DOCSLIB.ORG

But It's These Two Streams and Vache's Own Polish and Assurance Costa-Both As Soloist and in the Closed, Responsive En- Make the Disc Unusually Fresh and Vital

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
But It's These Two Streams and Vache's Own Polish and Assurance Costa-Both As Soloist and in the Closed, Responsive En- Make the Disc Unusually Fresh and Vital David Murray: Low Class Conspiracy. Michael Cuscuna, producer. A delphi AD 5002, $6.95. The popularity of disco/jazz notwithstanding, an important new generation of young jazz musicians is arriving. Tenor saxophonist David Murray, freshly minted from a mcIld that bears traces of Ornette Coleman, Eric Dolphy, and Al- bert Ayler, is one of the most important. In the stark con- fines of a trio situation-with bassist Fred Hopkins and drummer Phillip Wilson-he plays a stunning brand of con- temporary jazz that puts music first-not commerciality. His remarkable seven -and -one -half -minute solo on Extreminity Jazz is one of the bright beacons in mid -Seventies music. D.H. Lee Ritenour: Captain Fingers. Skip Drinkwater, producer. BY DON HECKMAN & JOHN S. WILSON Epic PE 34426, $6.98. Tape: NO PET 34426,03 PEA 34426, $7.98. Paul Bley, Gary Peacock, Barry Altschul: Japan Suite. Paul Bley & Carol Goss, producers. Improvising A rusts, IA I Making the jump from ace studio musician to up -front star 373849, $6.98. has been a popular procedure ever since Mitch Miller gave up the oboe and Leon Russell began recording his own This is the revival of a trio that was one of the best avant- songs. Guitarist Ritenour joins the parade in this sadly mis- garde jazz ensembles of the Sixties. Recorded last year at a directed outing. The simple fact is that the world really isn't Japanese music festival, "Japan Suite" includes what sounds sitting around waiting for yet another overarranged, over- like two extended improvisations-one on each side of the produced, jazz/rock/disco recording. Having heard Rite- album. Pianist Bley's playing is as astonishing as ever-one nour in more modest surroundings, I know he can play- wonders why he has never received more attention. Pea- and play well. But his few pleasant moments here even- cock's return to jazz after a lengthy hiatus should enliven tually fall prey to terminal L.A. slickness. D.H. the future of the acoustic bass, and Altschul is the very model of the modern jazz percussionist. World class con- Warren Vache: First Time Out. Bill Borden & Bucky Pizza- temporary jazz playing, all around. D.H. relli, producers. Monmouth -Evergreen M ES 7081, $6.98. Tal Farlow: Second Set. Ed Fuerst & Don Schlitten, pro- Unlike most young musicians who grow up in Dixieland ducers. Xanadu 119, $6.98. surroundings, Vache is not guided by some style of the past. Although he comes out of the very active New Jersey tradi- Recorded in 1956, at the same time as Farlow's earlier disc, tional jazz scene, he is, first and foremost, a good trumpet "Fuerst Set" (Xanadu 109), this is a special treasure for fol- player who is not tied to any identity except his own. On this lowers of Eddie Costa, the brilliant pianist who died in debut disc he shows control and imagination on several 1962. With Vinnie Burke on bass and Farlow on guitar, he unaccompanied duets with guitarist Bucky Pizzarelli. He has the accompaniment and the space to fully develop the also leads a sextet, with Kenny Davern on soprano sax, that earthy, driving momentum of his urgent, hammered swings through some pop standards and combines the best phrases upon which he built his solos. Farlow and Burke get of traditional and contemporary jazz. The combination of their chances, too (it's a very relaxed session), but it's these two streams and Vache's own polish and assurance Costa-both as soloist and in the closed, responsive en- make the disc unusually fresh and vital. J.S.VV. semble passages-who makes the set special. J.S.W. Mal Waldron, Gary Peacock: First Encounter. Catalyst Paul Gonsalves: The lin11 0 S Aires Session. Catalyst CAT 7906, $6.98. CAT 7913, $6.98. Pianist Mal Waldron's roots go back to Billie Holiday and During the Ellington band's 1968 tour of South America, Thelonious Monk, but he also has been active around the two members-tenor saxophonist Gonsalves and trumpeter edges of every avant-garde jazz movement since the Fifties. Willie Cook-recorded this set with an Argentinian rhythm His collaboration with Peacock (recorded in Japan) has too section. Gonsalves gets away from the grinding cliches that many stylistic confrontations to work as a totality. But when took too much of his time with Ellington and instead em- each player spins off in his own direction-Waldron into phasizes his lovely, warm ballad style. Even an uptempo epigrammatic pointillism, Peacock into a duplicitous mix of Perdido is done with substance and taste. Still more impres- Sixties funk and Seventies modernism-there are moments sive is Cook, a trumpeter rarely recorded and almost