Getting the word out, part 2

The May 2007 issue of Paris Transatlantic has a long review by Nate Dorward on the Braxton Iridium box:

The nine CDs in this collection document everything played during the four nights of performances, and come with a 56-page booklet containing a thoughtful overview by Braxtonologist Jonathan Piper as well as commentaries by many of the musicians (one misses the assiduous bookkeeping of a Graham Lock, though: some guidance as to the subsidiary compositions involved in these dense collages would have been helpful, and not hard to assemble, given that the backstage footage shows the musicians keeping score of composition numbers on a tally-sheet). The cherry on top is the tenth disc, a DVD with a documentary feature mingling clips from the performances and excerpts from a talk by Braxton; it also includes a video of the entire performance of Composition 358. The sum total is, needless to say, a luxury item that will set off waves of covetousness in the heart of any Braxton follower – and perhaps a certain amount of hesitancy as well, since, aside from the price tag, the prospect of listening to and absorbing ten hours' worth of this endlessly demanding music is daunting in the extreme.
***
It's obviously too early to offer anything approaching a definitive judgment on this set. Committed Braxtonites will already have purchased it and been duly delighted. Those less committed but sympathetic – in which camp I'd put myself – will find it by turns fascinating, baffling, exasperating and exciting. As often with Braxton's more ambitious projects, question-marks remain over how well the music's potential is actually realized – despite the evident enthusiasm of the 12+1tet and their immersion in his music and vision, the results are sometimes ragged and out-of-focus. But anyone seriously interested in his music should give it a listen, even if only in the form of individual downloads of a few CDs.

Getting the word out, part 1.5

Forgot to point to this review by Marc Medwin at All About Jazz:

It is the MO of this listener/writer, or, as Anthony Braxton puts it, this “friendly experiencer,” to attempt to bring the reader into individual moments of a performance. The present set does not allow such an approach, or, rather, it renders the approach superfluous. Here, we are presented with almost ten hours of music in which, Braxton explains, one measure can represent an entire composition. It is ironic, given the diversity of material and instrumentation employed over these four evenings, that the results are still so astonishingly unified.
The eight compositions in this ambitious collection close out the Ghost Trance Music (GTM) series. Anyone following developments in GTM’s 11-year history—well documented here in the essay by Jonathan Piper—will hear the continuing and recurring lifeline pulse of first-species GTM alongside the rhythmic enhancements and displacements of latter-day compositions, but the net effect is one of constant layers of submergence and rejuvenation. Each set begins with an area, designated by Braxton but very quickly broadening into other compositional territories charted by subgroups—a flute and bassoon duet, guitar and drums, or a vocalizing trio.
The musicianship is of the highest caliber and it would be unfair to single anyone out; the set deserves essays and volumes, which are doubtless forthcoming, as it marks the end of a Braxton era, the 2006 4 Compositions (Ulrichsberg) 2005 Phonomanie Viii set on Leo a harbinger of things to come.
Meanwhile, for a concise if grittily fanciful but all-encompassing description of the Iridium stand, Margaret Davis’ poem will not be bettered. In fact, the liners were especially helpful in coming to terms with musical complexities—the insider perspectives offered by ensemble members and Henry Grimes’ singularly wise portrait of Braxton the revolutionary being especially noteworthy. The DVD supplements and rehashes the notes with clarity and simplicity, providing a fitting encapsulation of a singularly important event that staunchly defies mere qualifiers and descriptors.

Begone BC

Kath & I will be walking the morning of Sunday, May 13, in support of the Y-ME National Breast Cancer Organization -- please consider making a donation on my fundraising page.

Getting the word out, part 1

some early feedback on the Braxton 12+1tet's 9 Compositions (Iridium) 2006, which is now available for purchase directly from the label:

Dan Ouellette in Billboard magazine:

Inarguably this year's most expansive and creative improvisational performance, the "9 Compositions (Iridium) 2006" nine-CD boxed set chronicles iconic alto-saxophonist Braxton on a four-night engagement with his 12+1tet at New York's Iridium. Recorded in March 2006, the collection comprises nine large-scale, world-premiere Braxton compositions (with numerical titles, Nos. 350-358) that complete his 11-year-old "Ghost Trance Music" series of works that he calls "sonic units" and "language music." [JG: well, not quite -- "language music" is a specific set of sound typologies] Braxton's music, characterized by form that elicits and invites free interplay, is a playground of shapes, tempos, layers, weaves and waves. It is journey music replete with comic harmonic excursions, off-balance meandering, quirky curiosity, elliptical eeriness and seesawing dissonance. On the one hand, the music is abstract, but on the other, deeply emotional with different hues of urgency, fear, lightheartedness and timidity.

An excerpt from an Amazon.com customer review:

4 ½ Stars.
***
Having had the set for a week, I have absorbed all nine discs and the DVD over the course of six-nights. Needless to say that after just one-time through, I have just skimmed the surface- and still I am sated, yet eager to tackle the set in its entirety again starting in a few days. One could (and should) easily spend weeks and months digesting and experiencing this music. Themes, sub-themes, small instrumental dialogues, inspired solos, interesting compositional techniques, passages of jarring juxtapositions, moments of sheer cerebral beauty- all of these are to be had in abundance with a capital A.
The DVD runs about two-hours and provides context and visuals to accentuate those which Braxton's music invariably generates. The documentary finds him discussing the origin, dynamics and execution of Ghost Trance Music at Columbia University and is interspersed with performance footage from the Iridium shows. Also presented is Composition 358 in its entirety.
***
One criticism leveled at Braxton is that he is too prolific. Those interested in exploring his music don't know where to start, while those who follow him find it hard to keep up. Certainly a ten-disc set will do little to quell this quibble, but ultimately the question is: To buy or not? For fans of Braxton's work the answer is a resounding yes. Scrimp and save if you must, but this is an indispensable document which represents the culmination of four-decades of work.
To the curious and uninitiated the answer is also yes. Approach the set with open minds and ears and you will be both rewarded and enriched for your time and listening attention. These are the works of a master at the top of his game.

Some kind words on the Braxton discussion group from Kevin Frenette (a guitarist with a new release of his own, which he was kind enough to send me):

I received my 9 Compositions (Iridium) 2006 box set yesterday morning (autographed too!!!) --- Listened to about 4 discs so far and the music is incredible...but I spent the evening watching Jason's DVD...WOW!!!! It is worth the price of the boxed set alone. Great footage of the group performances and we finally get to see/hear what was discussed at Columbia University. It's an incredible look deep inside the GTM and it's priceless to see Braxton himself discussing what it's all about and see the ensemble putting it into practice.
Thanks Jason --- superb work.

Listen to this interview of Braxton by John Schaefer, Soundcheck, WNYC, 20-Apr-2007. (If you've never heard Schaefer's program, check out some other archived shows for interviews with everyone from Courtney Love to Cecil Taylor.)

Pick up the May 2007 issue of JazzTimes for an excellent article by David Adler. UPDATE: this article is available here (pdf format)

And there's much more on the way: look for upcoming articles and reviews in Down Beat, Signal to Noise, Paris Transatlantic, Jazzman (France), and The Wire (UK).

Kudos to Scott at Improvised Communications for doing an absolutely terrific job getting the word out!