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: The Art of the Improvisers

Aaron Dugan: {ten improvisations}. 2006. Jungulous: 001.

Aaron Dugan: electric guitar

A focused burst that places the ears within the creative mental space of Aaron Dugan and the electric pulses of his electric guitar. The use of processing and pedals playing a moderate role in folding noise into a signal of pulsating, angular materials and rhythmic impulse. Thoughtful while honestly taking on the amplified power of the instrument and the language formed behind its use in rock music.

Ornette Coleman Trio: The Ornette Coleman Trio at the "Golden Circle," Stockholm - volume one. 1965 (re-released as the Rudy Van Gelder edition in 2002). Blue Note Records: 7243 5 35518 2 7.

Ornette Coleman: alto saxophone
David Izenzon: bass
Charles Moffett: drums

On this go around my ears are drawn to the cymbal work of Charles Moffett. Panned hard right with an unusual resonance there are these enharmonic drones that emanate from his kit that slide in and around the harmolodic adventures pouring out of Ornette Coleman's alto. The human qualities of his saxophone sound on full display as he weaves between plaintive cries and melodic contours fashioned around his intervallic sensibilities.

Don Byron: Do The Boomerang: The Music of Junior Walker. 2006. Blue Note Records: 946 3 41094 2.

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

The projects Don Byron take creative directions that are surprising. Coming from a mind that is not held in place by boundaries between styles and aesthetic directives he is free to explore klezmer, Latin, hip-hop, opera arias, early twentieth century swing tunes and in this case 1960's era soul music. The level of excellence he achieves is not surprising. Music such as this lives and thrives under the feel that this outstanding ensemble brings to it. After a few spins my mind just snaps into the place this music creates and savors the sense of time laid out along the blues changes in this music. "Tally-Ho" and "What Does It Take (To Win Your Love)" providing the highlights of this listening experience.

HurdAudio Rotation: From Eroica to the Village Vanguard

Ludwig Van Beethoven: The Symphonies [disc 2]. Recorded in 1994. The International Music Company: 205297-305.

Symphony No. 3 in E flat major (op. 55) 'Eroica'
The Royal Philharmonic Orchestra
Guenther Herbig: conductor

In pithy introductions before symphony orchestras everywhere perform these Beethoven works one hears about the "constant renewal" one experiences with these works. To some extent that comes in the rare moments when the mind slips past the crushing familiarity of these pieces. When one can somehow erase the knowledge of what is coming next. The once startling harmonic and dynamic changes that one anticipates like an old rerun. On this go around I had more success hearing the first movement with fresh ears before the total form - fully comprehended - returned to my memory. That first movement was bliss in the willful forgetting that preceded it. Clearly one of the "great" works. Now to return to the act of not remembering for the next listen.

Ludwig Van Beethoven: The Complete Quartets - Volume I. Recorded in 1989. Delos: 3031.

String Quartet in F Major op. 18 no. 1
String Quartet in E flat Major op. 127

Orford String Quartet
Andrew Dawes: violin
Kenneth Perkins: violin
Terence Helmer: viola
Denis Brott: cello

The Beethoven string quartets are the antidote to Beethoven symphony fatigue. Just as much arrangement and development prowess as the large ensemble works with less of the "beating a dead war horse" sensation. The early/late juxtaposition of this volume clearly illustrating the artistic growth of Beethoven the composer as he masters the old Classical form and proceeds to rip at its seams in his later, more confident years.

Bill Evans: The Complete Village Vanguard Recordings, 1961. 2003 & 2005: Riverside Records: 25218-4443-2.

Bill Evans: piano
Scott LaFaro: bass
Paul Motian: drums

One of the rare examples of where it's possible to state "one of the most important jazz recordings ever" without slipping into hyperbole. The complete day of live sets at the Village Vanguard on June 25, 1961 with arguably one of the most influential piano trios of all time. The sets that produced both Waltz for Debby and Sunday at the Village Vanguard. And one of the precious few documentations of this trio before tragedy separated Scott LaFaro from this world. The lyricism of Evans playing is utterly stunning. Even more so when the mind and ears are engaged with the form unfolding behind his improvisations. A must have for any serious jazz collector that invites awe for the artistry, intimidation at the graceful level of musicianship on display and an invaluable glimpse of a sound that continues to shape generations of jazz players.

