ANTHONY BRAXTON - Compositions No. 10 & No. 16 (+101) (1998) FLAC (tracks+.cue), lossless

 It has always been baffling why the work of certain contemporary composers like Anthony Braxton, whose work spans the jazz and classical genres, has not been more widely performed by musicians outside of their own immediate sphere as "standards" of modern repertoire. After all, pieces by modern composers of the generation prior to his, like Ornette Coleman or Charles Mingus, are routinely covered by performers in and outside of jazz. One would think that Braxton's more overtly jazz-oriented and bop-inflected compositions would be natural vehicles for improvisation. But with certain scattered exceptions (the Jump or Die album by members of the Splatter Trio and Debris and the occasional cover version by Roscoe Mitchell or James Carter), one searches in vain for elaboration on and interpretations of his work. Thus, writer and arranger Art Lange's decision to record two of Braxton's more abstract works comes as a very welcome effort and, moreover, results in a superb and lasting performance.

Crucial to the success of his conception, Lange enlisted the aid of five outstanding musicians from Chicago's vibrant late-'90s scene, players with a range of experience across many fields including jazz, contemporary classical, electro-acoustic improv, and rock. The two pieces chosen ("Composition 10" is performed twice, with two wildly different outcomes) each use graphic notation and generalized musical commands necessitating a great deal or interpretation and input from the performers; happily, this group is more than up to the task. The rich palette utilized (clarinets, vibes, hurdy-gurdy, and accordion, among others) makes for delicious and warm textures and is deployed with wondrous imagination throughout. The Argentinean reedmaster Guillermo Gregorio is especially enjoyable, his dry, airy tone providing an ideal foil for the lower range clarinets and deep arco bass patterns generated by Michael Cameron. The general feel of both pieces is one of considered calm and sustained, thoughtful ruminations, where turmoil bubbles to the surface here and there, unpredictably, but is subsumed into the larger, more serene flow. The lines between improvisation and composition are utterly blurred.

Composition 10 & 16 (101) is easily the most successful interpretation of Braxton's music not done under the direct supervision of the composer. Art Lange has performed an enormous service, not only for the beautifully realized project at hand but also for demonstrating that Braxton's work can be taken just as seriously as compositions by other, more recognized, modern masters and that his music deserves its place in the "standard" contemporary repertoire. This disc is very highly recommended to both longtime Braxton fans as well as to listeners interested in the best of late-20th century "serious" music. Brian Olewnick  
Tracklist :
1    Composition No. 10¹ 11:38
Accordion – Jim O'Rourke
Alto Saxophone – Guillermo Gregorio
2    Composition No. 16 (+101) 17:02
Alto Saxophone – Guillermo Gregorio
Conductor – Art Lange
Hurdy Gurdy – Jim O'Rourke
3    Composition No. 10² 38:44
Clarinet – Guillermo Gregorio
Electronics – Jim O'Rourke
Credits :
Bass – Michael Cameron
Bass Clarinet – Gene Coleman
Vibraphone, Percussion – Carrie Biolo
Written-By – Anthony Braxton

JIM O'ROURKE - Terminal Pharmacy [1995] Tzadik / FLAC

With Terminal Pharmacy, Jim O'Rourke creates a soundscape so calm and minimal that some people, lacking patience for the seeming formlessness, could do entirely without it, while others will find themselves repeatedly putting it in their CD player at home, work, or wherever they need warmth dispersed throughout the air. Seeping steadily from the edge of silence comes crackles, thin fuzz, and extended string tones. Less narrative than what "electro-acoustic" usually refers to, "Cede" hums at the back of your mind. Given almost a minute of silence in between, the second piece then begins; sounding like a very quiet improvisation, the instruments whisper bowed rounds, a conversation in tininess that grows bolder at moments.  by Joslyn Layne
Tracklist:
1 Cede  41:32
Bass Trombone – Jeff Cortazzo
Clarinet – Tony Burr
Drums [Drum Set] – John McEntire
2 [Silence] (no audio) 0:59
3 Terminal Pharmacy   8:21
Accordion – Isha Suftin, Rob Prosser
Acoustic Guitar – Jim O'Rourke
Alto Flute – Lisa Hemmer, Sue Oberg
Cello – Dan Loch, Hattie Franck, Mike Dockter, Robert Keckmary Labreque, Stan Saderk
Clarinet – Tony Burr
Flute [Bass] – Jim Vanden, Wendi Lev

JIM O'ROURKE - Terminal Pharmacy 

[1995] Tzadik / FLAC / scans

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