HurdAudio Rotation: The Storytellers

Terry Riley/Kronos Quartet: Cadenza On The Night Plain. 1988. Gramavision: R2 79444.

David Harrington: violin
John Sherba: violin
Hank Dutt: viola
Joan Jeanrenaud: cello

Sunrise of the Planetary Dream Collector
G Song
Mythic Birds Waltz
Cadenza on the Night Plain (dedicated to Dr. Margaret Lyon)

Few composers can take on the role of shaman and spin a fine yarn out of a chamber music ensemble. Right from the opening strains from Sunrise of the Planetary Dream Collector this is music that has held me in thrall for more than two decades now. It has often been my road music of choice on long journeys and has long since become one of those studio recordings that I'm completely bonded to. It succeeds in an area that Terry Riley never gets nearly enough credit: arranging. This is narrative, story-driven music that plunges the ensemble through some inventive turns with a rare ability to bring equal attention to the large form and small details of its construction.

Marc Ribot's Ceramic Dog: Party Intellectuals. 2008. Yellowbird: yeb-7707 2.

Marc Ribot: guitar, vocals
Ches Smith: drums, percussion, electronics, vocals
Shahzad Ismaily: bass, vocals, moog

Janice Cruz: additional vocals
Martin Verajano: additional percussion
Jenni Quilter: additional vocals

Setting the tone with a deviously un-Doors-like take on "Break On Through," Ceramic Dog sets out to bring equal parts party and intellect to Party Intellectuals. Along the way it delivers some wide ranging punches that frequently hit their mark with both fun and fury. A power trio that isn't afraid to surf or take a sideways stab at multiple genres. All of it with Marc Ribot's unerring sense of soul.

The Zs: untitled. 2003. Ricecontrol: 10. (Single sided vinyl)

Alex Hoskins: drums
Brad Wentworth: drums
Charlie Looker: guitar
Matthew Hough: guitar
Alex Mincek: saxophone
Sam Hillmer: saxophone

Glyphs
Play

A quick dose of the manic precision and obsessive musical qualities of the Zs. The reinforced sonic dissonance of a garage band combined with the rhythmic tightness of a Berkeley student wood shedding in a practice module. The Zs demonstrate a compatibility of extremes. An aesthetic that finds humanity by keeping it tightly wound up.

HurdAudio Rotation: Restrained Noise

Carla Bley: The Lost Chords find Paolo Fresu. 2007. Watt Works/ECM: WATT794/B0010120-02.

Carla Bley: piano
Paolo Fresu: trumpet, flugelhorn
Andy Sheppard: soprano saxophone, tenor saxophone
Steve Swallow: bass
Billy Drummond: drums

Clearly the same mind and creative impulse behind the arrangements performed by Charlie Haden and the Liberation Music Orchestra. Carla Bley takes the beautiful - and in the case of Paolo Fresu's tone and phrasing there is no shortage of beauty - and deftly prevents it from sliding into pretty. Carla Bley is so good, the results so slippery with gentle quirks and ideas that she tends to be underrated. She is the genuine article with compositions reinforced by her remarkable arranging prowess. "The Banana Quintet" makes for an excellent showcase for her ideas along with the Fresu lines woven throughout its bluesy appeal.

The Zs: 4 Systemz: Brown 1951. 2007. Planaria: PR029.

Sam Hillmer: tenor saxophone
Matthew Hough: electric guitar
Charlie Looker: electric guitar, baritone guitar
Ian Antonion: drumset, percussion
Brad Wentworth: drumset, percussion

The graphic scores of Earle Brown allow for enormous flexibility in instrumentation and interpretation. Like any form of notation, the sonic quality depends upon the ability of the performer. Graphic notation calling for an improvisation that reflects the visuals. The Zs find an intriguing sense of Brown's 4 Systems with a taut performance that is nearly transparent with everything operating at low dynamic levels. The sparse layers of drums against electric guitars played acoustically and soft held tones on the saxophone comes through the speakers with the gentle ferocity of a summer breeze through an open window.

Michele Rabbia/Marilyn Crispell/Vincent Courtois: Shifting Grace. 2006. Cam Jazz: CAMJ 7791-2.

