Tracklist :
1 Hello, I Must Be Going 17:36
2 Red Thread 19:02
3 Particulars 6:08
4 Je Me Souviens 17:01
Credits :
Composed By – Evan Parker, Fred Frith
Electric Guitar – Fred Frith
Tenor Saxophone, Soprano Saxophone – Evan Parker
This is a reunion of sorts, considering Anthony Braxton and Derek Bailey teamed for a series of duets in London during the '70s. Putting these two giants of improvised music together then and now seems a natural, but as is the case with their earlier efforts, this 1986 recording is a bit disappointing. Taken from a concert at Quebec's avant-garde Festival Musique Actuelle, Moment Precieux finds the two irascible soloists alternating between near silence and furious outbursts on the extended exploration "The Victoria and Albertville, Parts 1 & 2." Braxton is his usual serpentine and grating self on alto and soprano, while Bailey takes a minimalist and spiky approach on guitar, full of thrashing chords and chilling harmonics. Save for a few enlightened moments during the calmer passages, though, the two soloists hardly connect, opting instead to pursue singular roads of expression; unfortunately, when the two do come together, it sounds more obligatory than sympathetic. Maybe this is a result of a divide between the American jazz side of free improvisation (Braxton) and Europe's more wide-ranging take on the form (Bailey). Who knows. Intriguing solo moments aside, this is not a record to get if you are expecting an exciting collaboration between these two. For better duet records, check out Braxton and pianist Marilyn Crispell's Vancouver Duets (1989) or Bailey and saxophonist Evan Parker's Compatibles. Stephen Cook
Tracklist :
1 The Victoria And Albertville Suite Part I 23:31
2 The Victoria And Albertville Suite Part II 24:35
Credits :
Alto Saxophone, Sopranino Saxophone – Anthony Braxton
Electric Guitar – Derek Bailey
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
This is a live performance of Braxton's classic quartet of the '80s and '90s at the annual festival of new music held in Victoriaville, Canada. Unlike many of the other documented recordings of this group, the material, with the exception of the closing track, consisted entirely of (at the time) recently composed pieces. Since much of Braxton's writing in the early '90s involved the exploration of very fluid and expansive sound territories, there are none of his infectious, bop-derived numbers or any plaintively emotional ballads. Instead we have a series of fairly knotty compositions where the thematic elements are elusive, recurring melodies rare and regular meter almost non-existent. All of which makes for one of the more challenging recordings by this quartet, requiring of the listener an approach perhaps more suited to contemporary classical music than to jazz. In fact, in the excellent and detailed liner notes/interview by John Corbett, Braxton makes reference to his concept of "navigating through form" and to the music and graphic scores of the composer Earle Brown. One is advised, therefore, not to listen for the standard (even as that term applies to Braxton's music) theme/solos/theme format here; rather, one listens to the musicians, alone or in groups, investigating the rich, strange soundscape structure in which they find themselves immersed. Even so, there's a feeling of pent up energy waiting to be unleashed so when the band vaults into a raging version of Coltrane's "Impressions" as an encore, it's hardly surprising. Indeed, one detects a very human sense of relief as they step back into familiar territory. Brian Olewnick
Tracklist :
1 Composition No 159+ (131+30+147) 10:37
Written-By – Anthony Braxton
2 Composition No 148+ (108a+1319+147) 20:29
Written-By – Anthony Braxton
3 Composition No 161 12:52
Written-By – Anthony Braxton
4 Composition No 158+ (108c+147) 14:38
Written-By – Anthony Braxton
5 Impressions 6:12
Written-By – J. Coltrane
Credits :
Alto Saxophone, Sopranino Saxophone [E♭], Clarinet, Bass Clarinet – Anthony Braxton
Contrabass – Mark Dresser
Drums, Percussion, Vibraphone, Marimba – Gerry Hemingway
Piano – Marilyn Crispell
From the 2005 Victoriaville Festival, Anthony Braxton and Fred Frith, two graying lions of free improvisation, innovation, and rugged determination to follow their own individual paths, come together for just under an hour -- and in five different encounters -- of musical and sonic engagement. The first piece on Duo is almost lyrical in its opening moments. Frith's subtlety and restraint is actually very emotive. Braxton holds back on the tension he is capable of, and the piece remains that way until Braxton can't help himself and takes it to high-pitched skronkville for the last 3 of 11 minutes. It works. There is a great deal of both silence and sonic rhythmic interplay in the second piece. And it is one of the most fascinating songs here. The nearly 23 minute "Improvisation No. 3" has four distinct sections or dynamic episodes within it which capture Braxton's varying responses to Frith's pulsing beats on the guitar neck There is a snake-like charm to the way this changes hands, and who leads here. It's wooly, but it is also so utterly intuitive and sensible it nearly feels like a composed piece. It's bloody brilliant and worth the price of the disc alone. The ballad-like "Improvisation No. 4" is merely a breather, but it is spacious and quite beautiful before the conical, explosive sopranino as Braxton goes for the throat in "No. 5." Here circular breathing creates the spirals that Frith roils around and plays inside of, with distortion and fantastic control of his volume and tone knobs as he flies over the fretboard. This would have been a dynamite show to see. It's very inspired, playful, and in places, breathtaking.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Improvisation No 1 11:07
