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Anthony Braxton
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Anthony Braxton (born June 4, 1945) is an American composer, saxophonist, clarinettist, flautist, pianist, and philosopher. He has created a large body of highly complex work. Braxton is one of the most prolific American musicians/composers to date, having released well over 100 albums since the 1960s. Among the vast array of instruments he utilizes are the flute; the sopranino, soprano, C-Melody, F alto, E-flat alto, baritone, bass, and contrabass saxophones; and the E-flat, B-flat, and contrabass clarinets.
Critic Chris Kelsey writes that "Although Braxton exhibited a genuine — if highly idiosyncratic — ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen.

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Encyclopedia
Anthony Braxton (born June 4, 1945) is an American composer, saxophonist, clarinettist, flautist, pianist, and philosopher. He has created a large body of highly complex work. Braxton is one of the most prolific American musicians/composers to date, having released well over 100 albums since the 1960s. Among the vast array of instruments he utilizes are the flute; the sopranino, soprano, C-Melody, F alto, E-flat alto, baritone, bass, and contrabass saxophones; and the E-flat, B-flat, and contrabass clarinets.
Critic Chris Kelsey writes that "Although Braxton exhibited a genuine — if highly idiosyncratic — ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen. Many of the mainstream's most popular musicians (Wynton Marsalis among them) insisted that Braxton's music was not jazz at all. Whatever one calls it, however, there is no questioning the originality of his vision; Anthony Braxton created music of enormous sophistication and passion that was unlike anything else that had come before it."
Biography
Early in his career, Braxton led a trio with violinist Leroy Jenkins and trumpeter Wadada Leo Smith and was involved with The Association for the Advancement of Creative Musicians, the "AACM", founded in Chicago, Braxton's birthplace.
In 1968, Braxton recorded the double LP For Alto. There had been occasional unaccompanied saxophone recordings previously (notably Coleman Hawkins' "Picasso"), but For Alto was the first full-length album for unaccompanied saxophone. The album's songs were dedicated to Cecil Taylor and John Cage, among others. The album influenced other artists like Steve Lacy (soprano sax) and George Lewis (trombone), who would go on to record their own acclaimed solo albums.
Braxton joined pianist Chick Corea's existing trio with Dave Holland (double bass) and Barry Altschul (drums) to form the short-lived avant garde quartet "Circle", around 1970. When Corea broke up the group, forming Return to Forever to pursue a fusion based style of composition and recording, Holland and Altschul remained with Braxton for much of the 1970s as part of a quartet, with the rotating brass chair variously filled by trumpeter Kenny Wheeler, or trombonists George Lewis or Ray Anderson. This group recorded on Arista Records. The core trio plus saxophonist Sam Rivers recorded Holland's Conference of the Birds, ECM. In the 1970s he also recorded duets with Lewis and with synthesizer player Richard Teitelbaum.
In 1975, he released an album on Muse Records titled Muhal with the Creative Construction Company, a group consisting of Richard Davis (Bass), Muhal Richard Abrams (Cello), Steve McCall (drums), Muhal Richard Abrams (piano), Wadada Leo Smith (trumpet) and Leroy Jenkins (violin).
In the late 1970s he recorded two large ensemble recordings, "Creative Orchestra Music 1976," inspired by American jazz and marching band traditions, and "For Four Orchestras." Both of these records were released on Arista.
Braxton's regular group in the 1980s and early 1990s was a quartet with Marilyn Crispell (piano), Mark Dresser (double bass) and Gerry Hemingway (drums), "his finest and longest standing band".
Braxton has also recorded and collaborated with European free improvisers such as Derek Bailey, Evan Parker, and the Globe Unity Orchestra, or with giants from the 'regular' jazz world, such as Max Roach. Throughout the years Braxton has played with a wide variety of people, such as Mal Waldron, Dave Douglas, Ornette Coleman, Dave Brubeck, Lee Konitz, Peter Brötzmann, Willem Breuker, Muhal Richard Abrams, Steve Lacy, Roscoe Mitchell, Pat Metheny, Andrew Cyrille, Wolf Eyes, Misha Mengelberg, Chris Dahlgren, Lauren Newton, and countless others.
