrounds him. The Disappointment of Parsley ends up being a solid and thoroughly enjoyable experience that balances almost perfectly between the forces of jazz history and the forward propulsion of modern improvisation.

Wally Shoup/Toshi Makihara/Brent Arnold: Confluxus. 2004. Leo Records: 399.

Wally Shoup: alto saxophone
Toshi Makihara: drums
Brent Arnold: cello

An improvising trio delving into a space of pure sonic retreat. The considerable ability of each individual held intensely in check as they work a taut line of responsiveness along this prolonged, collaborative endeavor. The tension between lines of sounding materials drawn tighter through the sparseness of the texture. Toshi Makihara occasionally erupts. Wally Shoup occasionally takes flight. Brent Arnold will occasionally plumb the expanses of what a cello can sound like. But in the end this is the work of a true trio. The instrumental characters sublimated into an energy that is the sound. An extreme consideration between egos making up this inspired release.

HurdAudio Rotation: Moments and Monuments

Don Byron: Do the Boomerang: The Music of Junior Walker. 2006. Blue Note Records: 0946 3 41094 2 0.

Don Byron: tenor saxophone, clarinet, bass clarinet
David Gilmore: guitar
George Colligan: hammond B-3 organ
Brad Jones: bass
Rodney Holmes: drums, tambourine
Curtis Fowlkes: trombone
Chris Thomas King: vocals, guitar
Dean Bowman: vocals

There are days when the music one puts on simply hits the target squarely and delivers a much needed jolt to the weary ears, mind and heart. Do The Boomerang is exactly that disc for today. The band is outstanding while the ever versatile Don Byron focuses upon and channels the incredible vibe of Junior Walker. Things have been running full tilt at HurdAudio and the sensibilities pouring out of this wonderful Blue Note is exactly the tonic for too many busy days. The ears even embrace the vocals of King and Bowman without any reluctance. The funky, blues-infected words carve the air and simply feel just right.

Available Jelly: Monuments. 1993. Ramboy: 07.

Eric Boeren: trumpet, alto horn
Jimmy Sernesky: trumpet
Michael Moore: alto saxophone, clarinet, bass clarinet
Tobias Delius: tenor saxophone
Gregg Moore: trombone, tuba, mandolin, electric bass
Alexei Levin: piano, accordion, organ
Eric Calmes: bass, bass guitar
Michael Vatcher: percussion

This one was long overdue for a repeat spin in the rotation. Reedsman Michael Moore (not to be confused with the film maker of the same name) has a knack for putting together ensembles, projects, compositions and arrangements that draw upon a balance of creative impulse and historical references that is completely irresistible to these ears. The elastic energy of Monuments that pivots between swinging themes, traditional anthems from Madagascar and collective improvisation makes this as enduring as any "monument." The accordion lines from Alexei Levin and percussive work of Michael Vatcher are a particular draw on this go around.

Wally Shoup/Toshi Makihara/Brent Arnold: Confluxus. 2004. Leo Records: 399.

Wally Shoup: alto saxophone
Toshi Makihara: drums
Brent Arnold: cello

Knowing each of these players individually from different contexts (and different coasts) allowed me to view this disc with a sensation of "wow, these guys would be great collaborators." Each instrumentalist in this trio is completely tuned into the moment of creation and this documentation of their overlapping paths still glows with the heat of their interactive fabric. The independent roles of saxophone, drums and cello are subsumed into a singular wash of sound as the form and substance of this music molds timbre into a singularity. These three players are great collaborators and Confluxus delivers both to the expectation and the curiosity with the moments shaped over time on this outing.

Trio Trio Duo in the Red

Jeff Arnal/Tom Boram/Dan Dechellis/John Dierker/Aaron Dugan/Gary Hassay/Toshi Makihara @ The Red Room, Baltimore, MD
Saturday, October 27, 2007

set one
Dan Dechellis: piano
Gary Hassay: alto saxophone
Toshi Makihara: drums, percussion

set two
Jeff Arnal: drums, percussion
John Dierker: tenor saxophone
Aaron Dugan: guitar

set three
Tom Boram: electronics, amplified helium balloon, tap dancing, guitar
Toshi Makihara: drums, percussion

The elements greeted Dan Dechellis during the first set as the roof of the Red Room sprang a leak just above the intense, improvising pianist and placed him within his own indoor weather system. Undeterred, Dechellis incorporated rhythmic towel swipes along the keyboard as he dried - and simultaneously moved - his instrument in mid-performance. His harmonic language and deft use of widely varied dynamic attacks were a fresh revelation to these ears. Combined in a strongly reactive trio with the playful kinetic energy of drummer Toshi Makahara and the surging tidal waves of alto saxophonist Gary Hassay this set was a welcome blast of creative force.

One can hear John Dierker's ears as he plays. His free improvisational sensibilities continue to impress me with each shifting performance context. This time he sat in with the beautiful chemistry of New Yorkers Jeff Arnal and Aaron Dugan. This trio would playfully drain the tone right out of their instruments over time as Dierker reduced his sound to air exhales through the tenor saxophone against Arnal's soft scrapings along the rims of his drums with metal cans and Dugan's extremely processed (and extended technique heavy) sound. There was a quiet moment with Arnal playing on metal pots and gongs arranged on the floor that was striking. And this set left me with an intense curiosity to hear more of Aaron Dugan's guitar playing.

The final set shifted toward the playful energy and antics of Boran and Makihara. Tom Boran spun out a steady stream of inventive and creative sounds from his unique rig while Toshi Makihara adeptly responded to each curve thrown his way. While much of the sounding energy was enjoyable, the dialogue between performers felt a little one-sided at times. But this was quickly forgotten each time the overall sound would swell into something richly textured.

Wright Pocket, Red Room

The Jack Wright Trio @ The Red Room, Baltimore, MD - May 26, 2007
Jack Wright: alto saxophone, soprano saxophone
Toshi Makihara: drums
Evan Lipson: bass

This is one hot, creative trio with big ears and musicianship to burn. Each member performed as an equal part of the overall sonic painting. The linear explorations and responses/reactions to the other players occasionally coalescing into pockets of richly satisfying grooves before dissolving into a constantly shifting soundscape. The shifting textures and densities gave way to brief focal points on individual performers. But the overall emphasis was on the energy and free flowing ideas that formed a remarkably balanced cohesiveness. I hope somebody is documenting this group.

The extended techniques each player integrated into this evening's performance was striking. Each seemed to emerge as a natural part of the overall sound without drawing attention to the "non-standard" approach to playing. Wright took apart and then reassembled his soprano saxophone in the middle of the set's second piece. First playing without the mouthpiece, then using circular breathing to play the metal column like a small didgeridoo. Makihara explored all kinds of inventive sounds from his drum kit, using a wide variety of sticks, brushes, bare knuckles and elbows. At one point he picked up a thermos and found a nice percussive sound by rhythmically snapping it open and shut. And Lipson brought out the rich, resonant body of the acoustic bass into the sonic texture as he bowed the body of the instrument itself and played some beautiful col legno passages. He also used clothes pins to alter the vibrations of the open strings and fearlessly applied several aggressive Bartok pizzicato snaps. But what really impressed me was when Wright would drop out and one could hear a ghost-like sonic image of his lines and gestures being played on the bass - often matching his register.