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Anthony Braxton Quartet (Dortmund) 1976

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Anthony Braxton Quartet (Dortmund) 1976 Anthony Braxton Quartet (Dortmund) 1976 ”Everything must go forward“ The concert begins with Composition 40F, one of ”It was at the first Dortmund Braxton’s most popular quartet pieces. It’s been recorded several Jazz Festival in Germany on October 31, 1976 times, one of my favourites being the London 1985 version, where that this group hit a magic peak. We spent the it’s played at a madcap hurtle, like a Keystone Kops car chase! The rest of that evening exhilarated by the perfor- Dortmund 40F is less pacy but no less delightful, as Lewis’s gruff mance and depressed by the absence of a trombone and Braxton’s slinky clarinet step out along the chromatic recording facility.” phrases that make up most of its written material. Though it follows Michael Cuscuna’s 1977 liner- a fairly complex A B A (C1) (C2) D form, the real kick of the piece notes to The Montreux/Berlin Concerts were comes right in the opening figure, repeated four times in section A: mistaken in one respect. The Dortmund con- cert had been recorded, by WDR Cologne, although it was not until many years later that Graham Lock, December 2000 a chance remark by a friend in Germany, who had just heard the set on the radio, alerted Anthony Braxton to the fact that a tape of the concert must exist. Its first appearance on You can see why Braxton calls this his “half-step” CD, in 1991, confirmed that Michael Cus - piece! Sections B and C1 are variations on A and, while C2 intro- cuna’s initial contention was 100% accurate: duces new figures (played by clarinet and trombone), D returnso t at Dortmund, this group really did ”hit a magic the “half-step” principle of A, now extending it over a 56-pitch peak“. “phrase pattern” that see-saws gaily between its chief pitches, C The Braxton/Lewis/Holland/Alt - and Gb. schul line-up lasted for barely six months. Once section D has been played, the quartet move They played their first concert together in into the “extended space” of the music, using the chromatic phrase Boston in May 1976 and their last in Berlin on patterns as basic language materials for improvisation. All four play- November 4. That we now have recordings of ers tease out the lines – sometimes scampering, sometimes delving this group’s last two concerts is an incredible into nook an d cranny – with the leader switching to thickly-purring piece of luck. For me, the special attraction of contrabass clarinet. the Dortmund concert is its air of celebration. A bass solo signals a realignment and the group There’s a palpable sense of fun to this music, move straight into Composition 23J, another popular piece which attributable in part (I suspect) to the presence turns up also on The Montreux/Berlin Concerts (played by the 1975 of George Lewis, who had just replaced trum- Montreux quartet, with Kenny Wheeler). Of the Montreux 23J, peter Kenny Wheeler in the quartet. The em - Michael Cuscuna wrote that it prompted “one of Braxton’s most (Dortmund) 1976 pathy between the two Chicagoans fairly exciting alto solos to date”. The Dortmund version is no less explo- fizzes from the speakers: Lewis romps through sive, the alto twisting and turning like a dervish dancer as it rises to a these tunes with a snorting, rumbustious glee crescendo of shrieking intensity. that elicits a brilliantly bravura and playful re - Braxton describes 23J in his Composition Notes as sponse from Braxton. an ”extended line structure“ specifically designed to provide a Quartet functionalism – regardless of period - from dixieland to the present”. 40(O), like 40F and 23J, is available in several record- What this means is that “a given version of ed versions. However, the only other recording of Composition 6C is Composition 23J is open to the moment by this same quartet at Berlin, where it was hailed by Michael Cus- and/or the needs of its interpreters – which is cuna as “one of the pinnacles of collective jazz playing”. For me, the to say, the tradition of Trans African functional- Dortmund 6C is as well-pla yed and possibly even more fun! Braxton ism has always been open to the moment remarks in his Composition Notes that “The attractiveness of this (and, as such, functioning as a living and work no doubt springs from its thematic focus – because Composi- breathing music that is relevant to the chal- tion 6C was composed to be a circus march type of music.” Dating lenges of the moment)”. The barnstorming from 1967, it is, I think, the earliest of a grand collection of Braxton solos by Braxton, George Lewis and Barry marches that also includes Compositions 40E, 40I, 40Q, 45 and the Altschul show them meeting those challenges joyfully majestic 58 for creative orchestra. with flying colours. Composition 6C, says