GIL EVANS – Live at the Public Theater New York 1980 Vol. I (1980-1994) FLAC (tracks+.cue), lossless

One of arranger Gil Evans's main talents was his ability to fuse diverse, unique performers into a unified ensemble. He accomplishes that on the first of two LPs taken from a pair of 1980 concerts, even if his presence is felt more than heard. Although Evans is on electric piano, he also employed two other synthesizer players (Masabumi Kikuchi and Pete Levin) in his eclectic band, which at the time included such notables as Lew Soloff, Jon Faddis and Hannibal Marvin Peterson on trumpets, altoist Arthur Blythe, trombonist George Lewis, baritone saxophonist Hamiet Bluiett and drummer Billy Cobham, among others. A lengthy "Anita's Dance" and a remake of "Gone, Gone, Gone" are the more memorable selections. Scott Yanow    Tracklist + Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. II (1980-1994) FLAC (tracks+.cue), lossless

The second of two Gil Evans LPs originally recorded for the Japanese Trio label and put out in the United States on the now-defunct Black-Hawk company features the veteran arranger leading a 14-piece group at a pair of 1980 concerts. The five selections (which include Jimi Hendrix's "Stone Free," Charles Mingus' "Orange Was the Color of Her Dress" and Evans's "Zee Zee") are given colorful treatment by the unique band, which consists of three keyboardists, a rhythm section propelled by drummer Billy Cobham, three trumpets (Lew Soloff, Jon Faddis and Hannibal Marvin Peterson), two trombones (including George Lewis), John Clark on French horn, baritone saxophonist Hamiet Bluiett and altoist Arthur Blythe. Although the end results do not quite live up to the potential of this unique ensemble, there are plenty of colorful moments. Scott Yanow
Tracklist + Credits :

GIL EVANS – The Honey Man (1986-1995) FLAC (tracks+.cue), lossless

Tracklist & Credits :

EVAN PARKER - Synergetics : Phonomanie III (1996) 2CD | FLAC (tracks+.cue), lossless

Wow! is the only word that can be used to adequately describe the listener's first reaction to this music, all recorded at the third Synergetics festival in 1993 under the direction of British free music and saxophone god Evan Parker. Parker used familiar partners such as American trombone legend George Lewis, Tuva vocal enigma Sainkho Namchylak, Marco "Bill" Vecchi, and Walter Prati on various electronics. But in addition he recruited the truly astonishing bass and vocal talents of Motoharu Yoshizawa. Carlos Mariani plays the luaaneddas, an instrument that sounds at first like the bagpipes is here enhanced by electronic looping, but is played by the use of circular breathing (in and out breath occur simultaneously). Add to this the percussion and African didgeridoo (called here an imbumbu) playing of Thebe Lipere and the komungo (a type of Vietnamese harp) played by Jin Hi Kim, and you have an idea of how exotic this group is. Then it must be stated that everything on these two CDs was performed live and unedited for CD. The basic strategy of all these musicians -- who did not rehearse -- was to have one player begin a segment with a solo (each was given two or three segments in a row to preside over), then to interact with one other player of her or his choosing in a duo enhanced by electronics, and finally to interact with all members of the group in various combinations except for trio and all at once. This may sound confusing, but it doesn't when listened to. Each combination, from the beginning, is something from out of time and space, a freely improvised music with trans-cultural implications; a music of surprise and delight to the musicians and obviously to those attending the festival. Here are sounds and combinations and fragments of sounds, heretofore un-uttered, perhaps not even conceptualized before the moment they occurred. Saxophones and voices and didgeridoos caressing the deep bass sub-sonics of Tuvan throat singing and graced by the hypnotic whirl of launeddas. Individual musicians who are the focus of each theme as it is introduced all but disappear into the textured world of sound and vibration. Perhaps more than anything, this recording is the best example of how universal the languages of music and free improvisation are. Is this music "outside"? Given that it is an Evan Parker project, the answer has to be yes. Is it "listenable"? No matter what your definition of that term is, the answer is yes. This set should be in the Top 100 of the best of "new" or "improvised" music. And it should be near the top. Life changing.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1-1    Synergetics #1 24:05
Composed By – C.Mariani, E.Parker, M.Vecchi, M.Yoshizawa, T.Lipere, W.Prati
1-2    Synergetics #2 4:55
Composed By – Jin Hi Kim
1-3    Synergetics #3 6:37
Composed By – E.Parker, Jin Hi Kim
1-4    Synergetics #4 6:24
Composed By – Jin Hi Kim, M.Yoshizawa
1-5    Synergetics #5 7:14
Composed By – E.Parker, Jin Hi Kim, M.Yoshizawa, T.Lipere
1-6    Synergetics #6 7:39
Composed By – E.Parker, George Lewis
1-7    Synergetics #7 2:18
Composed By – T. Lipere
1-8    Synergetics #8 3:53
Composed By – G.Lewis, T.Lipere
1-9    Synergetics #9 7:33
Composed By – M.Vecchi, S.Namchylak, T.Lipere, W.Prati
2-1    Synergetics #10
Composed By – G.Lewis, T.Lipere
2-2    Synergetics #11 4:41
Composed By – M.Yoshizawa
2-3    Synergetics #12 7:36
Composed By – G.Lewis, M.Yoshizawa
2-4    Synergetics #13 6:28
Composed By – S.Namchylak
2-5    Synergetics #14 5:27
Composed By – C.Mariani, S.Namchylak
2-6    Synergetics #15 6:46
Composed By – S.Namchylak, T.Lipere
2-7    Synergetics #16 8:35
Composed By – G.Lewis
2-8    Synergetics #17 6:29
Composed By – E.Parker, G.Lewis
2-9    Synergetics #18 7:23
Composed By – G.Lewis, M.Yoshizawa
2-10    Synergetics #19 17:22
Composed By – C.Mariani, E.Parker, G.Lewis, Jin Hi Kim, M.Yoshizawa, S,Namchylak, T.Lipere
Credits :
Bass, Voice – Motoharu Yoshizawa (pistas: 1-1, 1-4, 1-5, 2-2, 2-3, 2-9, 2-10)
Computer – George Lewis (pistas: 1-6, 1-8, 2-1, 2-3, 2-7 to 2-9)
Didgeridoo [Imbumbu], Percussion – Thebe Lipere (pistas: 1-1, 1-7 to 2-1, 2-6, 2-10)
Electronics – Marco "Bill" Vecchi (pistas: 1-1, 1-9), Walter Prati (pistas: 1-1, 1-9)
Geomungo [Komungo] – Jin Hi Kim (pistas: 1-2 to 1-5, 2-10)
Launeddas – Carlo Mariani (pistas: 1-1, 2-5, 2-10)
Painting [Front Cover Painting] – Karl Nömair
Tenor Saxophone [Uncredited], Soprano Saxophone [Uncredited] – Evan Parker (pistas: 1-1, 1-3, 1-5, 1-6, 2-8, 2-10)
Trombone – George Lewis (pistas: 1-6, 2-1, 2-7, 2-9, 2-10)
Voice – Sainkho Namchylak (pistas: 1-9, 2-4 to 2-6, 2-10)