2 Improvisation No 2 10:53
3 Improvisation No 3 22:52
4 Improvisation No 4 3:19
5 Imrpovisation No 5 8:02
Credits :
Alto Saxophone, Soprano Saxophone, Sopranino Saxophone – Anthony Braxton
Electric Guitar – Fred Frith 
Tracklist :
1 Composition No. 361 1:10:43
Credits :
Alto Saxophone, Sopranino Saxophone – Steve Lehman
Alto Saxophone, Soprano Saxophone, Clarinet, Bass Clarinet – James Fei
Alto Saxophone, Soprano Saxophone, Sopranino Saxophone, Contrabass Clarinet, Illustration [Drawing] – Anthony Braxton
Bassoon, Suona – Sara Schoenbeck
Cornet, Bugle, Brass [Trompbone], Bass Trumpet, Piccolo Trumpet, Performer [Coques], Performer [Sourdines (Mutes)] – Taylor Ho Bynum
Double Bass, Electric Bass, Bass Clarinet – Carl Testa
Electric Guitar – Mary Halvorson
Flute, Alto Flute, Bass Flute, Piccolo Flute, Voice – Nicole Mitchell
Percussion, Vibraphone – Aaron Siegel
Saxophone [C], Soprano Saxophone, Clarinet – Andrew Raffo Dewar
Trombone, Bugle [Coulisse], Cymbal, Performer [Sourdines] – Reut Regev
Tuba, Euphonium, Performer [Sourdines] – Jay Rozen
Violin, Electric Bass – Jessica Pavone
This is the third documentation of Anthony Braxton's Diamond Curtain Wall Trio to be released, the third lineup to be featured, and the first presented in single-disc format. The first performance released was part of the Phonomanie four-CD set and featured percussionist Aaron Siegel alongside Braxton and trumpeter Taylor Ho Bynum. The second recording issued was a double-CD set where guitarist Tom Crean replaced Siegel. On this set recorded live at the 2007 FIMAV in Victoriaville, Quebec, guitarist Mary Halvorson rounds up the trio. Halvorson plays in Braxton's 12+1tet and in some of Bynum's projects, but it was her first performance as a member of the Diamond Curtain Wall Trio, although that fact never shows in the hourlong piece. This trio is Braxton's vehicle for experimenting with computer electronics -- a field he had not explored prior to 2005. He has programmed in SuperCollider a number of electronic fragments to serve as gateways to other regions of his composition system. Surprisingly, these computer interventions are non-intrusive, yet exert a presence strong enough to effectively steer the music in different directions. But the real showcase at that performance -- and on the record -- is the huge array of saxophones Braxton uses: six instruments ranging from sopranino to contrabass sax, the larger versions of Adolphe's baby resting on stands the 60-year-old eagerly dragged to and fro on the stage. Bynum has an equally impressive collection of instruments within reach, from cornet to trombone, not to mention a wide selection of mutes. Of course, it is never the size or variety of the equipment that makes a good musician, but the sound palette is unusually rich here. More important, though, is the music itself: highly focused, dense, and naturally flowing. Halvorson fits right in, her creativity a match to the hornmen. The piece, "Composition No. 323c," is rather calm and pensive, with occasional lyrical moments, like Bynum's trumpet lines around the 25th minute or a very quiet bridge of strummed guitar chords. Sound quality is also a major incentive in recommending this CD over Braxton's other trio recordings from this period. This is simply one of Braxton's freshest albums of the decade. François Couture
Tracklist :
1 Composition No. 323c 59:36
Credits :
Cornet, Bugle, Performer [Trompbone], Trumpet [Bass Trumpet, Piccolo Trumpet], Performer [Coques], Performer [Sourdines] – Taylor Ho Bynum
Electric Guitar – Mary Halvorson
Ensemble – Diamond Curtain Wall Trio
Sopranino Saxophone, Soprano Saxophone, Alto Saxophone, Baritone Saxophone, Bass Saxophone, Contrabass Saxophone, Electronics – Anthony Braxton
Tracklist :
1 No 392a 7:12
Music By – Anthony Braxton
2 No 392b 9:03
Music By – Anthony Braxton
3 No 392c 8:01
Music By – Anthony Braxton
4 No 394a 5:53
Music By – Anthony Braxton
5 No 394b 6:15
Music By – Anthony Braxton
6 No 394c 5:59
Music By – Anthony Braxton
7 No 395a 6:32
Music By – Anthony Braxton
8 Body And Soul 8:40
Music By – Johnny Green
9 No 395b 3:36
Music By – Anthony Braxton
Credits :
Alto Saxophone – Anthony Braxton
Esbjörn Svensson has stood not only once on stage in Montreux. He was already a guest in the summer of 1998 at the jazz festival on Lake Gen...