In 1994, he was granted a MacArthur Fellowship. From 1995 to 2006, Braxton's output as a composer concentrated almost exclusively on what he calls Ghost Trance Music, which introduces a steady pulse to his music and also allows the simultaneous performance of any piece by the performers. Many of the earliest Ghost Trance recordings were released on his own Braxton House label (now defunct). His final Ghost Trance compositions were performed with a "12+1tet" at New York's Iridium club in 2006; the complete four-night residency was recorded and released in 2007 by the Firehouse 12 label.
In addition, during the 1990s and early 2000s Braxton created a prodigiously large body of "standards" recordings, often featuring him as a pianist rather than saxophonist. He had frequently performed such material in the 1970s and 1980s, but only recorded it occasionally; now he began to release multidisc sets of such material, climaxing in two quadruple-CD sets for Leo Records recorded on tour in 2003.
More recently he has created new series of compositions, such as the Falling River Musics that are documented on 2+2 Compositions (482 Music, 2005).
Braxton studied philosophy at Roosevelt University. He has taught at Mills College and now is Professor of Music at Wesleyan University in Middletown, Connecticut, teaching music composition, music history, and improvisation.
One of his children, Tyondai Braxton, is also a professional musician. He is a guitarist, keyboardist and vocalist with American math rock band Battles.
Beyond his musical career, Braxton is an avid chess player; for a time in the 1960s he was a professional chess hustler, playing in New York in Washington Square Park.
Music
Braxton's music is difficult to categorize, and because of this, he likes to reference his works (and the works of his collaborators and students) as simply "creative music." He has claimed in numerous interviews that he is not a jazz musician, though many of his works have been jazz and improvisation oriented, and he has released many albums of jazz standards. In addition to these, Braxton has released an increasing number of works for large-scale orchestras, including two opera cycles.
Braxton's music is highly theoretical and mystically influenced, and he is the author of multiple volumes explaining his theories and pieces—such as the philosophical three-volume Triaxium Writings and the five-volume Composition Notes, both published by Frog Peak Music. While his compositions and improvisations can be characterized as avant garde, many of his pieces have a swing feel and rhythmic angularity that are overtly indebted to Charlie Parker and the Bebop tradition.
Composition notation and titles
Braxton is notorious for naming his pieces as diagrams, typically labeled with cryptic numbers and letters. Sometimes these diagrams have an obvious relation to the music — for instance, on the album For Trio the diagram-title indicates the physical positions of the performers, but in many cases the diagram-titles remain inscrutable. The titles can themselves be musical notation indicating to the performer how a piece is played. Sometimes the letters are identifiable as the initials of Braxton's friends and musical colleagues.
Braxton has pointedly refused to explain their significance, claiming that he himself is still discovering their meaning. Braxton eventually settled on a system of opus-numbers to make referring to these pieces simpler, and earlier pieces have had opus-numbers retrospectively added to them.
By the mid-to-late 1980s, Braxton's titles had become increasingly complex. They began to incorporate drawings and illustrations, such as in the title of his four act opera cycle, Trillium R. Others began to include life-like images of inanimate objects, namely train cars. The latter was most notably seen after the advent of his Ghost Trance Music system.
Current musical involvement
Anthony Braxton, even in his 60s, still actively performs with ensembles of varying sizes, and has to date written well over 350 compositions. He has just recently finished the last batch of Ghost Trance Music compositions, and has now shown his interest in three other music systems: The Diamond Curtain Wall Trio, in which Braxton implements the aid of the powerful computer audio programming language, SuperCollider; Falling River Musics; and, most recently, Echo Echo Mirror House music, which is meant to hone in many different types of performance arts in addition to music.
