Jazz Articles about Anthony Braxton

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Anthony Braxton/Taylor Ho Bynum: Duets (Wesleyan) 2002

by Mark Corroto
January 1, 2003

Extracting information (and sometimes pleasure) from an Anthony Braxton large ensemble recording is often an arduous task. The music's density and somewhat impermeable nature often exhausts a listener's patience. Somehow this has rarely been the case with his duo recordings. Duets with Max Roach, Georg Grawe, Gino Robair, Evan Parker, Derek Bailey, and now Taylor Ho Bynum lend insight into one of the true musical geniuses of our time.

Joining Braxton is cornetist Taylor Ho Bynum, Braxton's masters ...

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Anthony Braxton: Six Compositions (GTM) 2001

by Mark Corroto
December 1, 2002

It's never clear how to approach the music of Anthony Braxton. His intellectual compositions with their “numbered" names and mechanical drawings often call for Graham Lock's Forces In Motion book (Da Capo 1988) in one hand and a Ouija board in the other. But then Braxton comes at you playing furious piano (in a similar manner as fellow saxophonist Charles Gayle) and logic falls under waves of pure adrenaline. Digging into liner notes penned by the man himself reminds me ...

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Anthony Braxton: Composition N. 169 + (186 + 206 + 214)

by Glenn Astarita
January 1, 2002

Composition N.169 + (186 + 206 + 214) denotes composer/woodwind specialist, Anthony Braxton’s latest foray into crossover/new music style classical and improvisational jazz. On this outing, the artist enlists likeminded woodwind aces and the “Slovenia Radio Orchestra,” for a production recorded in front of an audience at the “Ljubljana Music Festival.” Here, the core instrumentalists alternate the conducting tasks.

A 2-CD set, the festivities commence with the orchestra engaging in slightly disjointed movements amid subtle contrasts, jagged ostinatos, and mushrooming ...

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Anthony Braxton: Nine Compositions (Hill) 2000

by Derek Taylor
October 1, 2001

The second part of a two-pronged project, this disc both expands and sharpens the focus of its predecessor. Ten Compositions (Quartet) marked Braxton’s welcome return to melodic post-bop and a fertile mining of the songbooks of such pace setters as Wayne Shorter, George Coleman and Andrew Hill. The sophomore offering centers attention solely on the portfolio of Hill, drawing on another nine of the pianist’s seminal compositions. Smoker and young Braxton protégé Lehman are added to the core quartet on ...

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Anthony Braxton and Alex Horwitz: Four Compositions (Duets) 2000

by Derek Taylor
August 1, 2001

Anthony Braxton’s engaged in some eclectic collaborations over the years, but this disc with self-styled comedian/vocalist Alex Horwitz has to rank as one of the strangest. According to Braxton Horwitz is “poised to make a real impression on the third millennium.” A member of a comedy troupe at Wesleyan University where Braxton is a faculty member, he seems but while his humor and wit are often evident their applicability to Braxton’s improvised accompaniment is often suspect. Braxton gives his usual ...

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Anthony Braxton: Composition N. 247

by Glenn Astarita
June 1, 2001

Somewhat of a contrast to the modern jazz/improv-based ensemble work witnessed on the acclaimed multi-reedman/composer’s recent releases on “hatOLOGY” and the “C.I.M.P” jazz labels, Anthony Braxton’s Composition N. 247 is a trio outing featuring saxophonist/clarinetist James Fei and bagpipe performer, Matthew Welch. Hence, an unlikely instrumentation mix, yet Braxton, ever the innovator, perhaps parallels a scientist attempting to hurdle a complex mathematical formula, due to the implied complexities and geometric attributes of the music exhibited here. Basically, this new extended ...

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Anthony Braxton: Ten Compositions Quartet (2000)

by Derek Taylor
April 1, 2001

Anthony Braxton carries with him many of the trappings of genius. A predilection for sudden and unexpected shifts in theoretical and praxical direction, a wholly original and often incomprehensible method of notating his ideas, a tendency to pursue individual innovations to point that many outside observers might deem excess- all of these are part of his artistic and philosophical persona. Given his many idiosyncrasies Braxton has often butted heads with the powers that be both within and without the boundaries ...