Scale of the Day: E Aeolian

The E Aeolian Scale as one would find it on any conventionally tuned, equal tempered instrument. Here's a scale one probably does hear every day, in contrast to the last few scales of the day.

Scale of the Day: D Sharp Phrygian mapped to the Square-root-of-2 1% wide

The D Sharp Phrygian mapped to the Square-root-of-2 1% wide Scale. With the operations of re-mapping and stretching we now have the 606-cent "stretched tritone" as the interval of harmonic equivalence. Which makes for a harmonic territory one doesn't hear every day.

Scale of the Day: D Sharp Phrygian 2% narrow

The D Sharp Phrygian 2% narrow Scale. In this particular harmonic context, the interval of harmonic equivalence is now an "octave" that is compressed nearly 1/8th-tone toward a major seventh and is cognitively dissonant. This kind of deliberate, de-tuning strategy is intended to sound "out of tune." Though I prefer to think of it as a gentle push against one's assumed perceptions.

HurdAudio Rotation: I Heart Heart Mountain

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

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

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

Aelita Queen of Mars (1928) - directed by Yakov Protazanov
Marc Ribot: guitar
Paul Clarvis: drums, percussion
Dave Meric: keyboards
Phil Boyden: violin
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
Marc Ribot: guitar, e-flat horn
John Zorn: saxophone
Andy Haas: saxophone
Cyro Baptista: drums

With the unseen drama, jump cuts, narrative wrinkles and closing credits, these short episodic compositions cut a wide gamut. At times atmospheric before turning into a salsa, surf music or late night bar band. And with Ribot's chops and sensibilities (not to mention guitar playing) behind these works it all comes off as convincing. It's hard to imagine any motion picture worthy of such a soundtrack.

Paul Plimley Trio: Safe-crackers. 1999. Victo: CD066.

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

A sound full of rich substance that manages to feel unencumbered by the weight of so much jazz history and technique at work behind it. The improvisational ideas soar and get caught in all kinds of eddies and currents as Plimley takes the lead in an effort that is equal parts free improvisation and whimsy. Titles like "We Got Noh Rhythm" and "After Boulez, a Doorbell with Perfect Pitch" bring a smile every time. The roots of this music run deep. Many disparate elements of jazz tradition are thoroughly absorbed and rendered audible. There are many surprising turns in the melodic and harmonic content. This one is an understated masterpiece.

Myra Melford/Tanya Kalmanovitch: Heart Mountain. 2007. Perspicacity: PR03.

Myra Melford: piano, harmonium
Tanya Kalmanovitch: viola, violin

The creative compatibility of Melford and Kalmanovitch is exquisitely audible in this collection of brief collaborations of wordless poetry. Melford's spare extended technique inside the piano, adding pizzicato piano strings to Kalmanovitch's plucked viola lines, or sculpting tones from scrapes and preparations blends warmly as the sound of these two performers melt together throughout this listening experience. The combination of harmonium with viola makes for a shimmering track. Even as Melford works the ivories, as she does for most of this recording, it's the conversant interplay between these players that casts a spell. This is one to savor.

Scale of the Day: D Sharp Phrygian diminished 4 1% narrow

The D Sharp Phrygian diminished 4 1% narrow Scale. The compressed octave space mitigates the gap between the diminished fourth and perfect fifth to some extent.

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.

Scale of the Day: D Sharp Phrygian 3% wide

The D Sharp Phrygian 3% wide Scale. At an additional 36-cents wider than the standard 1200-cent octave, this begins to stretch just past what the human cognitive system will perceive as "octave."