EVAN PARKER | GEORGE LEWIS - From Saxophone & Trombone (2002) FLAC (tracks+.cue), lossless

This stunning collection of saxophone and trombone duos was recorded at the Art Workers' Guild in London by Adam Skeaping back in May 1980 and originally released on Incus, a label that Evan Parker ran jointly with guitarist Derek Bailey. The fact that there's no mention of this on this reissue on Parker's own PSI imprint testifies to the frosty relations that still exist between the two giants of improvised music. Fortunately, trombonist George Lewis has remained on good terms with both; in point of fact, it's hard to see how anyone could dislike Lewis if his rambunctious virtuosity and good-humored mastery of the trombone are anything to go by. He can take it up into soprano sax country or plunge it into the piano bottom octave register at will, pop, plop and crackle like a toyshop and go head to head with Parker's legendary circular breathing. Parker's early 1980s albums mark the boundary between his early, angular playing (traces of a jazz past are never far from the surface) and the awesome virtuosity of his later work, especially on soprano. The re-release of this album is cause for celebration indeed -- would that Lewis could use his good offices to negotiate a Parker / Bailey truce, and with it the reissue of their mythic and magnificent first Incus outing, The Topography of The Lungs. Dan Warburton  
Tracklist :
1    One    11:01
2    Two    2:02
3    Three    9:50
4    Four    5:03
5    Five    14:53
Credits :Saxophone – Evan Parker
Trombone – George Lewis

ANTHONY BRAXTON - Creative Orchestra Music 1976 (1987) RM | FLAC (tracks+.cue), lossless

This is one of Braxton's most interesting recordings. Six of his compositions are performed by groups ranging from 15-20 pieces and featuring such soloists as trumpeters Cecil Bridgewater, Leo Smith, Kenny Wheeler and Jon Faddis, baritonist Bruce Johnstone, trombonist George Lewis, reed player Roscoe Mitchell, bassist Dave Holland, pianist Muhal Richard Abrams and Braxton himself. There is a lot of variety on this set. One of the pieces finds Braxton combining free elements with a Sousa-type march while another one looks toward Ellington. There are quite a few memorable moments on this program. Scott Yanow
Tracklist :
1    Piece One 5:10
Alto Saxophone – Anthony Braxton, Seldon Powell
Baritone Saxophone – Bruce Johnstone
Bass – Dave Holland
Bass Trombone – Earl McIntyre
Conductor – Leo Smith
Drums – Warren Smith
Piano – Muhal Richard Abrams
Tenor Saxophone – Ronald Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler
Tuba – Jonathan Dorn
2    Piece Two 7:36
Bass – Dave Holland
Bass Clarinet – Bruce Johnstone
Bass Trombone – Jack Jeffers
Clarinet – Ronald Bridgewater, Seldon Powell
Contrabass Clarinet – Anthony Braxton
Gong [Gongs], Percussion – Barry Altschul
Percussion – Philip Wilson
Piano – Frederic Rzewski, Muhal Richard Abrams
Soprano Saxophone – Roscoe Mitchell
Synthesizer – Richard Teitelbaum
Timpani, Bass Drum – Warren Smith
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Leo Smith
Tuba – Jonathan Dorn
3    Piece Three 6:43
Alto Saxophone [Alto Sax], Clarinet – Anthony Braxton
Alto Saxophone [Alto Sax], Flute – Seldon Powell
Baritone Saxophone [Baritone Sax], Bass Clarinet – Bruce Johnstone
Bass – Dave Holland
Bass Drum – Frederic Rzewski
Bass Saxophone [Bass Sax] – Roscoe Mitchell
Bass Trombone – Jack Jeffers
Cymbal [Marching Cymbals] – Philip Wilson
Glockenspiel – Karl Berger
Snare [Snare Drum] – Barry Altschul, Warren Smith
Tenor Saxophone [Tenor Sax] – Ronald Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Kenny Wheeler
Trumpet [Solo Trumpet], Conductor – Leo Smith
Trumpet, Piccolo Trumpet – Jon Faddis
Tuba – Jonathan Dorn
4    Piece Four 6:26
Bass Clarinet – Bruce Johnstone
Bass Trombone – Jack Jeffers
Bells, Percussion, Chimes [Orchestra] – Barry Altschul
Cello – Dave Holland
Clarinet – Ron Bridgewater
Drums, Percussion – Philip Wilson
Flute – Seldon Powell
Flute, Bass Saxophone [Bass Sax] – Roscoe Mitchell
Flute, Contrabass Saxophone [Contrabass Sax] – Anthony Braxton
Marimba [Bass Marimba], Chimes [Orchestra] – Warren Smith
Piano – Frederic Rzewski, Muhal Richard Abrams
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Wadada Leo Smith
Tuba – Jonathan Dorn
Vibraphone, Xylophone, Chimes [Orchestra] – Karl Berger
5    Piece Five 7:19
Alto Saxophone [Alto Sax] – Seldon Powell
Alto Saxophone [Alto Sax], Contrabass Saxophone [Contrabass Sax] – Anthony Braxton
Baritone Saxophone [Baritone Sax] – Bruce Johnstone
Bass – Dave Holland
Bass Trombone – Jack Jeffers
Conductor – Leo Smith
Drums – Warren Smith
Piano – Muhal Richard Abrams
Tenor Saxophone [Tenor Sax] – Ron Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler
Tuba – Jonathan Dorn
Vibraphone – Karl Berger
6    Piece Six 6:40
Alto Saxophone [Alto Sax], Soprano Saxophone [Soprano Sax], Bass Saxophone [Bass Sax] – Roscoe Mitchell
Bass Clarinet – Bruce Johnstone
Bass Trombone – Earl McIntyre
Cello – Dave Holland
Clarinet – Ronald Bridgewater
Conductor – Muhal Richard Abrams
Flute – Seldon Powell
Sopranino Saxophone [Sopranino Sax], Clarinet, Contrabass Clarinet – Anthony Braxton
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Leo Smith
Tuba – Jonathan Dorn
Credits :
Composed By [All Music Composed By], Arranged By [All Music Arranged By] – Anthony Braxton

