For many years, general perception held that the A.A.C.M.–the Association for the Advancement of Creative Musicians, the world-renowned musicians’ collective born in Chicago 25 years ago–was solely committed to avant garde shrieks and sirens of the most extreme nature. In 1990, it is just as common for A.A.C.M. listeners, as well as the musicians themselves, to acknowledge the historical precedents to today’s music and the important place of traditional considerations. But even in the A.A.C.M.’s early years, there was room for those who played older styles but remained “avant-garde” by the sheer force of their ideas. The drummer known as Ajaramu is a case in point: although he can certainly mix it up in a free jam, his personal roots reach deeper into the music’s past. That’s gained him great respect among the organization’s second generation–as is evidenced by the lineup he’s gathered for this final installment of Hot House’s A.A.C.M. series. Trombonist George Lewis, trumpeter Billy Brimfield, and reedman Paul Fenner occupy the front fine; back with bassist Harrison Bankhead are Ajaramu and three other percussionists (an extraordinary rhythm team of Dushum Mosley, Avreeayl Ra, and Kahil El-Zabar). This could get extremely interesting. Thursday, Hot House, 1569 N. Milwaukee; 235-2334.

Art accompanying story in printed newspaper (not available in this archive): photos/Paul Natkin Photo Reserve, Nancy Carter.