Anthony Braxton Music

Anthony Braxton may have his pulse on the future of music. He is unbelievably prolific, with music for a wide variety of ensembles, ranging from sponteneous blowing sessions to highly abstract, completely notated pieces for traditionally "classical" ensembles. And through it all, his music retains a sense of individuality in each medium, and remains fresh after over 30 years in the buisness.

This recording is for a midsize group featuring Braxton and Finnish musicians. Instruments include four reedists (two based on tenor and two based on alto but all playing a variety of instruments) trombone, violin, bass (doubling cello) and percussion. The disc was recorded live in 1988 in Finland. Two of Braxton's numbered compositions are played, No. 144 and 145. What impresses most about Braxton's group work is the seamless transitions between notated sections, controlled improvisation and all and out blowing. Braxton takes many attitudes toward the balance of improvisation and structure: in some sections the music is fairly strictly notated. Inh some sections, texture is chosen, and material is presented to the players with a fair amount of freedom. Some themes resemble frenetic "bop" heads, but are played with heterophonic decorations by the players. In some sections there is evidence of harmonic planning, or scale choices, and there is a really wild collective blowing section toward the end of the disc that leaves you breathless. It is a wonderful performance. And yet with all of this, the pieces do not sound like the traditional "suite" structure of many free jazz extended compositions (think Meditation) and it doesn't have a "head-solo" feel as many other pieces of the avant-gard can. It feels tight, like all of the pieces belong together structurally and the sections are related motivically. In other words, this piece can be judged with the same standards as work by the European avant-garde composers.

Braxton should have greater recognition in this country, both from the jazz and the classical establishment. His music is a great bridge between jazz and the avant-garde classical tradition. He is more cerebral than the average free player, and yet more emotional than the serialists. And he shows how to both loose control and retain control, how to balance freedom and structure, and to create stimulating and beautiful music at the same time.

Found this (actually both the 20 and the 23) at local store, used, wasn't sure, but it appealed to me. Well, it's very listenable and fun. I had read a negative review once, but it's good listening. Especially because of the guitarist, he's really good. All tracks were recorded live at various festivals in Europe, but there's very little audience or ambient noise at all. It's well recorded. But the idea that this group has a greater authority in this repetoire than the Keith Jarrett Trio, is (to me) absurd !

Just when you thought that the practice of playing on standards had been exhausted of all fire and imagination, this album appears ("23 Standards" is just as good, by the way). . . extraordinary, unforgettably moving playing, by Braxton and O'Neil in particular, with more ideas on one track than in the entire recorded corpuses of certain "young Turks" who will go unmentioned. . . Braxton forever!

Yes, this group is simply the best jazz quartet playing standards that exists on the planet. This music grooves through various moods; at times buoyant, exuberant, melancholy, always unpredictable and -- unlike some music from Braxton that might scare some away -- very accessable. This group is re-interpreting the standards in a way that should give them much more recognition than they've received. I was, and still am, a huge Keith Jarrett fan and appreciate what he's doing with his Standards group, but this music by Braxton does all that Jarrett's group does, plus that much more.

Braxton is ever-inventive on reeds and if Kevin O'Neil is not soon known as one of the finest jazz guitarists in the world, something is amiss with the world. They are ably backed by the rich sounds of Andy Eulau on bass and Kevin Norton on drums.

This package, like it's companion 4-CD set, "23 Standards" (also on Leo Records) is generous -- most CDs run 70 mins each, so you about five hours of astounding music. Freedom Jazz Dance is a standout for me -- if for no other reason than I dont' think I've ever heard Braxton backed by music that could be called "funky," and yet, this is. Quirky, yes, but definitely funky.

This CD highlights cool West Coast jazz compositions, with a nod to Dave Brubeck on tunes like Blue Rondo ala Turk and Take Five (Paul Desmond was an influence on Braxton), amoung others, but, again, played like you've never heard them before.

The Leo Records site reports that it is sold out of its limited edition of 1,000 copies of the 23 Standards CD. This new CD is also limited to 1,000 copies. So you've been warned. Get it before you end up paying a fortune on E-Bay or worse, never hearing it at all. This is THE jazz group to pay attention to.