Michele Rabbia: percussion
Marilyn Crispell: piano
Vincent Courtois: cello

Three musicians, six ears and a singular, lyrical sound that passes through. Sometimes as a trio, duo or solo. The tension of hearing master musicians applying so much restraint combined with the blurring between free improvisation and composed music (there are elements of each here) leaving no sign where one leaves off and the other begins. At times the ideas and lines pass seamlessly through piano, percussion and cello. The prolonged understatement standing as evidence of the profound listening ability shared between these performers.

HurdAudio Rotation: Z is for Zone

The Zs: Arms. 2006. Planaria Recordings. PR029.

Sam Hillmer: tenor saxophone, vocals
Matthew Hough: electric guitar, vocals
Charlie Looker: electric guitar, baritone guitar, vocals
Ian Antonio: drumset, percussion, vocals
Brad Wentworth: drumset, percussion

Militant precision that starts and stops (and stutters) on a dime as the Zs take their contrasting extremes into the studio to document their exquisitely crafted textures. By combining the disciplines of a chamber ensemble with a hard core band they bring each genre exactly what the other is lacking. Music with a razor sharp intellectual edge that still holds a kinetic, visceral edge. The group chanting of "Nobody Wants To Be Had" or "Except When You Don't Because You Won't" falls in lock step with the instrumental sonics of the Zs machinery to reveal the creative pulse that thrives within the disciplined brutality of the sound.

Francois Houle: Aerials. 2006. Drip Audio: MAX 21552.

Francois Houle: clarinets, prepared piano

Other than the spare moments when Francios Houle plays the prepared piano along with the clarinet simultaneously the piano serves as a subtle, resonant presence to this sound. Moments when Houle plays the clarinet directly into the piano are balanced against its absence. A subtle, but rich harmonic component that springs forward on a good pair of speakers. Musically, this material exists within spaces between notes and phrases. Spaces Houle's ears are uniquely tuned to play around. This recording is a wonderful document of the material I had the pleasure to hear performed live at Guelph a few years back. Francois Houle is an understated master of this instrument and Aerials provides an extended presentation of his soloistic prowess.

Birgit Ulher/Ernst Thoma: Slants. 2003. Unit Records: UTR 4142.

Birgit Ulher: trumpet
Ernst Thoma: live electronics

While one might be struck by the inventiveness of Birgit Ulher's extended trumpet techniques and the way she matches the timbral twists and unpredictable outbursts of Ernst Thoma's electronics. Knowing of her improvisational prowess first hand I'm more inclined to marvel at Thoma's ability to keep up with the sonic range of Ulher. The truth is that these artists respond to one another and take the listener to some remarkable places. The final moments of "Skyblue" in particular reaches a suspended state that is remarkable.

HurdAudio Rotation: From Andrew Drury to Zs

Andrew Drury: A Momentary Lapse. 2003. Innova: 581.

Andrew Drury: composer, drums
Eyvind Kang: violin
Briggan Krauss: alto saxophone, clarbone
Chris Speed: tenor saxophone, clarinet
Myra Melford: piano
Mark Dresser: bass

Outstanding arrangements/compositions + six great improvisers = third spin in the HurdAudio Rotation with nothing but praise to heap upon this disc. Between the variation of textures and styles of the nine compositions featured in this set and the ample room smartly extended toward each performer this one hits several sweet spots that make for an underrated 2003 release from Drury. In particular, the prominence of Myra Melford on "Geek's Revenge" was especially appreciated in this spin.

Bill Frisell/Dave Holland/Elvin Jones: Bill Frisell with Dave Holland and Elvin Jones. 2001. Nonesuch: 79624-2.

Bill Frisell: electric guitar, acoustic guitar, loops
Dave Holland: bass
Elvin Jones: drums

The already insane talents of Bill Frisell + one of the most enviable rhythm sections of all time + a beloved section of the Frisell songbook (along with a take on "Moon River" and "Hard Times") = fourth spin in the HurdAudio Rotation with ears greedily drinking up a sound even greater than the concept behind it. I hesitate to call these definitive takes on this block of compositions written to accompany a documentary about Far Side cartoonist Glen Larson, but these do make a compelling argument for these enduring and endearing Frisell originals. Hearing these pieces thrive with the support of the potentially overwhelming slice of jazz history Holland and Jones bring to this session reinforces an already high opinion of this music. This one is deserving of many more spins.