Discography
- 1968 Three Compositions of New Jazz
- 1968 For Alto
- 1969 Anthony Braxton [Affinity]
- 1969 The 8th of July 1969 w/ Gunter Hampel [Birth Records]
- 1971 Récital Paris 1971 [live] [Futura]
- 1971 Together Alone Delmark
- 1971 Circle: Paris Concert [live]
- 1972 Saxophone Improvisations, Series F (America)
- 1972 Town Hall (1972) [live] (with Jeanne Lee)
- 1974 In the Tradition, Vol. 1
- 1974 In the Tradition, Vol. 2
- 1974 Quartet Live at Moers New Jazz Festival
- 1974 Duo, Vols. 1 and 2
- 1974 First Duo Concert [live]
- 1974 Trio and Duet Sackville
- 1974 New York, Fall 1974
- 1974 Live at Wigmore
- 1975 Five Pieces (1975)
- 1975 Anthony Braxton Live
- 1975 The Montreux/Berlin Concerts [live]
- 1975 Live
- 1976 Creative Orchestra Music (1976)
- 1976 Elements of Surprise: Braxton/Lewis Duo
- 1976 Duets (1976)
- 1976 Donaueschingen (Duo) 1976
- 1976 Quartet (Dortmund) 1976 [live]
- 1976 Solo: Live at Moers Festival
- 1977 Four Compositions (1973)
- 1978 Creative Orchestra (Koln) 1978
- 1978 For Four Orchestras
- 1978 Alto Saxophone Improvisations (1979)
- 1978 Birth and Rebirth (with Max Roach)
- 1978 NW5-9M4: For Trio
- 1979 Performance (9-1-1979) [live]
- 1979 With Robert Schumann String Quartet
- 1979 Seven Compositions (1978)
- 1980 For Two Pianos
- 1980 The Coventry Concert [live]
- 1981 Composition No. 96
- 1981 Six Compositions: Quartet
- 1982 Open Aspects (Duo) 1982
- 1982 Four Compositions (Solo, Duo & Trio)
- 1982 Six Duets (1982)
- 1983 Four Compositions (Quartet) 1983
- 1983 Composition No. 113
- 1984 Prag (Quartet-1984) [live]
- 1985 Seven Standards (1985), Vol. 2
- 1985 London (Quartet-1985) [live]
- 1985 Seven Standards (1985), Vol. 1
- 1985 Quartet (London) 1985 [live]
- 1985 Six Compositions (Quartet) 1984
- 1985 Szabraxtondos (Duo with György Szabados) 1985 Hungary
- 1986 Five Compositions (Quartet), 1986
- 1986 Moment Précieux [live]
- 1987 Six Monk's Compositions (1987)
- 1987 ... If My Memory Serves Me Right
- 1988 19 (Solo) Compositions (1988)
- 1988 Victoriaville 1988 [live]
- 1988 2 Compositions (Järvenpää) 1988, Ensemble
- 1988 Kol Nidre
- 1988 The Aggregate
- 1988 London Solo (1988)
- 1989 Eugene (1989)
- 1989 7 Compositions (Trio) 1989
- 1989 Vancouver Duets (1989)
- 1989 2 Compositions (Ensemble) 1989/1991
- 1989 Eight (+3) Tristano Compositions, 1989
- 1991 8 Duets: Hamburg 1991
- 1991 Duo (Amsterdam) 1991 [live]
- 1991 Composition No. 107 (Excerpt, 1982)/In CDCM
- 1991 Composition No. 98
- 1992 Wesleyan (12 Altosolos) 1992
- 1992 Willisau (Quartet) 1991[Pt. 2] [live]
- 1992 Composition No. 165 (For 18 Instruments)
- 1992 (Victoriaville) 1992 [live]
- 1993 Duets (1993)
- 1993 9 Standards (Quartet) 1993 [live]
- 1993 Trio (London) 1993 [live] (Leo)
- 1993 12 Compositions: Oakland, July 1993
- 1993 Quartet (Santa Cruz) 1993 [live]
- 1993 Charlie Parker Project 1993
- 1993 Duo (Leipzig) 1993
- 1993 Duo (London) 1993
- 1994 Composition No. 174: For Ten Percussionists
- 1994 Small Ensemble Music (Wesleyan) 1994 [live]
- 1994 Duo (Wesleyan) 1994
- 1994 Knitting Factory (Piano/Quartet) 1994, Vol. 2 [live]
- 1995 11 Compositions
- 1995 10 Compositions (Duet) 1995
- 1995 Performance Quartet
- 1995 Octet (New York) 1995
- 1995 Solo Piano (Standards) 1995
- 1995 Two Lines Lovely Music
- 1995 Knitting Factory (Piano/Quartet) 1994, Vol. 1 [live]
- 1995 4 Compositions (Quartet) 1995
- 1995 Seven Standards 1995
- 1996 Composition No. 192
- 1996 Composition No. 193 [live]
