Braxton Quartet (England) 1985: A Captivating Flux

Breaking News: Avant-Bebop Pioneer Braxton’s Latest Live Sets Ignite Jazz Scene,Hersch and Tixier Offer Captivating New Releases

The jazz world is abuzz with the arrival of new live recordings from the legendary Anthony Braxton,showcasing his groundbreaking avant-bebop style. Acclaimed for his innovative alto saxophone work, Braxton’s performances are characterized by intricate constructions, drawing inspiration from titans like Charlie Parker, Warne Marsh, and John Coltrane. These latest releases capture his dynamic interplay with his ensembles, with particular praise directed at the fiery yet nuanced performances.

The Leicester show, as a notable example, is described as launching on stop-start, bop-infused figures that seamlessly evolve into expansive, free-collective passages. These explorations are powerfully anchored by the skilled pizzicato and bowing of bassist Mark Dresser, the muscularity of drummer Gerry Hemingway, and the mercurial piano of Marilyn Crispell, whose playing is a compelling blend of delicacy and Cecil taylor-esque intensity. While the Bristol recordings highlight the superior audio quality of quieter subgroup moments over the full band’s more boisterous jams,the brief,standard song soundchecks are noted as particularly enchanting. Essential insights into Braxton’s creative process are also provided through accompanying notes.

Evergreen Insights:

Anthony Braxton’s enduring legacy lies in his fearless exploration of the jazz idiom. His multi-faceted approach, blending structured composition with spontaneous improvisation, continues too inspire and challenge musicians and audiences alike. The appreciation for his specific influences – Parker’s bebop revolutionary spirit, Marsh’s lyrical cool, and Coltrane’s spiritual quest – underscores the rich historical tapestry that Braxton draws upon while forging his unique path.Moreover, the critical observation that quieter moments can sometiems preserve sonic detail better than dense collective improvisation serves as a valuable reminder for both artists and listeners about the importance of sonic clarity in capturing the nuances of improvised music.

Also Out This Month: A Trio of Jazz masters Deliver Fresh Perspectives

Beyond Braxton’s electrifying live sets, the current jazz landscape is further enriched by compelling new offerings from other distinguished artists.

Pianist Fred Hersch, a celebrated maestro and former teacher to Brad Mehldau, consistently delivers fresh interpretations of jazz standards and originals. drawing inspiration from the foundational styles of Thelonious Monk and Bill Evans, Hersch’s latest album, The Surrounding Green (ECM), features a dynamic trio with bassist Drew Gress and drummer Joey Baron. The collection includes a spirited rendition of Ornette Coleman’s “Law Years” alongside compositions by Egberto Gismonti, Charlie Haden, and the Gershwins, showcasing Hersch’s refined touch and inventive improvisations.

In a similarly adventurous vein,Shifa (Discus Music) presents a captivating collaboration between innovative UK tenor saxophonist Rachel Musson and the eclectic pianist Pat thomas,joined by the formidable free-jazz drummer Mark Sanders. This straight-through improvised set highlights Musson’s powerful ensemble presence and her distinctive, spacious lyricism.

French-Martinican pianist Tony Tixier offers Poems Never End (Whirlwind), a collection that infuses Monk’s compositions and Tixier’s own hip repertoire with a seductively global-jazz sensibility. Tixier’s sharp trio is augmented by the dynamic talents of saxophonists Seamus blake and Logan Richardson, with a special appearance from the legendary percussionist mino Cinélu, a former collaborator of Miles Davis.

Evergreen Insights:

The continued exploration of established jazz traditions by artists like Fred Hersch demonstrates the genre’s capacity for perpetual renewal. Hersch’s ability to sound “fresh” even when paying homage to giants like monk and Evans highlights the personal voice that is crucial for enduring artistry. The diverse influences present in these new releases – from Ornette Coleman’s avant-garde to the global rhythms embraced by Tixier – underscore the ever-expanding nature of jazz. Collaborations like the one between Musson, Thomas, and Sanders exemplify the vibrant improvisational communities that continue to push the boundaries of the art form, proving that free improvisation remains a vital force in contemporary jazz. These releases collectively remind us that jazz is a living, breathing art form, constantly evolving through the dedication and creativity of its practitioners.

what role did J.L. Austin’s “language-action theory” play in shaping Anthony Braxton’s compositional approach for the 1985 Quartet?

The Genesis of a Unique Ensemble

the Braxton Quartet, formed in England in 1985, represents a captivating, if somewhat elusive, moment in the history of contemporary classical music. This wasn’t a string quartet in the traditional sense; it was a deliberately constructed, fluid ensemble built around the compositional and improvisational vision of Anthony Braxton. Understanding the Braxton Quartet requires delving into Braxton’s broader artistic ideology and the musical landscape of the mid-1980s.

Key to the quartet’s formation was Braxton’s desire to move beyond established jazz structures and explore a “language-action theory” of music – a concept deeply rooted in the work of philosopher J.L. austin. This meant music wasn’t simply about something,it did something; it actively created meaning through performance. The 1985 iteration of the Braxton Quartet was a practical manifestation of this theory.

Core Members and Instrumentation

The initial lineup of the Braxton Quartet, assembled for a series of performances and recordings, was deliberately diverse, reflecting Braxton’s rejection of genre constraints. The core members were:

Anthony Braxton: Alto saxophone,clarinet,flute,and compositional leadership.

John Lindberg: Bass trombone – a crucial element in Braxton’s harmonic explorations.

Karen Borca: Piano – providing harmonic and textural depth.

Malachi Favors Maghostuto: Bass – grounding the ensemble with a strong rhythmic foundation.

This instrumentation – saxophone, trombone, piano, and bass – was unconventional for a “quartet,” instantly signaling a departure from traditional chamber music formats.The choice of instruments wasn’t arbitrary; each contributed unique timbral qualities and expressive possibilities to Braxton’s complex scores. Contemporary classical music often embraces unusual instrumentation, and the Braxton Quartet fit squarely within this trend.

Musical Characteristics & Compositional Approach

the music produced by the 1985 Braxton Quartet is characterized by several key features:

Extended Techniques: All members frequently employed extended techniques on their instruments – multiphonics, flutter-tonguing, prepared piano, and unconventional bass articulations – pushing the boundaries of instrumental sound.

Graphic Notation: Braxton often utilized graphic notation in his scores, providing performers with a framework for improvisation and interpretation rather than strict, prescriptive instructions. This encouraged a collaborative and responsive approach to performance.

Complex Rhythmic Structures: Polyrhythms and asymmetrical meters were prevalent, creating a sense of rhythmic ambiguity and challenging conventional notions of pulse.

Harmonic Density: The combination of Braxton’s harmonic language and Lindberg’s bass trombone created a dense, often dissonant harmonic texture.

Improvisation within Structure: While much of the music was composed, improvisation played a notable role, especially in realizing Braxton’s graphic scores. Free improvisation was a key element, but always within the context of Braxton’s overarching compositional vision.

Key Recordings and Performances

The most significant documentation of the 1985 braxton Quartet comes from the album For Alto* (released in 1987). This triple LP (and later CD) is a landmark recording in Braxton’s discography and a prime example of the quartet’s unique