The Zs: 4 Systemz: Brown 1951. 2007. Socketscdr: 32.

4 Systems (1951) composed by Earle Brown, performed by The Zs.

Essentially a single. This is the full length version of the 4 Systems excerpt included on the Tzadik compilation Folio and Four Systems. Using Brown's graphic score the Zs navigate a quiet texture of breathtaking restraint. Each gesture is carefully added to the soundscape so that it barely leaves a ripple. The Zs demonstrate an intensity within near-silence equal to the high-decibel excursions of their late-night venue existence.

HurdAudio Rotation: Slanting Time with Open Arms

The Zs: Arms. 2007. Planaria: PR029.

Sam Hillmer: tenor saxophone, vocals
Matthew Hough: electric guitar, vocals
Charlie Looker: electric guitar, baritone guitar, vocals
Ian Antonion: drumset, percussion, vocals
Brad Wentworth: drumset, percussion

Precision with a progressive edge in the service of a relentless creativity. The Zs open up a wide territory with Arms reaching between the chanting vocal unisons of "Nobody Wants To Be Had" over a texture of razor sharp abrasion to the soft lull of "Z Is For Zone." This is a rare band capable of mining both the meditative trance-inducing state and the brutal, high-decibel jump cut without sacrificing their aggressive, almost manic, attention to detail and extreme precision. Ugly beautiful.

Birgit Ulher/Ernst Thoma: Slants. 2003. Unit Records: UTR 4142.

Birgit Ulher: trumpet
Ernst Thoma: live electronics (and the blue wheel instant composing machine)

Birgit Ulher is a sound artist with a background in the visual arts. And the sensibilities come through in the stark lines and track titles named after colors. With "Skyblue" taking up the lion's share of the total duration in this pack of sonic crayons, it's the scarcity of layering that brings out the detail of this trumpet and electronics collaboration. Each element of sound is given generous space as these pieces spell out a desolate, lonely environment of windswept hues.

Mark Dresser/Denman Maroney: Time Changes. 2005. Cryptogramophone: CG124.

Mark Dresser: bass
Denman Maroney: hyperpiano
Michael Sarin: drums, percussion
Alexandra Montano: voice

These Cryptogramophone releases over the past few years have been so impressive and consistent that it's hard not to keep coming back into the sonic worlds so beautifully recorded on these discs. Time Changes is just one of those releases that gives an aural insight into the collaboration between Mark Dresser and Denman Maroney with a set of pieces focused on creative ways to warp the dimension of time. "Apertivio" takes a C minor blues and subjects it to a modulating tempo while Maroney's charts - notably "MC" and "Kilter" - explore an independence between parts and players with its wicked polyrhythms dangling from a steady pulse. The addition of Michael Sarin's percussive wares and Alexandra Montano's wordless vocals fill out the timbral soundscape with arrangements that give equal attention to color and melodic phrasing to match the relaxed intensity of undulating time.

Swarms of Locusts and D-Zs: Apocalyptic Days at the Ottobar

Sleeping People/The Zs/Yip Yip/The Locust
November 21 @ The Ottobar, Baltimore, MD

My brief encounter with the Zs performing the music of Earle Brown in Philadelphia left me curious to hear this intense 4-piece anomaly in their native environment. The black, grimy confines of Baltimore's Ottobar is exactly the high volume ecosystem that gives rise to the no-wave brutal minimalism of the Zs. And they were even more fascinating as they pursued the extremes of noise, quiet and the unlikely synthesis of experimental chamber music and hardcore punk traditions.

The Zs perform in a tight, box configuration facing each other over music stands and reams of notated scores. This constant visual communication allows them to execute rapid fire unison lines with blisteringly rehearsed precision. It also places the saxophonist with his back to the audience and conveys a calculated indifference toward stage orientation. The uncompromising music that pours out - sometimes in heavy bursts punctuated by deliberate silences - is at times passionately unpredictable and repetitive. It is also stark and profoundly appealing music.

The first set of the evening featured the progressively cool music of Sleeping People. From the moment they started peeling off patterns in 5/8 time I was hooked by this tight, odd-meter quartet from San Diego. There was a great fluidity to the way Sleeping People would carve time into asymmetrical units that kept the attention on the sound as they didn't visibly sweat the counting.