HurdAudio Rotation: Haywire and the Brain

Thomas Chapin Trio plus Strings: Haywire. 1996 (Re-released as disc 5 of the Alive box set, 1999). Knitting Factory Records: 35828 02482-2.

Thomas Chapin: alto saxophone, mezzo-soprano saxophone, baritone saxophone, flute, miscellaneous instruments
Mario Pavone: bass
Michael Sarin: drums
Mark Feldman: violin
Boris Rayskin: cello
Kiyoto Fujiwara: bass

The Thomas Chapin Trio worked with formal development like a fabric. Woven through the smart arrangements and melodic lines are a multitude of moments that allow Chapin's improvisational voice to emerge along a wide range of emotional intensity. Moments that don't come at the expense of formal connectivity to the sequential parts of the music. Moments that also allow generous room for the other members of the ensemble to shine with equal brightness. With the added string trio the ears are treated to the creative sparks that fly between Mark Feldman and Thomas Chapin throughout this disc. The ears are reminded how deceptive a simple ostinato can be as a compositional device. How a repeated pattern can lend toward a building up of texture. And how much a few well placed utterances can add to a flute solo. This music is an affirmation of Thomas Chapin's assertion that "the point is to stay awake and alive to what is going on." There is plenty going on and the rewards come in hearing them.

Anthony Braxton: Piano Quartet, Yoshi's 1994 [disc 4]. 1996. Music & Arts: CD 849.

Anthony Braxton: piano
Marty Ehrlich: alto saxophone, soprano saxophone, clarinet
Joe Fonda: bass
Arthur Fuller: percussion

This set of jazz standards as interpreted by Braxton's quartet has several endearing qualities. Marty Ehrlich's playing being prominent among its better elements. The selection of material is outstanding. But that plodding, heavy handed piano under Braxton's hands makes it clear that it is not his primary instrument. The piano solos are adventurous and full of substance. But not much for nuance or dynamic range. This is one standards project that stumbles with Braxton (many of his standards projects are wickedly good). Yet I keep dipping my ears in it. Finding trace elements that inform. As well as the object lesson of a creative endeavor that falls short.

Anthony Braxton 12+1tet: 9 Compositions (Iridium) 2006 - disc 3. Firehouse 12 Records: FH12-04-03-001.

Recorded live: March 17, 2006 at Iridium Jazz Club, New York City.

The Anthony Braxton 12+1tet
Anthony Braxton: composer, alto saxophone, soprano saxophone, sopranino saxophone, clarinet and Eb contalto clarinet
Taylor Ho Bynum: cornet, flugelhorn, trumpbone, piccolo trumpet, bass trumpet, shell
Andrew Raffo Dewar: soprano saxophone, c-melody saxophone, clarinet
James Fei: alto saxophone, soprano saxophone, clarinet, bass clarinet
Mary Halvorson: electric guitar
Stephen H. Lehman: alto saxophone, sopranino saxophone
Nicole Mitchell: flute, alto flute, bass flute, piccolo, voice
Jessica Pavone: viola, violin
Reut Regev: trombone, flugelbone
Jay Rozen: tuba, euphonium
Sara Schoenbeck: bassoon, suona
Aaron Siegel: percussion, vibraphone
Carl Testa: acoustic bass, bass clarinet

Composition No. 352 - Dedicated to the composer Sofia Gubardulina

In the body of group improvisation dynamics there are few systems that so accurately sublimate the ensemble into the functional replication of Anthony Braxton's considerable brain. Each neurological impulse firing along the ghost trance logics so meticulously crafted and imparted to these players. Yet this is a sublimation without submission. A group ensemble not falling under the dictatorship of baton and score. The pulse structures - often loosely defined and interpreted - provides the ears with the structural underpinnings that never overwhelm the individual improvisations necessary to fill in the details of this piece.

HurdAudio Rotation: Concord, Cash and Khoom

Henry Brant: The Henry Brant Collection, Volume 7: A Concord Symphony. 2007. Innova: 414.

Henry Brant: orchestration of the Charles Ives Piano Sonata No. 2, Concord, Mass., 1840-60.

Royal Concertgebouw Orchestra
Dennis Russell Davies: conductor

This is such a brilliant reinforcement of two major branches of American new music. The mixture of Henry Brant's profound understanding of the music and ethos of Charles Ives with the personality and levity of Brant's own personality producing an orchestration that is completely on target for the gravity and expression of Ives' monumental piano work. The instrumentation opens up new shading into the rich substance of this piece. A valuable "collaboration" that deserves its own position in any repertoire of American identity.