ANTHONY BRAXTON | GEORGE LEWIS DUO - Elements Of Surprise (1978) lp | FLAC (tracks), lossless

SIDE A
A1    Composition 64 9:50
Written-By – Braxton
A2    Ornithology 6:50
Written-By – Braxton, Parker
A3    Composition 65 2:19
Written-By – Braxton
SIDE B
B    Music For Trombone And Bb Soprano 18:18
Written-By – Lewis
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet – Anthony Braxton
Trombone – George Lewis

ANTHONY BRAXTON - Quartet (Dortmund) 1976 (2001) FLAC (tracks+.cue), lossless

Braxton has produced many excellent recordings through the years, but only a small number stand out from the pack the way this one does. This version of his pianoless quartet is captured live in an inspired, energized performance at the first Dortmund Jazz Festival in Germany. Trombonist George Lewis had only recently joined the group, replacing the more introspective trumpeter Kenny Wheeler. Braxton's compositions are uniformly brilliant, incorporating marching band themes, lightening-fast hard bop-influenced runs, and strings of non-syncopated eighth notes, all of which contribute to a sense of wonder and excitement. Also, Braxton is in marvelous form on his varied horns, springing forth an arsenal of seemingly endless ideas. His lengthy solo on "Composition 40 F" is among his best on disc, garnering a well-deserved enthusiastic reaction from the audience. By bringing Lewis into the group, Braxton helped to nurture one of the most astonishing and technically virtuosic trombonists in all of jazz. The young Lewis is hardly intimidated by the celebrity quality of the group, and from the outset, he engages in mouth-watering displays that match the saxophonist note for note. Whether playing open or muted, Lewis was one of the most effective interpreters of Braxton's complex compositions. There are fine contributions, too, from drummer Barry Altschul and especially bassist Dave Holland, but the intricate compositions themselves and the incredible soloing of the horns are what mark this one for the big leagues. Graham Lock's knowledgeable, erudite liners are a big plus in helping to understand this difficult but highly rewarding music. Steve Loewy  
Tracklist :
1    Composition 40 F / Composition 23 J    26:10
2    Composition 40 (O)    6:40
3    Composition 6 C    9:48
4    Composition 40 B    13:58
Credits :
Alto Saxophone, Contrabass Saxophone, Sopranino Saxophone, Clarinet, Clarinet [Eb], Contrabass Clarinet, Composed By – Anthony Braxton
Bass – Dave Holland
Drums, Percussion – Barry Altschul
Trombone – George Lewis

ANTHONY BRAXTON & GEORGE LEWIS — Donaueschingen (Duo) 1976 (1994) APE (image+.cue), lossless

A live set featuring duets by trombonist George Lewis and the reeds of Anthony Braxton might seem as if it would be a bit tedious, but the instant communication between the two keep the music continually fascinating. Braxton (who is heard on alto, sopranino, clarinet, contrabass clarinet, flutes, and contrabass saxophone) and Lewis engage in some colorful sound explorations on their compositions on a continuous basis for 41-and-a-half minutes, showing off not only their technique but their very sharp imagination. As an encore they surprised everyone by playing an effective three-and-a-half-minute version of Charlie Parker's "Donna Lee." Listeners with open ears will enjoy this colorful set. Scott Yanow
Tracklist :
1    Fred's Garden / Composition 6F    18:53
2    Composition 64 / Duet 1    22:27
3    Donna Lee 3:25
Written-By – Charlie Parker
Credits :
Alto Saxophone, Sopranino Saxophone, Contrabass Saxophone, Clarinet, Clarinet [Soprano], Clarinet [Contrabass], Flute – Anthony Braxton
Trombone – George Lewis

