ANTHONY BRAXTON - B-X° / NO-I-47ᴬ (1969-2002) FLAC (tracks+.cue), lossless

Anthony Braxton's first recording during his three-year stay in Europe is in some ways a continuation of his initial release, utilizing a similar personnel. The music performed by altoist Anthony Braxton (who also plays soprano, clarinet, contrabass clarinet, flute, "sound machine" and chimes), trumpeter Leo Smith, violinist Leroy Jenkins and drummer Steve McCall is very freely improvised, includes "little instruments" for their variety in sound, and contrast high-energy playing with space. This Affinity Lp will be difficult to find and the music (one composition apiece from Braxton, Smith and Jenkins) is far from accessible but is generally worth the struggle. Scott Yanow
Tracklist :
1    The Light On The Dalta 10:06
Written-By, Arranged By – Leo Smith
2    Simple Like 9:26
Written-By, Arranged By – Leroy Jenkins
3    B-X° / NO-I-47ᴬ
Written-By, Arranged By – Anthony Braxton
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet, Contrabass Clarinet, Flute, Performer [Sound Machine], Chimes, Liner Notes – Anthony Braxton
Drums, Goblet Drum [Darbouka], Percussion – Steve McCall
Trumpet, Flugelhorn, Horns, Percussion [Logs], Siren – Leo Smith
Violin, Viola, Flute, Organ [Mouth], Organ [Hohner], Harmonica – Leroy Jenkins

CREATIVE CONSTRUCTION COMPANY - Creative Construction Company Vols. 1 & 2 (2021) FLAC (tracks+.cue), lossless

In the early '70s, musicians from Chicago with origins in the AACM began to slowly migrate to New York City, sometimes with an intermediary stop in Europe. The Creative Construction Company, which consisted of violinist Leroy Jenkins, multi-reedist Anthony Braxton, trumpeter Leo Smith, and percussionist Steve McCall, had been based in Paris for several years and this concert signaled their U.S. return in a stunning sextet augmented by AACM co-founder Muhal Richard Abrams and legendary bassist Richard Davis. The two album-length compositions are both by Jenkins and showcase two of the "opposite" sides exemplified in the music of AACM outgrowth bands like the Art Ensemble of Chicago. "Muhal" is one of Jenkins' gorgeously heart-rending and plaintive ballad lines with an evocatively longing quality and deep romanticism, and Davis' bass counterpoint is a thing of singular beauty. It serves as a strong framework for some remarkable improvisations, especially that of the composer in rare pyrotechnic mode. But here, as on its companion piece, the emphasis is never on individual soloing but on group interaction; the underlying matrix is always kept full and busy by the use of various "little instruments" beloved by AACM alumni. The second piece, "No More White Gloves," lives up to its title. A furious, churning work, it encapsulates the high energy end of the spectrum as practiced by the late-'60s avant-garde and, among other highlights, features a tumultuous, screaming alto solo by Braxton that ranks with his best work. This live concert, happily captured on tape, provides a wonderful glimpse into what each of these musicians would go on to achieve in ensuing decades, but is also simply a stellar event in and of itself. Very highly recommended. Brian Olewnick  
Tracklist :
1    Muhal (Part I)    19:20
2    Muhal (Part II) (Live Spiral)    17:22
3    No More White Gloves (With Sand Under Your Shoes Doing a Dance) (Part I)    17:31
4    No More White Gloves (With Sand Under Your Shoes Doing a Dance) (Part II)    16:59
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet, Flute, Contrabass Clarinet, Chimes – Anthony Braxton
Bass – Richard Davis
Drums, Percussion – Steve McCall
Piano, Cello, Clarinet – Muhal Richard Abrams
Trumpet, Flugelhorn, French Horn – Wadada Leo Smith
Violin, Viola – Leroy Jenkins