"I don't use any electronics, just a microphone that is used like a microscope."

It was a caveat well worth making before Franz Hautsinger began his solo set, because the sounds he made seemed heavily processed. Drones, reverberating flutters and overtones mixed with only occasionally brass-seeming sounds filled the modestly populated room. At times, Hautsinger even split his tone, creating the impression of a repeat looping underneath another effected tone.

It's generally unfair to liken one musician to another, but since he invited the comparison (by rejecting its vehicle): he hit percussive flurries reminiscent of Ikue Mori, extended sparse passages like Gunther Mueller and mysteriously familiar sounds a la the late Voice Crack. Hautsinger has covered a lot of ground in Eurasian sound exploration, having recorded with Derek Bailey, John Tilbury and Sachiko M, among others. His rare quarter-tone trumpet showed all of those influences. The opening piece felt a little like a demonstration of technique, a staggering vocabulary without clear (or at least satisfying) structure. The second piece was a sort of meditation on rhythm, beginning slowly with sharp bursts of air pushed through his horn then varying techniques to add voices and create counter rhythms. If the piece were transferred from horn to drum, it could have been one of Max Roach's simple, engaging snare-and-high-hat solos. Subsequent pieces gave the mike and the horn some distance, using more overtly the sounds of the trumpet (to less impressive effect) and toying with musicality, if not quite melody.