I have to give props to Yip Yip for their props. The black and white checkered pattern on their custom cases, backdrop and outfits was visually amusing. The Orlando-based duo of vintage, analog synthesizer players enhance their sound with a customized contraption of cymbals, alto saxophone and drum machine. And every time I expected their sound to wear out its welcome they managed to rock a little harder. The drifting intonation of the old school oscillators and their odd transitions were incredibly endearing.

The final set featured the abrasive assault of The Locust. Like Yip Yip, costumes are a big part of the live Locust experience. I respect that even the guy working the sound board at the back of the room and the photographer floating around the Ottobar for shots from all different angles were each dressed as Locusts. The cut of the masks around the mouth enhanced the effect of insect-like mandibles as the keyboard player and guitarist issued their scream-heavy vocals. The Locust pour on the kind of hardcore sound one expects when waiting in line at the Ottobar as the mosh pit of slam dancers and stage diving finally materialized around the pounding aggressiveness of their music. It was amusing to hear such punk vocals issuing forth from the Moog synthesizer player. And they certainly had the transfixed attention of the local celebrity attending the show. About half way through their set their material began to wear thin for me and I had to flee the constant barrage of high decibel angst.

Variously Indeterminate

Relache with special guests The Zs @ the Sanctuary in the Fleisher Art Memorial, Philadelphia, PA
Sunday, September 23, 2007

Living Room Music by John Cage
December 1952 by Earle Brown
Ryoanji by John Cage
Grete by Christian Wolff
-intermission-
4 Systems by Earle Brown (performed by The Zs)
December 1952 by Earle Brown (performed by Relache with The Zs)

Relache opened up their 2007/2008 season with a program featuring three-quarters of the "New York School" as sonic arguments for compositional indeterminacy unfolded beautifully before the frescoes, saints and virgin Mary found within the old Church of the Evangelist sanctuary within the Fleisher Art Memorial. The faithful, focused interpretations of this music found a receptive congregation within the narrow sanctuary space that proved to be an ideal acoustic match for the warm, detached sonorities of this strain of American music.

Living Room Music is a pulsating work that makes use of found objects, voices and flute to create an inviting, playful sound. The soft texture of slapped knees, newspapers, plastic containers over whistles and spoken variations upon the phrase "once upon a time" shimmered with an unpretentious joy that set the tone for the afternoon concert.

December 1952 is one of the great graphic scores by Earle Brown that blurs the line between improvisation and indeterminacy as the wide range of interpretive freedoms extended toward the performers is counterbalanced by the singular shared focus upon the visual elements of the score. The spirited interpretation offered by Relache was a tantalizingly brief glimpse of the sonic beauty such an ensemble can coax from the sparse dashes and lines found upon a sheet of paper. The second performance of this same piece - this time augmented by the Zs - was an even more stunning sonic postcard.

Ryoanji was performed by Lloyd Shorter on oboe, Chris Hanning on percussion and three recordings of oboe with the playback controlled by other members of the Relache ensemble. Shorter performed his part from the back of the sanctuary while the other parts emanated from the front. The spatial elements of this piece offset the narrow timbral range of this haunting work. John Cage is such an endless source of amazing, beautiful music. I'm stunned at how often I'm struck by his ideas and how deeply his music affects me. This is a particularly beautiful piece that I was not yet familiar with.

Grete is a new work by Christian Wolff that was specifically commissioned by the Relache ensemble. As the final surviving member of the "New York School," Wolff is still composing new works that make use of indeterminacy. This particular performance was the highlight of the afternoon as Relache took advantage of the range of choices left to them by the composer to fashion a varied, multi-movement interpretation from the raw compositional materials as they applied a refined sense of balance and form. They also made good use of their ears as they reinforced the interdependence of the individual parts. This was a beautiful, joyous sonority that blossomed from the seeds of Living Room Music.

The Zs are a cross-over oddity with boundless potential. It's rare when a single ensemble can offer a credible conduit between chamber music and rock. The four members perform while facing each other within a tight square formation. Ben Greenberg's unamplified electric guitar was a particularly nice touch for their quiet interpretation of 4 Systems. The photocopies of the altered Earle Brown score left on the seats during intermission was suggestive of the band art found on fliers and posters stapled to telephone poles. This meshed well with the overall theme of unpretentious regard for art and found objects.