Braxton, breaks down into Composition 40(0) is a “two regions”: “(1) the bass vamp with percussion intersliced sec- Kelvin repetition structure. Braxton has three tion, over which the first part of the theme is played, and (2) the categories of repetition structure, named remaining phrase at the end (which is written in a 9/4 measure). Both Kelvin, Cobalt and Kaufman, each of which of these sections can be used as a principal focus for solo extension centres on a specific facet of repetition. In the or open improvisation.” He also notes that “Since the middle-seven- Kelvin series, the musicians are given a partic- ties, Composition 6C has provided an ideal vehicle for ‘collage’ ular rhythmic phrase which can be utilised improvisation” – and there are times when this Dortmund 6C sounds in various ways to generate improvisation. like a parade-ground mêlée, as the quartet (but especially Braxton 40(O) comprises a single, long statement of and Lewis) throw out marching riffs in glorious profusion, pausing “69 notes in six different phrase groupings (in only – at one moment – to blow extravagant kisses at one another. a time field of 24½ beats)” which, explains The composition, dedicated to his AACM colleague Braxton, “establishes a rhythm contour and Leroy Jenkins, is, writes Braxton, related to “the dynamic activity focus for participation”. He also notes that that solidified in Chicago during the late sixties … In this period the 40(O) “can be stretched in every imaginable musicians of the AACM would move to investigate every area of cre- direction”, a point underlined by a comparison ative music – from ragtime music to African ritual music. The thrust of this version with the one from the 1985 of this activity would see musicians bringing all types of materials Birmingham concert on Leo Records. Whereas into their ensembles – whether that material was perceived as so- the latter is a frenetic, two-minute zap through called jazz or not.” the notation, the Dortmund 40(O) is both less Composition 40B, dedicated to altoist Lou Donald- manic and leads, via Barry Altschul’s birdcalls, son, can definitely be perceived as jazz, however you call it. It is, in into a fabulous barnyard of improv as Lewis Braxton’s terms, “a post-bebop thematic structure that affirms the and Braxton (swapping sopranino for contra- composite continuum of Trans African creativity”. In particular, Brax- bass saxophone) run through a dialogue of ton pays tribute to Fletcher Henderson, Duke Ellington and Charles honks, grunts, quacks and howls, with Dave Mingus, emphasising that “The use of extended lines in the manner springboard for solo improvisation. This role is, he says, “in keeping with the traditional continuum of African Trans Holland tight on their tails. of Composition 40B can be traced to those individuals – as well as to musicians like Charlie Parker, Lennie Tristano, Ornette Coleman Quite so. Think of the small groups whose music and Eric Dolphy. Composition 40B was composed with respect to has played a vital part in the history of African American creative the implications of this lineage . [and] in the spirit of traditional music, the groups who have taken the tradition forward by finding bebop functionalism with the addition of extended options that new solutions and refusing to be boxed in by existing definitions: give new flexibility for creative interpretation.” Louis Armstrong’s Hot Five and Hot Seven, Charlie Parker’s mid- The work follows an ABA form, the sections 40s quintet with Miles Davis and Max Roach, the classic 60s quar- linked by a vamp figure which also opens the performance, and the tets of Ornette Coleman and John Coltrane, the early Cecil Taylor chief thematic material “amounts to a 23-bar structure that gives Unit. Anthony Braxton’s quartets not only belong to that lineage but the creative instrumentalist special demands and challenges for from the early 70s to the early 90s have proved its most illustrious interpretation”. The first studio recording of 40B, on the 1981 Six representatives. Listen to such recordings as (for example) At Compositions: Quartet, is fleet, concise and highlights how beauti- Moers Festival, Five Pieces 1975, this Dortmund concert, Perfor- fully its parts interlock; at Dortmund, it ignites a firestorm of solo mance (Quartet) 1979, Four Compositions (Quartet) 1983, the 1985 invention as bass, trombone, alto and percussion take it in turn to UK concerts, Willisau (Quartet) 1991 and Quartet (Santa Cruz) 1993 voice their approval of its reborn bebop. (an entire mountain range of magic peaks!) and you’ll be hearing Concluding his entry on 40(O) in the Composition one strand in the evolution of a master who has followed his own Notes, Braxton writes: “The challenge of the next cycle of creative steps – with daring, imagination and great integrity.
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