never of rare beauty. D.H. heard to play in this light, airy muted style; he provides a beautifully balanced foil to Gonsalves. J.S.W. The World's Greatest Jazz Band: On Tour. Barker H ickox, Ronnie Laws: Friends and Strangers. Wayne Henderson, producer. World Jazz S-8, $6.98. producer. Blue Note LA 730H, $6.98. Tape: 1119 CA 730H, Considering the personnel changes in the World's Greatest EA 730H, $7.98. in recent years and a series of records that were needlessly Ronnie Laws is the latest member of his gifted family to hit hackneyed, this is a welcome recovery for both the band the big time. But his gifts have been obscured by the formu- and its approach to recording. Taped at a concert in Swe- laic success of his first two albums, "Pressure Sensitive" and den, it has some of the ensemble's most viable musicians- "Fever." Like them, "Friends and Strangers" is a predict- Ralph Sutton, Billy Butterfield, Peanuts Hucko, Al Klink, able stroll down the disco/jazz lane: Swooping synthesizers, and George Masso, in addition to coleaders Yank Lawson squeaking strings, and endlessly repetitive rhythm patterns and Bob Haggart. As a bonus, Maxine Sullivan makes an peer out from behind every bush. Dull stuff; but if all you appearance in appealingly cool -voiced form. But to wind want is to move your feet and let your brain go out to lunch, up an otherwise fresh disc with The Saints suggests that the Laws will help you do it. D.H. band is still apt to blight itself with triteness. J.S.VV. 142 HIGH FIDELITY MAGAZINE.
Load more

Recommended publications
  • Anthony Braxton Five Pieces 1975
    Anthony Braxton Five Pieces 1975 ANTHONY BRAXTON Five Pieces 1975 Arista AL 4064 (LP) I would like to propose now, at the beginning of this discussion, that we set aside entirely the question of the ultimate worth of Anthony Braxton's music. There are those who insist that Braxton is the new Bird, Coltrane, and Ornette, the three-in-one who is singlehandedly taking the Next Step in jazz. There are others who remain unconvinced. History will decide, and while it is doing so, we can and should appreciate Braxton's music for its own immediate value, as a particularly contemporary variety of artistic expression. However, before we can sit down, take off our shoes, and place the enclosed record on our turntables, certain issues must be dealt with. People keep asking questions about Anthony Braxton, questions such as what does he think he is doing? Since these questions involve judgments we can make now, without waiting for history, we should answer them, and what better way to do so than to go directly to the man who is making the music? "Am I an improviser or a composer?" Braxton asks rhetorically, echoing more than one critical analysis of his work. "I see myself as a creative person. And the considerations determining what's really happening in the arena of improvised music imply an understanding of composition anyway. So I would say that composition and improvisation are much more closely related than is generally understood." This is exactly the sort of statement Braxton's detractors love to pounce on. Not only has the man been known to wear cardigan sweaters, smoke a pipe, and play chess; he is an interested in composing as in improvising.
    [Show full text]
  • BARRY ALTSCHUL the 3DOM FACTOR TUM CD 032 01 The
    BARRY ALTSCHUL THE 3DOM FACTOR TUM CD 032 01 The 3dom Factor / 02 Martin’s Stew / 03 Irina / 04 Papa’s Funkish Dance / 05 Be Out S’Cool / 06 Oops / 07 Just A Simple Song / 08 Ictus / 09 Natal Chart / 10 A Drummer’s Song Barry Altschul drums Jon Irabagon tenor saxophone Joe Fonda double bass International release: February 19, 2013 Legendary master drummer Barry Altschul, a veteran of ground-breaking groups with Paul Bley, Chick Corea, Anthony Braxton and Sam Rivers, celebrates his 70th birthday with the release of his first recording as a leader in over a quarter century. This new recording, The 3dom Factor, features Barry Altschul’s new trio with saxophonist Jon Irabagon and bassist Joe Fonda in a program of Altschul compositions. On January 6, 2013, Barry Altschul, who was born in the south Bronx and first started playing the drums on the local hard bop scene in the late 1950s, celebrated his 70th birthday. He is also quickly approaching five decades as a professional musician as his first “proper” gig was with the Paul Bley Trio at the inauguration of Slugs’, the (in)famous East Village bar, as a jazz club in 1964. In addition to playing with Bley, Altschul was active on New York’s bourgeoning free jazz scene of the 1960s, working with the likes of saxophonist Steve Lacy, trombonist Roswell Rudd as well as bassists Gary Peacock, Alan Silva and Steve Swallow and even performing with the Jazz Composer’s Orchestra. His familiarity with the tradition also led to performances with saxophonists Sonny Criss, Johnny Griffin, Lee Konitz, Art Pepper and Tony Scott, pianist Hampton Hawes and vocalist Babs Gonzalez, among others.