- 1996 Tentet (New York) 1996 [live]
- 1996 Live at Merkin Hall
- 1996 14 Compositions (Traditional) 1996
- 1996 Composition No. 102: For Orchestra & Puppet Theatre
- 1996 Sextet (Istanbul) 1996
- 1996 Composition No. 173
- 1997 Silence/Time Zones
- 1997 Amsterdam 1991 [live]
- 1997 4 Compositions (Quartet) 1995
- 1998 Compositions No. 10 & No. 16 (+101)
- 1999 Duets (1987)
- 1999 4 Compositions (Washington D.C.) 1998
- 1999 Trillium R [4-CD boxset opera]
- 2000 Composition No. 94:
- 2000 Quintet (Basel) 1977 [live]
- 2000 10 Compositions (Quartet) 2000
- 2000 9 Compositions (Hill) 2000
- 2001 Compositions/Improvisations 2000
- 2001 Composition No. 247
- 2001 Composition No. 169 + (186 + 206 + 214)
- 2001 Four Compositions (GTM) 2000
- 2001 8 Compositions (Quintet) 2001
- 2002 This Time
- 2002 Duets [Wesleyan] 2002
- 2002 8 Standards (Wesleyan 2001) [live]
- 2002 Solo (Koln) 1978
- 2002 Ninetet (Yoshi's) 1997, Vol. 1
- 2003 Four Compositions (GTM) 2000
- 2003 Two Compositions (Trio) 1998 [live]
- 2003 Solo (Milano) 1979, Vol. 1 [live]
- 2003 Anthony Braxton [2003]
- 2003 Ninetet (Yoshi's) 1997, Vol. 2 [live]
- 2003 Solo (NYC) 2002 [live]
- 2003 23 Standards (Quartet) 2003
- 2003 20 Standards (Quartet) 2003
- 2004 Shadow Company (2004)
- 2004 4 Improvisations (Duets) 2004
- 2005 Quintet (London) 2004 Live at the Royal Festival Hall
- 2006 Compositions 175 & 126 (for Four Vocalists And Constructed Environment) [with The Creative Jazz Orchestra]
- 2006 Sextet (Victoriaville) 2005
- 2006 Black Vomit (with Wolf Eyes)
- 2006 ABCD (NotTwo) with Chris Dahlgren
- 2006 4 Compositions (Ulrichsberg) 2005
- 2007 9 Compositions (Iridium) 2006
- 2007 Duets 1995 (with Joe Fonda) [reissue]
- 2008 Quartet (GTM) 2006
- 2008 4 Improvisations (with Joe Morris) (4CD)
- 2008 The Complete Arista Recordings (Mosaic) (8CD)
- 2008 Quartet (Moscow) 2008 (Leo)
Bibliography
- Braxton, Anthony - Tri-Axium Writings Volumes 1-3 - 1985.
- Braxton, Anthony - Composition Notes A-E - 1988.
- Ford, Alun - Anthony Braxton (Creative Music Continuum) - Stride, 2004.
- Heffley, Mike - The Music Of Anthony Braxton - Greenwood, 1996.
- Lock, Graham - Forces in Motion: The Music and Thoughts of Anthony Braxton - Da Capo, 1989.
- Lock, Graham - Mixtery (A Festschrift For Anthony Braxton) - Stride, 1995.
- Lock, Graham - Blutopia: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington, and Anthony Braxton - Duke University, 2000.
- Radano, Ronald Michael - New Musical Figurations (Anthony Braxton's Cultural Critique) - University of Chicago, 1994.
- Sinclair, John and Robert Levin - Introducing Anthony Braxton - Music & Politics - World, 1970
- Wilson, Peter Niklas - Anthony Braxton. Sein Leben. Seine Musik. Seine Schallplatten. - Oreos, 1993.
External links
-
- by Mike Heffley, 2001 (100+ pages)
- by Anthony Braxton
-
-
- Interview for Duo Palindrome (2002) w/ Andrew Cyrille
- , before his concert at the Palace of the Legion of Honor, 10 October 1971.
- concerning the application of his musical language (1985)
- featuring tracks from 19 Solo Compositions, 1988
- Composition No. 186 (1996) and Composition 304 (+ 91, 151, 164) (2002)
- of Braxton playing a Contrabass Saxophone at Iridium Jazz Club
- Most of Braxton's recordings for are available from . This is no longer the case, but Leo Records has made almost all of Braxton's Leo sessions available as downloads from their own site.
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