RICHARD TEITELBAUM & ANTHONY BRAXTON - Time Zones (1977-1999) FLAC (tracks), lossless

"With Anthony Braxton" was a credit printed on this album's front and back cover in a typeface only a notch smaller than Richard Teitelbaum's name. Braxton is everywhere here, and has everything to do with this album. He plays in duo with Teitelbaum the electronics maestro on the entire album, and surely engineered the deal to make it possible for his buddy to release the record on Arista, which at that point held an exclusive contract with Braxton himself. It was also Braxton who basically promoted Teitelbaum within the confines of the avant-garde free jazz scene, talking him up in interviews and fitting pieces involving him into several different recording projects. There are tastes of the duos these artists have created splashed through the Braxton discography like ice cream stains on a rumpus room rug. This album combines a summer's evening live concert with a studio session cut the following fall, and is quite an accurate document of their work together in the '70s, complete with Braxton's usual dedications, this time to Roscoe Mitchell and Maryanne Amacher. This duo was one of the great instrumental combinations of the '70s, the reed arsenal of Braxton and seemingly unlimited sonic arsenal of Teitelbaum coming together like two great French chefs with a hall full of guests to feed. Each man never seems to stop listening, not only to each other but to a greater force as well, as if in complete understanding of the ramifications of each development. This album should satisfy a listener's desire to hear truly imaginative and successful improvisation involving both electronic and acoustic instruments. The album was later reissued, under Braxton's name, as part of a Black Lion package. Eugene Chadbourne  
Tracklist :
1    Crossing 24:29
Engineer [Recording] – Bill Warrell
2    Behemoth Dreams 21:24
Engineer – Thomas Mark
Credits :
Alto Saxophone, Contrabass Saxophone, Sopranino Saxophone, Clarinet, Clarinet [Eb], Contrabass Clarinet, Composed By – Anthony Braxton
Bass – Dave Holland
Drums, Percussion – Barry Altschul
Trombone – George Lewis

ANTHONY BRAXTON - Live (1977-1987) FLAC (tracks+.cue), lossless

Anthony Braxton's 1975 two-LP set comes close to definitive. Braxton (mostly on alto and clarinet but also playing contrabass clarinet, flute, and sopranino) is heard with two of his best quartets on these live performances. Featured are either trumpeter Kenny Wheeler or trombonist George Lewis along with bassist Dave Holland and drummer Barry Altschul in exciting group improvisations based on six of Braxton's difficult compositions. There is a surprising amount of humor on one of these selections, and the interplay between these masterful musicians (making expert use of space and dynamics) sometimes borders on miraculous. The fourth side of this two-fer contains a lengthy performance of Braxton and Lewis playing with the Berlin New Music Group that is of slightly lesser interest. Scott Yanow
Medley    (21:49)
1a    Composition 1 (No. 40 N)   
1b    Composition 2 (No. 23 J)   
2    Composition 3 (No. 40 (O))    7:37
Medley    (23:50)
3a    Composition 4 (No. 6 F)   
3b    Composition 5 (No. 40 K)   
4    Composition 6 (No. 6 C)    10:01
Credits :
Bass – Dave Holland
Composed By – Anthony Braxton
Contrabass Clarinet – Anthony Braxton (pistas: 1, 2)
Contrabass Saxophone, Flute – Anthony Braxton (pistas: 3, 4)
Drums, Percussion – Barry Altschul
Gong [Gongs] – Barry Altschul (pistas: 1, 2)
Soprano Saxophone, Alto Saxophone, Clarinet – Anthony Braxton
Trombone – George Lewis (pistas: 3, 4)
Trumpet – Kenny Wheeler (pistas: 1, 2)
Notas.
Tracks 1-2 recorded live on 20 July 1975 at the Montreux Jazz Festival, Montreux, Switzerland.
Tracks 3-4 recorded live on 4 November 1976 at the Berlin Jazz Days, Berlin, Germany.
Side 4 from the original 2 LP is omitted

ANTHONY BRAXTON — Creative Orchestra (Köln) 1978 (2CD 2009) + Creative Orchestra (Guelph) 2007 (2008) Serie Line – LINE 30 | FLAC (tracks+.cue), lossless

This expansive two-LP set captures an entire, nearly two-hour live set by Anthony Braxton's Creative Orchestra recorded in Koln, Germany, in 1978. Braxton, like most members of the AACM (Association for the Advancement of Creative Musicians, a loose Chicago-based collective that also included the Art Ensemble of Chicago and others), normally performed in small groups, from duos to quartets. Braxton's Creative Orchestra -- in which the saxophonist does not play, but merely conducts his own compositions -- is a 20-member exception to this rule. Many of Braxton's compositions explore near-silence in ways similar to John Cage, but this group is nothing if not loud.

