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Anthony Braxton: Eight (+1) Tristano Compositions 1989 For Warne Marsh
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by Troy Collins
Long valued as an elusive, out of print collector's item, the recently reissued Eight (+1) Tristano Compositions 1989 For Warne Marsh offers listeners another opportunity to reevaluate composer Anthony Braxton's vibrant reinterpretation of the groundbreaking pianist's work. Dedicated to the tenor saxophonist most commonly associated with pianist Lennie Tristano's oeuvre, this 1989 session originally included versions of “How Deep is the Ocean" and “Time on My Hands," two Great American Songbook standards related to the genial duo's purview. Omitting those ...
Continue ReadingAnthony and Me
by Dom Minasi
When I was asked to write a column for All About Jazz, my question was what should I write about? I was told anything that was music-oriented.I decided that being a professional musician for more than fifty years, I could write about the things I care about, know about, have strong opinions about based on my own experiences that might be worth sharing. In no way do I want the reading public to think this is about self-promotion. ...
Continue ReadingAnthony Braxton: GTM (Synatx) 2003
by AAJ Italy Staff
Come annota la vocalist Anne Rhodes nel suo sito, la registrazione dal vivo alla Wesleyan University di questo doppio CD risale al marzo 2007, non al 2003 come è indicato nella copertina e nelle note del disco. In occasione di quel concerto Braxton presentò le esecuzioni della Composition 339 e della 340 insieme alla Rhodes, già collaboratrice del Large Ensemble di Braxton dal 2003 e interprete di vari lavori composti da Alvin Lucier, Neil Leonard e Taylor Ho Bynum. Nella ...
Continue ReadingAnthony Braxton: GTM (Outpost) 2003
by AAJ Italy Staff
Le due composizioni riunite in questo doppio CD sono state registrate dal vivo all'Outpost Performance Space di Albuquerque, nel New Messico. Avamposto. Nome quanto mai appropriato alla musica di Braxton, qui proposta in duo con i sassofoni di Chris Jonas e in trio con l'aggiunta di Molly Sturges alla voce. Musica che inizia in modo bruciante con la Composition 255, nell'unisono di soprano e sopranino che graffiano lo spazio sonoro. Note staccate, a esporre il brano con segni netti, bruschi. ...
Continue ReadingAnthony Braxton: Quartet (Mestre) 2008
by AAJ Italy Staff
C'era una volta l'improvvisazione come fenomeno destinato a vivere nell'istante. Poi è arrivata l'era del digitale, dei registratori prêt-à-porter, delle sanguisughe da mixer, dei FLAC e degli MP3, del download compulsivo, dei blog e dei blogger. E così, da una condizione di drammatica sottoesposizione, si è passati alla bulimica iper-documentazione. Che c'entra Braxton con 'sta tirata? Beh, c'entra, eccome. Non fosse altro per il fatto che il sassofonista di Chicago è uno dei jazzisti (il jazzista?) più sovraesposti di ogni ...
Continue ReadingAnthony Braxton: Trio and Quintet (Town Hall) 1972
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by Raul d'Gama Rose
If Anthony Braxton were to be judged on the basis of his oeuvre alone, he would stand completely apart from any modern composer, bar none. He has an enormous body of work, written for every conceivable permutation and combination of ensemble, from two to over a hundred and also for practically all the modern instruments known to musicians. As a reeds and winds player, he has a staggering technique, but not only this: he dives deep into the soul to ...
Continue ReadingAnthony Braxton: Trio & Quintet (Town Hall) 1972
by Troy Collins
Time has an ability to obscure certain details of the past. This notion is apparent when considering the multi-decade oeuvre of visionary composer Anthony Braxton, whose restructuralist Tri-Axium Theory is as unique as Ornette Coleman's Harmolodic Theory or Cecil Taylor's Unit Structures. Braxton's use of pulse structures and multiple logics has long encouraged a considerable amount of expressive autonomy from performers, yet the composer's idiosyncratic aesthetic has commonly been attributed to an iconoclastic sensibility that inadvertently undervalues his seminal membership ...
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