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Anthony Braxton: Creative Orchestra (Koln) 1978 (2009)

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Anthony Braxton: Creative Orchestra (Koln) 1978 How we rate: our writers tend to review music they like within their preferred genres.

Composer and multi-reedman Anthony Braxton's complex and personalized compositional paradigms emanated in the 1960s, underscored by 12 language types, diagrams, and other methodologies to complement the improvisation aspect. On this double-disc, 2009 reissue of a 1978 concert, Braxton employs a diverse dream team including reedmen Marty Ehrlich
Marty Ehrlich
Marty Ehrlich
b.1955
reeds
and Ned Rothenberg
Ned Rothenberg
Ned Rothenberg
b.1956
saxophone
and trumpeter Kenny Wheeler
Kenny Wheeler
Kenny Wheeler
b.1930
trumpet
. Consequently, Braxton lays down his woodwinds and focuses on the conduction element throughout a mesmeric cycle of events.

The program parallels Braxton's 1970s Creative Orchestra work for Arista Records, re-released by Mosaic Records as an eight-CD boxed set in 2008. Ultimately, the artist's creative persuasions instill a seat-of-the-pants type of entertainment factor. The orchestra sheds new light on the oft-used, "cutting- edge" descriptor. And, given the time frame, the music holds its weight 30 years after its initial release.

Braxton's compositions contain odd-metered developments as he amalgamates the grand schema with avant expressionism amid unorthodox treatments by synth ace Bob Ostertag and angular electric guitar parts by James Emery

. On "Language Improvisations," interweaving horns, touched with a semi-classical tone, give way to a symphony of abstracts, hued by percussionist Thurman Barker
Thurman Barker
Thurman Barker
b.1948
drums
's vibes work and Wheeler's blaring solo. The multi-part framework elicits asymmetrical doses of emotive aspects, including loneliness and tumult, emphasized by Ostertag's streaming synth maneuvers.

Braxton's overall muse consists of densely populated mini-motifs, offset by intricately executed bop choruses, wily soloing spots, and pungent accents by the horn section. He also injects a festive aura into various movements, yet does so in non-traditional formats. It's all about synchronicity and balanced approaches, to complement the occasional free-form breakouts. Braxton's piece "Comp. 59" is embedded with start-stop passages, booming punctuations, and Ehrlich's whirlwind sopranino solo. Here, the artists fuse a contemporary classical vibe with misty dreamlike intervals and gobs of impressionism. Essentially, (Köln) 1978 looms as a monumental work, highlighting Braxton's striking ingenuity, acute vision, and nouveau concepts by transforming jazz music into an illimitable vista.


Track Listing: CD1: Language Improvisations; Composition 55; Composition 45. CD2: Composition 59; Composition 51; Composition 58.

Personnel: Anthony Braxton: composer, conductor; Dwight Andrews: flute, clarinet, bass clarinet, soprano and tenor saxophones; Marty Ehrlich: flute, clarinet, sopranino, alto and baritone saxophones; Vinny Golia: piccolo, bass clarinet, tenor and baritone saxophones; J.D. Parran: flute, clarinet, nagaswaram, tenor saxophone; Ned Rothenberg: flute, ocarina, bass clarinet, alto saxophone; Rob Howard: trumpet; Michael Mossman: trumpet; Leo Smith: trumpet; Kenny Wheeler: flugelhorn, trumpet; George Lewis: trombone; James King Roosa: trombone; Ray Anderson: trombone, tuba; Marilyn Crispell: piano; Birgin Taubhorn: accordion; Bobby Naughton: vibraphone; James Emery: electric guitar; John Lindberg: bass; Brian Smith: bass; Thurman Barker: percussion, marimba; Bob Ostertag: Serge synthesizer.

Record Label: Hatology

Style: Free Improv/Avant-Garde


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