Thanks to Braxton's skill as a composer, the results never devolve into mere cacophony, even in those passages where all 20 members -- including an accordionist and a synthesizer player -- are playing at once, as in the opening "Language Improvisations." This is a powerful document of a little-appreciated side of Anthony Braxton's work. Rovi Staff  
Tracklist :
1-1    Language Improvisations    14:34
1-2    Composition 55    12:27
1-3    Composition 45    25:21
2-1    Composition 59    21:45
2-2    Composition 51    17:19
2-3    Composition 58    12:56
Credits :
Accordion – Birgit Taubhorn
Bass – Brian Smith, John Lindberg
Conductor, Composed By – Anthony Braxton
Electric Guitar – James Emery
Percussion, Marimba – Thurman Barker
Piano – Marilyn Crispell
Saxophone [Saxophones], Clarinet [Clarinets], Flute [Flutes], Piccolo Flute [Piccolo], Nadaswaram [Nagaswaram], Ocarina – Dwight Andrews, J.D.Parran, Marty Ehrlich, Ned Rothenberg, Vinny Golia
Synthesizer – Robert Ostertag
Trombone, Tuba – George Lewis, James King Roosa, Ray Anderson
Trumpet, Flugelhorn – Kenny Wheeler, Michael Mossman, Rob Howard, Leo Smith
Vibraphone – Bobby Naughton

Tracklist :
1    Language Improvision    5:02
2    Composition 306    7:04
3    Language Improvision    15:09
4    Composition 307 / Language Improvisation    25:36
5    Composition 91    9:00
Credits :
Alto Saxophone – Evan Shaw
Bass – Rob Clutton, Victor Bateman
Cello – Tilman Lewis
Clarinet [Eb Clarinet], Bass Clarinet – Ronda Rindone
Conductor, Soprano Saxophone, Composed By – Anthony Braxton
Drums – Joe Sorbara, Nick Fraser
Flute – Rob Piilonen
Guitar – Ken Aldcroft
Guitar, Harmonica – Justin Haynes
Piano – Tania Gill
Soprano Saxophone – Kyle Brenders
Tenor Saxophone – Colin Fisher
Trombone – Scott Thomson
Trumpet – Nicole Rampersaud
Violin – Parmela Attariwala
Voice – Christine Duncan
Xylophone – Brandon Valdivia

ANTHONY BRAXTON - Four Compositions (Quartet) 1983 (1983) FLAC (tracks+.cue), lossless

Before getting to the music of this Anthony Braxton recording, the listener is confronted with a highly calculated methodology. The album bears the stark title Four Compositions (Quartet) 1983, and each song (itself merely a cataloged number) is accompanied by its own highly cryptic diagram. This sets up a struggle, whereby musical/emotional ends must be achieved through Braxton's analytical compositional means. For this 1983 session, Braxton selected materials from his collection of notebooks to provide the focus for quartet improvisations. The resulting performances lack a sense of continuity. Composed themes are tight, awkward structures delivered by the hornmen with mechanical precision. The improvised sections that follow bear little resemblance (in structure or mood) to any point of origin, rendering irrelevant the themes themselves. What saves Four Compositions is that the musicians are willing to see the composer's ideas through, employing every facility. Braxton gives everyone a great deal of freedom and space. John Lindberg lays down a wonderful bass solo on "Composition No. 69 M," speaking in tongues with clustered, rumbling notes. Elsewhere he adds undercurrents of throbbing, bowed tones. George Lewis has an equally strong grasp of the trombone's possibilities. On the vibrant theme to "No. 69 M," he holds the rhythmic pulses from which Braxton springs forth. Elsewhere, he disguises the horn's recognizable characteristics, opting for sheer sound. Avoiding scattered flurries of free rhythm, Gerry Hemingway dictates with spacious, careful percussion. On "Composition No. 69 Q," he even hints at a stiff, snare-led swing. Among these musicians, Braxton is an equal, stretching from vivid, Middle Eastern-flavored clarinet lines on "No. 69 M" to grittier tenor on "No. 69 Q." According to Braxton, the goal of Four Compositions was to select materials that would comprise a "creative and diversified" album. Yet while the musicians do seem largely free and highly expressive, the Four Compositions themselves feel unbalanced and oddly subdued. Maybe the composer's forethought established too much structure. It seems like there is always a set of imposed elements holding them back. Nathan Bush  
Tracklist :
1    Composition No. 105 A    19:58
2    Composition No. 69 M    7:14
3    Composition No. 69 O    8:45
4    Composition No. 69 Q    5:29
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet, Liner Notes – Anthony Braxton
Bass – John Lindberg
Percussion – Gerry Hemingway
Trombone – George Lewis

ANTHONY BRAXTON | ROVA SAXOPHONE QUARTET — The Aggregate (1989) FLAC (tracks+.cue), lossless