    [Show full text]
  • TANGENT KNOBS Keeping "The Shout" WET
    YOU CAN GET OUR TANGENT KNOBS keeping "the Shout" WET... Is What Its all aBout by Nat Hentoff ANTHONY BRAXTON: Missing that visceral force Anyone curious about -or already im- out, he could be the colossus of the mersed in- post -Coltrane jazz should 1980's. In any case, the album is fascin- have Anthony Braxton: The Montreaux ating in its continual tension between the /Berlin Concerts. Recorded in 1975 -76, leader's penetrating intellectand the more the compositions, all by Braxton, rein- earthily imaginative souls around him. force his position as perhaps the most The recording quality throughout is provocative intellectual force in the new superb -exceptional presence, individu- music of this decade. Braxton's precise, ally and collectively. In fact, a model demanding criteria of extraordinarily of crystalline balance for all sessions of sensitive collective dynamics and his ab- post- Coltrane jazz. sorbing command of -textural nuances As a further measure of the key ele- make him the commanding presence in ment Braxton is thus far lacking, there all these performances. Furthermore, as is an utterly delightful reissue set, Sarah a soloist, he handles the alto, clarinet, Vaughan, Recorded Live in sessions in sopranino sax, and contrabass clarinet Chicago and Copenhagen from 1957 to with such total mastery that no anti - 1963. Here is a musician -singer, with avant -grade jazz traditionalist can accuse more prodigious technical resources Braxton of jiving on his instruments. He than any of her contemporaries. And knows exactly what he wants and how while it is true that occasionally, she to achieve it.
    [Show full text]
  • Monday, June 30Th at 7:30 P.M. Blue Lake Fine Arts Camp Free Admission
    JUNE 2008 Listener BLUE LAKE PUBLIC RADIO PROGRAM GUIDE Monday, June 30th at 7:30 p.m. TheBlue Grand Lake Rapids Fine ArtsSymphony’s Camp DavidFree LockingtonAdmission WBLV-FM 90.3 - MUSKEGON & THE LAKESHORE WBLU-FM 88.9 - GRAND RAPIDS A Service of Blue Lake Fine Arts Camp 231-894-5656 http://www.bluelake.org J U N E 2 0 0 8 H i g h l i g h t s “Listener” Volume XXVI, No.6 “Listener” is published monthly by Blue Lake Public Radio, Route Two, Twin Lake, MI 49457. (231)894-5656. Summer at Blue Lake WBLV, FM-90.3, and WBLU, FM-88.9, are owned and Summer is here and with it a terrific live from operated by Blue Lake Fine Arts Camp Blue Lake and broadcast from the Rosenberg- season of performances at Blue Lake Fine Clark Broadcast Center on Blue Lake’s Arts Camp. Highlighting this summer’s Muskegon County Campus. WBLV and WBLU are public, non-commercial concerts is a presentation of Beethoven’s stations. Symphony No. 9, the Choral Symphony, Blue Lake Fine Arts Camp with the Blue Lake Festival Orchestra, admits students of any race, color, Festival Choir, Domkantorei St. Martin from national or ethnic origin and does not discriminate in the administration of its Mainz, Germany, and soloists, conducted programs. by Professor Mathias Breitschaft. The U.S. BLUE LAKE FINE ARTS CAMP Army Field Band and Soldier’s Chorus BOARD OF TRUSTEES will present a free concert on June 30th, and Jefferson Baum, Grand Haven A series of five live jazz performances John Cooper, E.