Johnny Cash: Love, God, Murder. 2000. Sony Music Entertainment: C3K 63809.

Compilations produced by Johnny Cash.
Co-Produced by Steve Berkowitz and Al Quaglieri

It's hard to argue with compilations hand picked by Johnny Cash constructed around the themes of Love, God and Murder (on three separate discs). Each successive collection burrowing deeper into a raw nerve of human emotional tolls. But then, it's never wise to argue with the man in black. The deceptive simplicity bolstered by conviction and understanding. A willingness to speak out for the downtrodden without becoming more or less than any of us. A sense of faith without preaching or self righteousness. Johnny Cash was a rare soul.

Giacinto Scelsi: 5 String Quartets/String Trio/Khoom. 2002. Naive: MO 782156.

Arditti String Quartet:
Irvine Arditti: violin
David Alberman: violin
Levine Andrade: viola
Rohan De Saram: cello
plus
Michiko Hirayama: voice
Maurizio Ben Omar: percussion
Frank Lloyd: horn
Aldo Brizzi: conductor

String Quartet No. 1 (1944)
String Trio (1958)
String Quartet No. 2 (1961)
Khoom for piano 6 players (1962)
String Quartet No. 3 (1963)
String Quartet No. 4 (1964)
String Quartet No. 5 (1974/85)

Still one of my favorite narratives played out in abstract sound. The evolution of Giacinto Scelsi as he became his iconic (and eccentric) self. A progression from non-tonal ideas and aesthetic into the timbral obsessions and extreme textures that make Scelsi so important. Listening to his string writing from the first quartet through the fifth is an exercise in hearing personal growth unfold.

HurdAudio Rotation: Exiles and Lizards

Chris McGregor's Brotherhood of Breath: Travelling Somewhere. 1973 (re-issued in 2001). Cuneiform: Rune 152.

Chris McGregor: piano
Harry Beckett: trumpet
Mark Charig: trumpet
Nick Evans: trombone
Mongezi Feza: trumpet
Malcolm Griffiths: trombone
Harry Miller: double bass
Louis Moholo: drums
Mike Osborne: alto saxophone
Evan Parker: tenor saxophone
Dudu Pukwana: alto saxophone
Gary Windo: tenor saxophone

The Brotherhood of Breath is so under-documented that every scrapbook of joyful sound is incredibly valuable. Improvisation of the highest order built upon layers of human experience, cultural reference points and exile. The unusual challenges endured by this mix of South African and European musicians pouring out with a vibration of fervent humanity. Here lie multiple avenues for large ensemble writing yet to be fully explored.

The Lounge Lizards: Queen of All Ears. 1998. Strange & Beautiful Music: SB 0015.

John Lurie: alto saxophone, soprano saxophone, vocals
Michael Blake: tenor saxophone, bass clarinet
Steven Bernstein: trumpet
David Tronzo: slide guitar
Evan Lurie: piano, organ
Jane Scarpantoni: cello
Erik Sanko: bass
Ben Perowsky: percussion
Calvin Weston: drums

It's good to be reminded just how much I dig this ensemble. The layering of patterns in "The First and Royal Queen" always brings a smile at the onset of this disc and the journey continues from there. Rich with musical ideas and moments of whimsy. Particularly the mad screaming set up by the story telling in "Yak." Plenty of impressive talent in this large band.

Sun Ra: The Creator of the Universe. 1971 performances (released in 2009). Transparency: 0301.

The Lost Reel Collection:
disc 1: Warehouse, San Francisco, June 10, 1971
Sun Ra with Arkestra
disc 2: 3rd Class, UC Berkeley, May 4, 1971
Sun Ra lecture

Billed as "a Sun Ra album like no other," this release of recovered reel to reel recordings from Sun Ra's time in the Bay Area does pry open the persona of Le Sony'r Ra to reveal the street preacher of his Chicago days expounding upon his concepts of racial inequality against his cosmic orientation. Disc one offering a long declamation over arkestral accompaniment while the course lecture on the second disc (from his year in residence at UC Berkeley) is accompanied by the sound of nervous laughter and chalk on blackboard. The wordplay and ability to turn concepts upside down paired with his oddly charismatic voice of prophecy. The sense of a body of music born out of relentless questioning and a willingness to dismiss accepted conventions in all matters. A documentation of thought more so than music. Beautiful, frustrating, engaging and troubling all at the same time.

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.