Braxton had long been fond of working with improvising wind ensembles. In fact, the earliest incarnation of what would become the World Saxophone Quartet appeared on his landmark Arista album, New York, Fall, 1974. So his collaboration with the ROVA quartet, perhaps the most important practitioners of the form after the WSQ, came as no surprise. The tracks here were recorded at two live dates in 1986 and 1988, with Braxton sitting in on both occasions. Two pieces are by ROVA members, while one long work, "Composition 129 (+ 40F + 40O)," is by Braxton. The opening cut, Larry Ochs' "The Shopper," is an aggressive, rhythmic piece, with a staccato line forming a sold basis for solos by all members. Jon Raskin's title piece is more lush, with a relaxed counterpoint tossed back and forth beneath the solos and rich harmonies reminiscent of Julius Hemphill's beautiful arrangements for the World Saxophone Quartet. The composer does some very beautiful and rich baritone work on this piece, and the group improv sections are imaginative and compelling. The Braxton composition is knotty and compelling, filled with written passages having only a nodding acquaintance with jazz traditions but also including a couple of sections where faint glimmers of Ellington and a hint of march-time can be discerned. It's a testament to the musicianship of the ROVA band that they are capable of negotiating this intricate piece not only with mastery but humor as well. The Aggregate is a challenging recording, more so than most by more jazz-oriented saxophone quartets, but very rewarding on its own terms and an important document in Braxton's work for woodwind ensembles. Brian Olewnick  
Tracklist :
1    The Shopper 11:16
Alto Saxophone [Alto] – Andrew Voigt
Baritone Saxophone [Baritone] – Jon Raskin
Bass Saxophone [Bass] – Anthony Braxton
Composed By – Larry Ochs
Soprano Saxophone [Soprano] – Bruce Ackley
Tenor Saxophone [Tenor] – Larry Ochs
2    The Aggregate 11:34
Alto Saxophone [Alto] – Andrew Voigt
Alto Saxophone [Lead Alto] – Anthony Braxton
Baritone Saxophone [Baritone] – Jon Raskin
Composed By – Jon Raskin
Soprano Saxophone [Soprano] – Bruce Ackley
Tenor Saxophone [Tenor] – Larry Ochs
3    Composition 129+ 46:13
Baritone Saxophone, Alto Saxophone, Clarinet [Bb Clarinet] – Jon Raskin
Composed By – Anthony Braxton
Contrabass Saxophone, Bass Saxophone, Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Soprano Saxophone, Sopranino Saxophone – Anthony Braxton
Soprano Saxophone, Clarinet [Bb Clarinet] – Bruce Ackley
Tenor Saxophone, Alto Saxophone, Sopranino Saxophone – Larry Ochs
Tenor Saxophone, Alto Saxophone, Sopranino Saxophone, Flute – Andrew Voigt
Credits :
Alto Saxophone, Soprano Saxophone, Sopranino Saxophone, Illustration [Drawings] – Anthony Braxton
Contrabass – Joelle Léandre
Percussion, Drums – Gerry Hemingway
Tenor Saxophone – Evan Parker
Trombone – George Lewis
Trumpet – Paul Smoker
Vibraphone – Bobby Naughton
Notas.
#1 + #3 recorded live at Koncepts Cultural Gallery, Oakland, Cal., July 30, 1988
#2 recorded live at PreEchoes 2 in San Francisco, California, on August 22, 1986
Mastered at Bauer Studios, Ludwigsburg, in August 1989

ANTHONY BRAXTON - Ensemble (Victoriaville) 1988 (1992) FLAC (tracks+.cue), lossless

Recorded live at the Festival Musique de Actuel in Quebec, Anthony Braxton's Victoriaville 1988 features a star-studded, avant-garde jazz ensemble, including tenor saxophonist Evan Parker, trombonist George Lewis, trumpeter Paul Smoker, drummer Gerry Hemingway, vibraphonist Bobby Naughton, and bassist Joëlle Léandre. Braxton's lengthy "Composition No. 141 (+20+96+120D)" opens the set in Schoenbergian fashion, sporting knotty, expressionistic arrangements and plenty of inspired unison and solo improvisation for balance; in spite of its sprawling structure, the solid and empathetic rhythm section keeps the piece running smoothly. The other ensemble members make quality contributions as well, with Smoker's humorous, muted trumpet work and Lewis' fervid trombone solos standing out in particular. The shorter "Composition No. 142" closes the performance with an intriguing mix of frenetic and languid group improvisation. A top-notch Braxton release. Stephen Cook
Tracklist :
1    Composition No 141 (+20 +96 +120D)    40:41
2    Composition No 142    8:22
Credits :
Alto Saxophone, Soprano Saxophone, Sopranino Saxophone, Illustration [Drawings] – Anthony Braxton
Contrabass – Joelle Léandre
Percussion, Drums – Gerry Hemingway
Tenor Saxophone – Evan Parker
Trombone – George Lewis
Trumpet – Paul Smoker
Vibraphone – Bobby Naughton

ANTHONY BRAXTON - The Complete Arista Recordings Of Anthony Braxton (2008) 8xCD BOX-SET | FLAC (tracks+.cue), lossless

Since he released the completely solo For Alto in 1968, the accepted image of Anthony Braxton has been that he is more a theoretician and art music composer than a jazz musician. Therefore, it might seem strange that Mosaic Records is giving his Complete Arista Recordings one of their fabled box set treatments. But Braxton is both -- and much more. This set -- as well as the original Arista recordings -- were produced by Michael Cuscuna, Mosaic/Blue Note label head. The sheer scope of these recordings is staggering. What we get in this amazingly detailed collection is the weightiest argument yet for Braxton's range and depth of field as a musical thinker and his role as a pillar of modern jazz. The individual albums -- New York, Fall 1974; Five Pieces, 1975; Creative Orchestra Music, 1976; Duets, 1976; For Trio; The Montreux/Berlin Concerts; Alto Saxophone Improvisations, 1979; For Four Orchestras; For Two Pianos -- showcase him in a rainbow of settings, from quintets and duets, to trios, quartets, and solo; as the leader of a big band, and as a playing conductor. The players are a who's who of the vanguard in both America and Europe: Muhal Richard Abrams, Leroy Jenkins, Kenny Wheeler, Dave Holland, Jerome Cooper, Leo Smith, Cecil Bridgewater, Roscoe Mitchell, George Lewis, Karl Berger, Ursula Oppens, Frederic Rzewski, Phillip Wilson, Henry Threadgill, and many more.