The reviews here are mixed, but I'm not sure why. This set is brilliant all around. Braxton is very creative with his interpretations of the melodies and outstanding in his solo work, as is Kevin O'Neal. I don't understand the other reviewers' disenchantment with or neglect of the rhythm section - they are really spectacular. Andy Eulau is a tremendous bass player, and very creative; but Kevin Norton is just a monster on drums/percussion. Just outstanding. I'm not usually a big fan of modern jazz groups, but this one is very exciting and interesting with their approach and telepathic level of interaction. Although they usually barrel through a tune traditionally (head, Braxton solo, O'Neal solo, Eulau solo, Norton solo/trade fours, head out), there are plenty of exciting variants of this (head/Eulau solo/etc., or O'Neal, Braxton soloing at the same time, or ending the tune with a drum solo (no head out!), or just bizarre (Desafinado)). I would call this essential listening, and although the price is steep for a four cd set, I think it's definitely worth it. Also comes with a really nice set of liner notes by Stuart Broomer. Enjoy!

I'm a hardcore Braxton fan, but found this box set to be one of my least favorite Braxton records. The guitarist can play really fast, but that's all he does...there's no musicality in it. The rhythm section is good at interacting with each other, but Braxton is at such a higher level than them, that the only reason you should buy this box set is to hear Braxton play. I'm not saying that the rest of the players are "bad"...they're just not up to Braxton's level, and can't make any interesting contributions to the music.

...and a revelation for those who don't get Anthony.
I have followed AB's career ever since I came across a copy of For Alto soon after it's release. There were several things about AB that made him stand out from most of his free jazz brethren. AB was one of the first to really absorb and appreciate what was happening in contemporary classical music. Another thing that made AB stand out was his unabashed love of the jazz tradition. With the exceptions of Archie Shepp and Henry Threadgill, none of his generation has been as dedicated as AB in trying to both maintain and keep alive the tradition.
In the early 70s, AB started to record his traditions albums which have received very mixed reviews from fans and critics alike. My personal favorite of these (up to now) has been the he did with the Fred Simmons Trio on the Leo Label. AB has recorded homage albums that focused on the music of Monk, Tristano, Marsh, Parker and Andrew Hill
In recent years, AB has been fronting a tradition band of Kevin O'Neal on guitar, Andy Eulau on the bass and Kevin Norton on the drums. This is the group featured on the two Andrew Hill CDs and on 8 standards (wesleyen) 2001.
All of which brings us to this recording. This is a limited edition (only 1000 made) 4 CD set with O'Neal, Eulau and Norton. These CDs were recorded live in Rome, Amsterdam, Brussels, Guimaraes, Antwerp, Verona and Lisbon.
I am just going to state the facts- this box set is a monster. On both this set and the 2001 date, this working group of AB's makes a compelling argument that they are the best band on any of the tradition recordings and one of AB's better groups period. I would rank them just below the "classic quartet" of the 80's and AB's 70's groups with George Lewis.
AB has never sounded better. His tone is beautiful and his ideas are endless. His approach to these tunes can be very twisted as in the way he plays the melody on It's A Raggy Waltz. His sense of freedom from meter almost shreds the melody but its always there. The soli that follow from Braxton and O'Neal are outstanding examples of how to approach the tradition completely anew.
By the way, O'Neal is one of the strong reasons to pick up anything by this band. The liner notes talk him up as the most new important guitar player of the last decade. We shall see. But what can be stated is that he is a contender. He is insanely fast, precise, sensitive and witty. Sigh. Another career to follow and absorb. O! How we listeners suffer trying to keep up.
We should all try to keep up with AB. I would argue that every Braxtonian needs to own this recording or the 8 standards (wesleyen) 2001. They form another important chapter in one of the most prolific and productive careers of our time. Get it while you can.

This is a very special 4 disc set that certainly deserves all the praise and hooplah it has received. All of the "standards" are Braxtonian in delivery, some moreso than others. That each tune is recognizeable from its initial appearance on record is not really the issue here. This whole point, I think, is that Mr. Braxton and his fellow musicians have presented these standards in a fresh, vibrant, and interesting way. There is no mocking or emulating of the originals. All the tunes are approached with Braxton's unique hand, yet they groove and swing in a way that would make Alfred Lion hop gleefully around the control room. Braxton, particularly, sounds envigorated and plays with fire and finesse. The rhythm section is supportive and swinging. Kevin O'Neil is outstanding on guitar. His contributions really make these discs worth hearing again and again. Amazon may be the last place to get this limited addition set. It seems to be sold out everywhere else. Get it here while you can!

This is a good, but rather uneven, collection of standards by Braxton's recent quartet. The real highlight on these discs is the amazing guitar playing of Kevin O'Neil, who is a strong player that deserves much more attention in jazz circles. I had only heard him as a member of the GTM ensembles (Yoshi's recordings), and to hear him tackle standards so proficiently is a treat. Braxton's performance is good too, but it is clear from a technical perspective that he struggles with the control of the soprano. The rhythm section of Eulau and Norton are competent, but they do not push the music or provide it with an "edge." I'm not sure if this is because they are generally "out" players who are trying to adapt to the language of standards, but it is clear that they do not infuse the music with the vitality that exists on the original versions of these tunes (but I guess not everyone can be an Elvin Jones or Jimmy Garrison). I think anyone who loves 50s and 60s bop/post-bop will find the rhythm section to be pretty flat.

