February 14, 2006
To: Listings/Critics/Features From: JAZZ PROMO SERVICES Press Contact: JIM EIGO, [email protected] IRIDIUM JAZZ CLUB 1650 BROADWAY (Corner of 51st) NEW YORK, NY 10023 RESERVATIONS: 212-582-2121, www.iridiumjazzclub.com Sets at 8 & 10PM
March 16-19 Anthony Braxton (12+1)TET Braxton (alto and sopranino saxes, compositions), Taylor Ho Bynum (cornet, flugelhorn, trumpbone), Jessica Pavone (viola, violin), Jay Rozen (tuba, euphonium), Carl Testa (bass, bass clarinet), Aaron Siegel (percussion, vibraphone), Andrew Raffo Dewar (soprano and c- melody sax, clarinet), Reut Regev (trombone, flugelbone), Sara Schoenbeck (bassoon, shenai), Nicole Mitchell (flutes), Mary Halvorson (guitar) Stephen Lehman (alto & sopranino saxes) and James Fei (alto sax & bass clarinet)
The Iridium Jazz Club is pleased to present Anthony Braxton (12+1)tet in a very rare extended club date March 16-19.
Genius is a rare commodity in any art form, but at the end of the 20th century it seemed all but non-existent in jazz, a music that had ceased looking ahead and begun swallowing its tail. If it seemed like the music had run out of ideas, it might be because Anthony Braxton covered just about every conceivable area of creativity during the course of his extraordinary career. The 1994 MacArthur Fellowship recipient and multi-reedist/composer might very well be jazz's last bona fide genius. Braxton began with jazz's essential rhythmic and textural elements, combining them with all manner of experimental compositional techniques, from graphic and non-specific notation to serialism and multimedia. Influenced especially by saxophonists Warne Marsh , John Coltrane , Paul Desmond , and Eric Dolphy and non-jazz artists John Cage and Karlheinz Stockhausen as well.
Anthony Braxton creates music of enormous sophistication and passion that is unlike anything else that had come before it. Braxton was able to fuse jazz's visceral components with contemporary classical music's formal and harmonic methods in an utterly unselfconscious and convincing way. The best of his work is on a level with any art music of the late 20th century, jazz or classical. #####
To: Listings/Critics/Features From: JAZZ PROMO SERVICES Press Contact: JIM EIGO, [email protected] IRIDIUM JAZZ CLUB 1650 BROADWAY (Corner of 51st) NEW YORK, NY 10023 RESERVATIONS: 212-582-2121, www.iridiumjazzclub.com Sets at 8 & 10PM
March 16-19 Anthony Braxton (12+1)TET Braxton (alto and sopranino saxes, compositions), Taylor Ho Bynum (cornet, flugelhorn, trumpbone), Jessica Pavone (viola, violin), Jay Rozen (tuba, euphonium), Carl Testa (bass, bass clarinet), Aaron Siegel (percussion, vibraphone), Andrew Raffo Dewar (soprano and c- melody sax, clarinet), Reut Regev (trombone, flugelbone), Sara Schoenbeck (bassoon, shenai), Nicole Mitchell (flutes), Mary Halvorson (guitar) Stephen Lehman (alto & sopranino saxes) and James Fei (alto sax & bass clarinet)
The Iridium Jazz Club is pleased to present Anthony Braxton (12+1)tet in a very rare extended club date March 16-19.
Genius is a rare commodity in any art form, but at the end of the 20th century it seemed all but non-existent in jazz, a music that had ceased looking ahead and begun swallowing its tail. If it seemed like the music had run out of ideas, it might be because Anthony Braxton covered just about every conceivable area of creativity during the course of his extraordinary career. The 1994 MacArthur Fellowship recipient and multi-reedist/composer might very well be jazz's last bona fide genius. Braxton began with jazz's essential rhythmic and textural elements, combining them with all manner of experimental compositional techniques, from graphic and non-specific notation to serialism and multimedia. Influenced especially by saxophonists Warne Marsh , John Coltrane , Paul Desmond , and Eric Dolphy and non-jazz artists John Cage and Karlheinz Stockhausen as well.
Anthony Braxton creates music of enormous sophistication and passion that is unlike anything else that had come before it. Braxton was able to fuse jazz's visceral components with contemporary classical music's formal and harmonic methods in an utterly unselfconscious and convincing way. The best of his work is on a level with any art music of the late 20th century, jazz or classical. #####
For more information contact All About Jazz.