Given the wide variations in track times, sequencing this set to make it even remotely affordable must have been somewhat frustrating. Comparing the track list to the discographical notes, the full context of this is realized. The box is impeccably organized album by album to be sure, but not necessarily in the chronological order of release. An example: on discs one and two, the albums New York, Fall 1974, and its successor, Five Pieces, 1975 are successive, but then Duets, 1976 (with Abrams) was released after Creative Orchestra Music 1976. This is followed by the first four tracks from Alto Saxophone Improvisations, 1979, which continues and is completed on disc three, etc. That said, there is wonderful aesthetic and principled logic involved in the sound and dynamic of the organization of these discs. In other words, even if an original album is split by disc, it makes complete sense. For instance, while some records are split over various CDs, the decision to give For Four Orchestras its own disc (the final one) was a wise one. The package itself is typical Mosaic: high class presentation with an amazing track by track essay by Braxton's student and collaborator Mike Heffley, a brief reminiscence by Cuscuna, a boatload of killer session photographs, and exhaustive discographical and personnel information. The sound is literally pristine and full of warmth. One can hear no flaws from the source material even when A-B'ed against the original LPs; this is even true of the live Montreux/Berlin Concerts.

Most importantly, however, is that this music from Braxton sounds and feels so on time in the 21st century. This is not only true in its scope and vision, but also in what is realized in its execution. Where John Coltrane, and Ornette Coleman expanded the possibilities for new colors and sounds in jazz, less (or no) credit is given to West Coast players like Jimmy Giuffre and Warne Marsh, except in Braxton's sound worlds. His investigations in using the jazz tradition in order to unmake it in terms of tonality, sound, and texture, while preserving its sense of inventive rhythm, melody, harmonic structures, and even swing (check Creative Orchestra Music, 1976), do not feel remotely academic all these decades later. One can hear humor and warmth in the deep paradoxes of a brilliant mind wrestling with the issues of jazz and new music, challenging his own and accepted notions of their accepted places in the world of sonic architecture. Also, in his most direct exercises, there lies the deep expressiveness of his incessant effort to assimilate his discoveries into an ever-expanding organizational system of sound. This is heard, whether it's in his playing of jazz standards or his original compositions. It's there in the process of conception as well as technical articulation. Nothing here feels quaint or nostalgic. Instead, it's revelatory and engaging, inviting and still provocative. The historic reissue of this material adds yet another level if we wish to deepen our understanding of the myriad ways Braxton has enhanced and expanded each of the traditions he's involved himself with.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
New York, Fall 1974    
1-1    Opus 23B    8:51
1-2    Opus 23C    3:11
1-3    Opus 23D    7:04
1-4    Opus 38A    6:27
1-5    Opus 37    8:17
1-6    Opus 23A    5:29
Five Pieces 1975    
1-7    Opus 23H    4:40
1-8    Opus 23G    8:13
1-9    Opus 23E    17:17
1-10    Opus 40M    3:23
2-1    You Stepped Out Of A Dream 7:11
Written-By – G. Khan, M. H. Brown
Duets 1976    
2-2    Miss Ann 4:09
Written-By – Eric Dolphy
2-3    Opus 60    9:19
2-4    Opus 40P    7:02
2-5    Maple Leaf Rag 3:37
Written-By – Scott Joplin
2-6    Opus 62    13:04
2-7    Nickie 3:15
Written-By – A. Braxton, M. R. Abrams
Alto Saxophone Improvisations 1979    
2-8    Opus 77A    7:35
2-9    Opus 77C    6:30
2-10    Red Top 6:15
Written-By – B. Kynard, L. Hampton
2-11    Opus 77D    7:25
3-1    Opus 77E    4:26
3-2    Opus 26F    6:22
3-3    Opus 77F    6:20
3-4    Opus 26B    6:58
3-5    Along Came Betty 8:00
Written-By – Benny Golson
3-6    Opus 77G    5:17
3-7    Opus 26E    6:17
3-8    Giant Steps 6:22
Written-By – John Coltrane
3-9    Opus 77H    7:05
For Trio    
3-10    Opus 76 (Version One) 20:10
Engineer – Jim Dolan
4-1    Opus 76 (Version Two) 21:28
Engineer – Jim Dolan
For Two Pianos    
4-2    Opus 95 For Two Pianos 49:28
Engineer – Carlo Martenet
Creative Orchestra Music 1976    
5-1    Opus 51    5:11
5-2    Opus 56    7:33
5-3    Opus 58    6:44
5-4    Opus 57    6:25
5-5    Opus 55    7:19
5-6    Opus 59    6:41
The Montreux / Berlin Concerts    
5-7    Opus 63    23:32
6-1    Opus 40N    7:48
6-2    Opus 23J    13:59
6-3    Opus 40    7:35
6-4    Opus 6F    8:17
6-5    Opus 40K    15:32
6-6    Opus 6C    10:00
For Four Orchestras    
7-1    Opus 82, Part One    54:04
8-1    Opus 82, Part Two    58:26
All Credits 

ANTHONY BRAXTON - Quintet (Basel) 1977 (2001) FLAC (tracks+.cue), lossless

Not released until more than two decades after it was recorded, this collection from a live concert in the late 1970s documents one of Anthony Braxton's most important small groups. Trombonist George Lewis had earlier proved himself to be one of the saxophonist's most exciting partners, and he continues here to overwhelm with his enormous technique coupled with a somewhat uncharacteristic emotional adventurousness. The group was recorded during a period in which Braxton's compositions were still partially rooted in a hard bop aesthetic, though his use of the medium was entirely original and incorporated postmodern concepts. It is a real treat for the two horns to be joined on piano by Muhal Richard Abrams, a seminal player in the history of free jazz and an important early influence on Braxton and Lewis. The pianist regales in the opportunity to spread out with sophisticated, occasionally dense constructs. Another unusual group member, drummer Charles "Bobo" Shaw, energizes the quintet with an aggressive style derived from his days with the St. Louis-based Human Arts Ensemble. All-star bassist Mark Helias rounds out the rhythm section. This super quintet meets expectations, and the historically important set should achieve some sort of critical, if not cult, status. Steve Loewy  
Tracklist :
1    Composition 69 J    16:25
2    Composition 69 N/G    26:02
3    Composition 69 M    12:52
4    Composition 40 B    18:16
Credits :
Alto Saxophone, Sopranino Saxophone, Clarinet, Composed By – Anthony Braxton
Double Bass – Mark Helias
Drums – Charles "Bobo" Shaw
Piano – Muhal Richard Abrams
Trombone – George Lewis