    [Show full text]
  • Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
    NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn.
    [Show full text]
  • Communication the Jazz Composer's Orchestra
    COMMUNICATION FONTANA 881 011 (out-of-print) THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
    [Show full text]
  • Chick Corea Bio 2015 Chick Corea Has Attained Iconic Status in Music
    Chick Corea Bio 2015 Chick Corea has attained iconic status in music. The keyboardist, composer and bandleader is a DownBeat Hall of Famer and NEA Jazz Master, as well as the fourth- most nominated artist in Grammy Awards history with 63 nods – and 22 wins, in addition to a number of Latin Grammys. From straight-ahead to avant-garde, bebop to jazz-rock fusion, children’s songs to chamber and symphonic works, Chick has touched an astonishing number of musical bases in his career since playing with the genre-shattering bands of Miles Davis in the late ’60s and early ’70s. Yet Chick has never been more productive than in the 21st century, whether playing acoustic piano or electric keyboards, leading multiple bands, performing solo or collaborating with a who’s who of music. Underscoring this, he has been named Artist of the Year twice this decade in the DownBeat Readers Poll. Born in 1941 in Massachusetts, Chick remains a tireless creative spirit, continually reinventing himself through his art. As The New York Times has said, he is “a luminary, ebullient and eternally youthful.” Chick’s classic albums as a leader or co-leader include Now He Sings, Now He Sobs (with Miroslav Vitous and Roy Haynes; Blue Note, 1968), Paris Concert (with Circle: Anthony Braxton, Dave Holland and Barry Altschul; ECM, 1971) and Return to Forever (with Return to Forever: Joe Farrell, Stanley Clarke, Airto Moreria and Flora Purim; ECM, 1972), as well as Crystal Silence(with Gary Burton; ECM, 1973), My Spanish Heart (Polydor/Verve, 1976), Remembering Bud Powell (Stretch, 1997) and Further Explorations (with Eddie Gomez and Paul Motian; Concord, 2012).
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • About Jazz New York
    July 2010 | No. 99 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com KARL BERGER FREEdom In dIscIpLInE JAZZ NEWHOMEGROWN YORK’S ONLY GAZETTE Rufus Reid • John Butcher • NoBusiness • Event Calendar Welcome to AllAboutJazz-New York. This may sound strange after 98 issues and over eight years but you can tell from our new logo that something is different. With this issue, one shy of our Centennial, we are announcing our formal New York@Night separation from the All About Jazz.com website. From now on, we are a 4 completely independent entity (check us out online at aaj-ny.com). What does this mean for you, our valued readers? Not to worry...we will continue to bring you Interview: Rufus Reid the best that New York City has to offer its jazz fans. AllAboutJazz-New York will 6 by Ken Dryden still have its award-nominated feature coverage, slew of timely CD reviews and an Event Calendar matched by no one. And this new arrangement will allow us to Artist Feature: John Butcher expand our mission and better serve the city’s jazz community, the thing that has 7 by Stuart Broomer kept us going for so long. To that end, this month’s issue - which also can be used to fan yourself during On The Cover: Karl Berger the balmy summer days - features articles on vibraphonist/pianist/organizer Karl 9 by Martin Longley Berger (On the Cover), who curates The Stone this month and appears with Encore: Lest We Forget: various groups; ubiquitous bassist extraordinaire Rufus Reid (Interview) who leads his own trio for a weekend at The Kitano and adventurous and experimental 10 Herb Jeffries Illinois Jacquet saxophonist John Butcher (Artist Feature), appearing as part of the Whitney by Marcia Hillman by Donald Elfman Museum’s Christian Marclay: Festival as well as a couple of forays into Brooklyn.