Basically, if you are a hardcore fan of Braxton, this is a set you will want to add to your collection. It is a limited edition of 1000 copies, so get it while you can. But be prepared for the peaks and valleys in terms of performance. In the end, it doesn't matter too much. If I want to hear a tight, more traditional ensemble, I will play early Coltrane, Lee Morgan and Wayne Shorter's Vee Jay recordings, or Mobley on Blue Note, etc. I like this set simply because it is different. It is always enjoyable to learn about what Braxton has been up to these days. His creativity is vast and lovely, and to have another collection from him is quite welcome.

If anyone is curious to explore just one set of his standards, I would suggest they skip this collection and purchase the recently reissued "Charlie Parker Project 1993." Braxton's playing (and that of the other musicians) is completely awesome on those discs.

This album for Delmark couldn't have been hated by critics more when it came out, a clue that can tell us something brilliant lies within. Everyone was comparing Braxton's group to that of Roscoe Mitchell during this period, and consequently many failed to see the album in a proper context. Many lampooned Braxton's debut for its lack of a rhythm section--untrue really, as Abrams uses the piano as percussion and Braxton does toss some drums in now and then. They said this recording was too detached, that it was too cold, too static. That critics failed to identify the visionary nature of this recording is not unusual, for most of the truly great avant-garde/free jazz recordings of this time period were misunderstood and abhorred.

The music spans from spacious intervals to energetic frenzies, and the presence of Leroy Jenkins on violin adds dimension to the pieces. The sounds are spectacular, leaving the listener to scratch their head at times if trying to figure out what instrument is doing what. Muhal Richard Abrams makes it clear why the piano is considered, first and foremost, a percussion instrument. Don't beat yourself up if you can't dig this after the first listen--it isn't background music. Its a hard one to make it through and is only for listeners who crave something beyond nice melody and harmony. Recommended

The music on this recording represents a perfect coming together of musicianship. From the opening notes to the final sounds, the listener is taken into a new world. Varese and Bird are one. I would reccomend this one to anybody who cares about jazz and the development of jazz.I wouldn't reccomend this one to a fan of any jazz pop. Listen to Braxton's world of "mostly blue but with isolated touches of red and brown". The emphasis is on "texture" rather than the usual expectations we have for theme and variation, harmonic structure, and tempo. It is music that does not follow our typical standards for beauty rather' it sets up it's own standards for beauty. Has many moments of dense, colorful beauty. Buy it.

If you are new to this music (recorded in the late 60's) - you might ask "why did anyone want to create something like that ?"
I mean, there are barely any "rhythms", the are very few "solos", there are strange "sounds". This question is so important ! For me this question opened up so many possibilities - different approaches to rhythm, sound, arrangement... For one thing, Braxton rejects the notion that his music must have a constant drumbeat. Instead - he plays drums occasionally, more for the sound of it than as rhythmic support. Braxton uses many "sounds" - a whistle, a bell, a human voice, a harmonica, etc - they all contribute to the overall sound. The reed instruments (clarinet, sax), the piano, trumpet and the violin - carry most of the load, though, and are played magnificently.
Braxton main freshness is, to me, in his approach to structure. He does not concentrate on sound and textures as such, but as part of an effective musical structure. The use of silence is prevailent throughout - something rarely attempted in "jazz" music.
All compositions are intriguing. The first and longest is the most complex. The second has wonderful saxophone playing, and the 3rd has one of the greatest openings in "free jazz".
This is a mind opener, and highly recommended as such.

This is some wonderful music. The two players work in tandem to create purposeful improvisations full of beautiful melodies and strikingly vivid textures. They have an uncanny knack for building to effective climaxes. Great listening. But $35.99? In the era of music pirating and iTunes? I got this one from my local library for free.

Braxton and Frank ("Franks" is a typo) compliment each other beautifully. This CD provides a thoroughly enjoyable listening experience.

This wonderful CD consists entirely of mensuration canons. "Each successively entering voice moves proportionally faster than the previous one, causing each canon's density and rhythmic complexity to increase from beginning to end." There are only a few tracks that I just don't grab me, otherwise this gets a five star rating. Particularly good is Guitar Canon, performed by Polansky on his fretless guitar, and the amazingly cute Anna Canon, based on samples of his third year old daughter's voice. CD features: William Winant, Jody Diamond, Daniel Goode, Nick Didkovsky...