SAM RIVERS - Contrasts (1980) FLAC (tracks+.cue), lossless

Tenor saxophonist Sam Rivers (also heard on soprano and flute) teams up in a quartet with trombonist George Lewis, bassist Dave Holland and drummer Thurman Barker (doubling on marimba) for a date that certainly defies the stereotype of a typical ECM session. The seven Rivers originals, although sometimes having colorful melodies, are quite complex. However, the intriguing and very alert interplay between the brilliant musicians makes the music seem fairly logical and worth exploring by adventurous listeners.  Scott Yanow
Tracklist :
1    Circles    4:19
2    Zip    4:44
3    Solace    6:57
4    Verve    7:12
5    Dazzle    9:16
6    Images    3:54
7    Lines    7:11
Credits :
Double Bass – Dave Holland
Drums, Marimba – Thurman Barker
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone, Flute, Composed By – Sam Rivers
Trombone – George Lewis

JOHN ZORN | GEORGE LEWIS | BILL FRISELL — News for Lulu (1988-1993) FLAC (tracks+.cue), lossless

Avant-garde altoist John Zorn teams up with trombonist George Lewis and guitarist Bill Frisell to form a unique trio. Without the benefit of piano, bass, or drums, they interpret the hard bop compositions of Kenny Dorham, Hank Mobley, Sonny Clark, and Freddie Redd, generally not even the better-known ones. The performances are quite concise (Dorham's "Windmill" is covered in 40 seconds), respectful to the melodies, and unpredictable. There are hints of the avant-garde here and there, but also plenty of swinging, bop-oriented solos and coherent ensembles. Very intriguing music that is highly recommended to a wide audience of jazz and general listeners. Scott Yanow
Tracklist :
1     K.D.'s Motion 3'32
Kenny Dorham
2     Funk in Deep Freeze 4'31
Hank Mobley
3     Melanie 4'07
Freddie Redd
4     Melody for C 4'26
Sonny Clark
5     Lotus Blossom 4'08
Sam Coslow / Arthur Johnston
6     Eastern Incident 4'04
Sonny Clark
7     Peckin' Time 3'13
Hank Mobley
8     Blues, Blues, Blues 4'17
Freddie Redd
9     Blue Minor I 3'43
Sonny Clark
10     This I Dig of You 3'13
Hank Mobley
11     Venita's Dance 3'23
Kenny Dorham
12     News for Lulu 4'07
Sonny Clark
13     Olé 3'47
Freddie Redd
14     Sonny's Crib 5'22
Sonny Clark
15     Hank's Other Tune 3'52
Hank Mobley
16     Blue Minor II 3'26
Sonny Clark
17     Windmill 0'40
Kenny Dorham
18     News for Lulu 4'19
Sonny Clark
19     Funk in Deep Freeze 3'29
Hank Mobley
20     Windmill 1'03
Kenny Dorham
Credits :
Alto Saxophone, Liner Notes – John Zorn
Arranged By – Frisell, Lewis, Zorn
Guitar – Bill Frisell
Trombone – George Lewis

JOHN ZORN | GEORGE LEWIS | BILL FRISELL - More News for Lulu (1992) FLAC (tracks+.cue), lossless

This is the second of two CDs featuring the unusual trio of altoist John Zorn, trombonist George Lewis, and guitarist Bill Frisell. Recorded live in concert, the group interprets fresh renditions of hard bop oriented pieces by Sonny Clark, Hank Mobley, Big John Patton, Kenny Dorham, and Freddie Redd, in addition to one selection from Misha Mengelberg. The music swings in its own fashion and, although it tugs at the boundaries of the bop tradition, it mostly stays within its borders. Bill Frisell, operating as the entire rhythm section, is a wonder as usual. Recommended, as is the first volume News for Lulu. Scott Yanow
Paris    
1    Blue Minor I 6'04
Written-By – Sonny Clark
2    Hank's Other Tune 6'21
Written-By – Hank Mobley
3    News For Lulu 5'26
Written-By – Sonny Clark
4    Gare Guillemins 3'47
Written-By – Misha Mengelberg
5    Minor Swing 5'40
Written-By – John Patton
6    KD's Motion / Windmill 5'02
Written-By – Kenny Dorham
7    Funk In Deep Freeze 4'36
Written-By – Hank Mobley
Basel    
8    Eastern Incident 5'58
Written-By – Sonny Clark
9    Lotus Blossom 4'15
Written-By – Kenny Dorham
10    Melanie 6'40
Written-By – Freddie Redd
11    Olé 5'01
Written-By – Freddie Redd
12    Blue Minor II 5'04
Written-By – Sonny Clark
13    Peckin' Time 3'29
Written-By – Hank Mobley
14    Blues, Blues, Blues 4'42
Written-By – Freddie Redd
15    Melody For C 5'46
Written-By – Sonny Clark
Credits :
Alto Saxophone, Liner Notes – John Zorn
Arranged By – Frisell, Lewis, Zorn
Guitar – Bill Frisell
Trombone – George Lewis