URS LEIMGRUBER — Ungleich (1990) Hat Jazz Series | FLAC (tracks+.cue), lossless

On the follow up to his amazing Statement of an Antrider, reed genius Urs Leimgruber chooses to record five more solo compositions for tenor, soprano, and "prepared" bass saxophones. Leimgruber is as adventurous as Anthony Braxton is in his exploration of microtonalities on his chosen instruments. He careens through different tones, modalities, nuances, interval; investigations and one would think meditations on sonority in these exercises. And unlike many of his peers who claim to seek the same things, there is order in Leimgruber's world he treats the world of sound as he would any other recognizable system with respect for its natural order and origins. Perhaps this is why he is so effective as an improviser -- his approach to his instrument is to extract from it a response that is congruent to what he put in. Bass god Adelhard Roidinger joins Leimgruber on three selections. Roidinger's a master of his instrumental technique -- whether he is bowing sonances in response to Leimgruber's long, silvery soprano lines, or playing counterpoint to his bass saxophone extrapolations. There are notions of jazz here in both the American and European uses of the word, and certainly the improvisation in play comes from Leimgruber's long involvement with the new music universe that has long struggled to maintain its unique identity. Both of these facets lend to his original voice. Judging by this recording, this is an improviser who can walk the knife's edge of the extreme and the accessible with ease, and it's easy to hear why: There is no academia in Leimgruber's approach. His playing comes from somewhere other than the brain; it comes from the worlds of sound and silence and the heart of the horns themselves. Bravo
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1.    Egonance A  (10:00)
2.    Not Rueckwaerts    5:39
3.    Ungleichgewicht    10:50
4.    Egonance B    8:37
5.    Entre    5:35
6.    Tenir Tête    8:13
7.    Prélude Pour L.    3:51
8.    Estidian    4:00
Credits :
Bass – Adelhard Roidinger (tracks: 2, 5, 8)
Painting [Cover Painting] – Rolf Winnewisser
Soprano Saxophone, Tenor Saxophone, Bass Saxophone [Prepared], Composed By – Urs Leimgruber

URS LEIMGRUBER · ADELHARD ROIDINGER · FRITZ HAUSER — Lines (1994) Hat Jazz Series | FLAC (tracks+.cue), lossless

From Art Lange's outrageously pretentious liner notes, one might get the impression that this bad-assed trio was trying to re-invent the line and extend it out into the nothingness of the beyond and perhaps beyond that into non-being. I dig Lange, but his liner notes on this set are pure junk. What the word "lines" refers to in the title of this record is simple: This is for these well-known improvisers a quest in playing the line, playing in a linear -- for them anyway -- fashion. The seven selections on this disc, all of which have references to the linguistic construct "line," are formidably constructs in and of themselves. This is some smoking new jazz that features a depth of communication and commitment to energy as they translate in a mostly linear fashion to the transfer of emotion from musician through musical instruments through to the listener. Period. Along the way are some pretty stunning solos and sharp ensemble playing that take the "lines" of melody and make them somewhat angular though never twisting them into something they're not. For instance, check out the call and response between Leimgruber's soprano solo and Roidinger's double bass, one line answered succinctly and precisely with another. And it gets better where spatial dynamics are used to created complex harmonics and polytonal inventions. Here, melody is ever-present -- the touch of "Blue Monk" and "Lonely Woman" in "Shifted" -- and "shifted" into a different melodic reality, one where overtones -- via the bowed bass -- create a drone for melodic improvisation to create a new kind of framework where rhythm and counterpoint all become part of the whole. On "Red," which closes the album, line is played out across rhythmic sections and splays itself over the entire construction of microtonal ambience and rhythmic pulse which is subtly shaded, but constant and, yes, linear. Line is what the best of new jazz is about, taking the bull by the horns and going as deep musically as the particular abilities of the musicians involved will take them. All lines lead to this trio. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1.    Open    12:42
2.    Shifted    18:51
3.    Off    4:26
4.    Twisted    6:14
5.    Forgotten    6:15
6.    Up    6:56
7.    Red    10:26
Credits :
Composed By – Roidinger, Hauser, Leimgruber
Double Bass – Adelhard Roidinger
Drums, Percussion – Fritz Hauser
Tenor Saxophone, Soprano Saxophone – Urs Leimgruber 

ANTHONY BRAXTON - Seven Compositions (Trio) 1989 (1989-2009) FLAC (tracks+.cue), lossless

The great avant-garde reed player Anthony Braxton (who on this set switches between alto, C-melody sax, clarinet, flute, soprano and sopranino), bassist Adelhard Roidinger and drummer Tony Oxley play five of Braxton's complex originals, Oxley's "The Angular Apron" and the standard "All the Things You Are." As usual Braxton's improvising is quite advanced and original but is colorful and fiery enough to always hold on to open-eared listener's attention. This is one of literally dozens of stimulating Anthony Braxton sessions currently available. Scott Yanow
Tracklist :
1    Composition 40D / Composition 40G (+63)    19:36
All The Things You Are / The Angular Apron / Composition 6A    
2a    All The Things You Are 10:40
Written-By – Jerome Kern & Oscar Hammerstein
2b    The Angular Apron 8:20
Composed By – Tony Oxley
2c    Composition 6A    7:35
3    Composition 40J / Composition 110A (+108B+69J)    12:06
Credits :
Alto Saxophone, Soprano Saxophone, Sopranino Saxophone, Saxophone [C-melody], Clarinet, Flute,
Composed By – Anthony Braxton
Double Bass – Adelhard Roidinger
Drums – Tony Oxley