reeds, three brass, six strings, and piano are con- quality photos of the players and important record- stantly morphed into contrasting sub-groupings. ing information in addition to the usual list of per- Tuba has become a key element of Braxton’s tim- sonnel and tracks. Most of the pieces feature the bral voicings of late, and here, it is often massed sensitive and delicate sounds of De Aloe’s chro- with bass and euphonium for a booming bottom matic harmonium, which sounds like a harmonica end. The various instruments peek out, whether a with a slightly richer tone and possibly easier skirling clarinet, jangling electric guitar, scraped maneuverability. Bebo Ferra’s guitar complements strings, or Braxton’s own reed playing. Braxton also with a relaxed Jazzy laid-back feel, while Riccardo uses hints of electronics to color the textures. The Fioravanti’s acoustic bass and the drums of the bet- multi-layered activity is kept in a constant swirl, ter-known Stefano Bagnoli round out the quartet held together with the collective conductions. (It is with sensitive, carefully placed notes. For the most curious to note the inclusion of Boris Hauf and part, the music is consistent, the sort of fare in Burkhard Stangl in the ensemble as these two are which the soft, gentle tones of De Aloe’s solos mas- associated far more with the Viennese elecro- sage the inner soul of the listener, without senti- acoustic improv scene.) mentality. His work on accordion, for example, on Also included is a trio performance of “Ul Giuan Marcora” is appealingly light and Jazzy, Composition 323a by Braxton, Bynum, and Siegel; while Bebo Ferra’s guitar is generally well-versed in part of Braxton’s Diamond Curtain Wall Music the Jazz idiom, a good example coming on “Il Volo.” series. The strategies combine use of graphic De Aloe does not go for the “big concept,” keeping scores and interactive electronic systems. This it simple, but he never sacrifices technique, and he spare setting effectively showcases Braxton’s reed picks the right sounds even when the tempo accel- playing and his gripping flurries blizzard by, con- erates. Overall, the simple music on Crocevia is not stantly toying with the form of the piece. Bynum’s going to knock off anyone’s socks, but it often warm brassiness is a foil for Braxton’s reeds, and works well when it sticks to its essence and refrains his lines bubble up, full of muted smears and from ethereal effects. vocalizations. Siegel’s use of mallet instruments Steven Loewy and orchestral percussion serves as more of a tex- tural ground for the other two. Electronics are used sparingly; mostly to fill out the color of the trio. JOHN BLUM, While it provides a captivating glimpse into EREMITE 49. Braxton’s constantly evolving concepts toward Simultanium / Astrogeny / Encomia / Dieci / Astrogeny Reprise. improvisational structures, the three are heard to 46:29. far better effect in the recent sextet line-up filled Blum, p; Antonio Grippi, as, a cl; William Parker, b; out with tuba, violin, and bass. Denis Charles, d. February 11, 1998, NY, NY. From the time he started playing in the mid Michael Ehlers’ Eremite Records has spent ’60s, Braxton has tirelessly pushed his music in the last decade or so serving as an outlet for excel- new directions from solo to orchestral work. It is a lent documents from the American Free Jazz scene, testament to his continuing creativity that this four- releasing both archival, as well as new releases disk set only captures a glimpse at some of the from vital and underrecognized artists. A fitting directions he is currently working on as he heads addition to the label’s uncompromising music is into his sixth decade. pianist John Blum’s Astrogeny Quartet featuring Michael Rosenstein reedist Antonio Grippi, bassist William Parker, and drummer Denis Charles. The Quartet’s moniker (Astrogeny) couldn’t be more apropos, with MAX DE ALOE, astrogeny meaning the “birth of the stars,” in other CROCEVIA, words, a cosmic beginning of a mighty force. The ABEAT 44. shame is, that while this release captures the Sonnambuli (che si cercano) / Crocevia / Il Volo / El Dia Que Me group’s initial February 11, 1998 gig, it is also its Quieres / Pack% / Know Where You Are / Neve / To Live / Ul last, as shortly hereafter, Denis Charles passed, Giuan Marcora% / C’era Una Volta in America / Anguilla. 64:30. leaving one only to wonder where this group might De Aloe, chromatic hca, live electron, acc%; Bebo Ferra, g; Riccardo Fioavanti, b; Stefano Bagnoli, d. have been going. Busto Arsizio, Italy, April 9, 2006. Fortunately, this forty-six minute sample It seems as though there are two disparate exists, a thrilling five chapter session full of vibran- recordings represented here, the first, represented cy. Blum, an amazingly creative and potent force, by the first and fifth tracks, both written by leader soars mightily here, mixing Cecil Taylor’s craftwork Max De Aloe, and which are somewhat static, a bit into his own image, seen particularly on the rest- spacy, and generally uninteresting, at times not less “Simultanium” or the raucous “Astrogeny.” seeming to belong; and the second, found on the When will this talented force get his due, after all? remaining nine tracks, more conventional but As for the Italian-bred Grippi, who spent years in unquestionably more successful in the way they New York before settling in Amsterdam within present lovely melodies and improvisations through recent times, this is his only recorded performance, an unusual medium. The beautiful black-and-white though he wrote all of the tunes except for the booklet accompanying the recording refers the lis- improvised feature for his alto clarinet, “Encomia.” tener to the group’s (Quartetto Crocevia) web site Preferring extended, semi-melodic strands, he for downloading scores and more, and provides matches well with Blum’s sonic zealousness. Of page 124 - - march 2007