    [Show full text]
  • Gerry Hemingway Quartet Press Kit (W/Herb Robertson and Mark
    Gerry Hemingway Quartet Herb Robertson - trumpet Ellery Eskelin - tenor saxophone Mark Dresser- bass Gerry Hemingway – drums "Like the tightest of early jazz bands, this crew is tight enough to hang way loose. *****" John Corbett, Downbeat Magazine Gerry Hemingway, who developed and maintained a highly acclaimed quintet for over ten years, has for the past six years been concentrating his experienced bandleading talent on a quartet formation. The quartet, formed in 1997 has now toured regularly in Europe and America including a tour in the spring of 1998 with over forty performances across the entire country. “What I experienced night after night while touring the US was that there was a very diverse audience interested in uncompromising jazz, from young teenagers with hard core leanings who were drawn to the musics energy and edge, to an older generation who could relate to the rhythmic power, clearly shaped melodies and the spirit of musical creation central to jazz’s tradition that informs the majority of what we perform.” “The percussionist’s expressionism keeps an astute perspective on dimension. He can make you think that hyperactivity is accomplished with a hush. His foursome recently did what only a handful of indie jazzers do: barnstormed the U.S., drumming up business for emotional abstraction and elaborate interplay . That’s something ElIery Eskelin, Mark Dresser and Ray Anderson know all about.“ Jim Macnie Village Voice 10/98 "The Quartet played the compositions, stuffed with polyrhythms and counterpoints, with a swinging
    [Show full text]
  • AUTOMOTIVE Layoffs Bemg Considered to Balance School
    I- -,'••• ••' I J •. What rebuilding year? Places that pamper your '•'--?• * Luxembourg Cranford High's youthful 1 January 29,30,31, 1992 Forbes Newspapers Forbes Newspapers / Page U-1 wrestlers winnjng now Gibraltar of trie north . See this week's on new Fdrbes-Lufthajisa trip Automotive . ••- -^ See Sports, page-B-1 Weekend -See page A-9 Thursday, February 6,. 1992 mess Vol.99tNo. 6 A Forbes Newspaper,50 cents By BILL RUS5 CRANFORD • GARWOOD • RENILVVORTH FORBfiS NEWSPAPERS The Cadillac Seville celebrates its 15th anniversary this.year with TEST DRIVE: a distinctively new exterior plus other enhancements and im- 1992 provements under the skin and in Layoffs bemg considered to balance school budget the power-train. The new model CADILLAC In brief 1 •marks the fourth major .revision to By BRIAN FLORCZAK meeting that featured the approval of the ary accounts by that figure, thus effectively needed a unified show of support to prevent this- popular. Cadillac and is de- School board district's $27 million current expense pre- balancing the budget ••:•'. :.- the budget from being defeated for the sixth SEVILLE SIS THECHRONICLE •• signed for the buyer who desires Specificatiofts petitions available lirninary budget In addition, the board Pending budget approval by the county consecutive year. •..'.: • • sportiness and. performance along Bl«« price-$37,075 Nominating petitions. for the ' As the Board of Education continues to Voted to authorize the superintendent to superintendent, the board can opt to restore "I would lU<e to remind all board members! ' with elegance.- .' •/.•• . Pric« attested-$40,186 annual Cranford school board: try and find ways to trim money from its seek a cap wajj/er in the amount of $350,000 the $500,000 and cut funds from different to support this ^document that we as board When Packard dropped out of v-8, ohv push- election are available In the 1992-93 budget, it has asked the superinten- to cover the increased cost for special educa- •areas:" .•' .
    [Show full text]
  • Anthony Braxton Interview and Photos by Ken Weiss
    INTERVIEW Anthony Braxton Interview and Photos by Ken Weiss Anthony Braxton, at age 64. is a tenured pro­ AB: Thank you for your question. First, I was understanding that there would be no fessor at Wesleyan University and one of the would say, with all things considered, I do not monetary gain from my music effort. After most prolific composers and recorded musi­ see my work as jazz music, or as an affirma­ coming to terms with that decision, I have cians alive. Classified as a jaz:: avant-gardist, tion of the jazz tradition. I have respect for since gone forth to do my music and, when a title Braxton bristles ar. he could easily he those people who refer to their work as related ever possible, I have tried to document given deemed a modern classical composer. Heavilv to the jazz tradition, but I can most ce1iainly aspects of my creative work. Documentation, influenced bv master musicians such as say with honesty and gratitude that, while I for me, is not an economic consideration that Warne Marsh, Dave Brubeck, John Coltrane, have total respect for the idiomatic traditions, results in lots of monies coming in to me for Paul Desmond, as H"Cll as John Cage and my work has come about because of a love of my work. but rather, a form of closure. Once a Karlheinz Sruckhausen, Braxton has long Europe, Africa, Arabia, Asia and the world of given target project is documented and distrib­ been the target of criticism for his incorpora­ Hispania. My work is part of an effort to re­ uted, I can then go on to the next areas of my tirm of "European" concepts into his work.
    [Show full text]