ANTHONY BRAXTON QUARTET
(Victoriaville) 1992
Braxton / Crispell / Dresser /
Hemingway |
Preis / Price : 15.60 €
Bestell-Nr. / Purchase Order No. : VICTO CD 021 |
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| Anthony
Braxton |
alto- and Eb sopranino sax, Clarinet, bass
clarinet |
| Marilyn
Crispell |
piano |
| Mark
Dresser |
double bass |
| Gerry Hemingway |
dr, perc, vibraphone, marimba |
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1
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Composition No 159 |
10:37 |
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2
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Composition No 148 |
20:29 |
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3
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Composition No 161 |
12:52 |
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4
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Composition No 158 |
14:38 |
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5
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Impressions (J. Coltrane) |
06:12 |
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Total time: |
64:48 |
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All compositions by Anthony Braxton (Synthesis Music-BMI)
Except # 5 (Jowcol Music-BMI)
Recorded by Denis Leclerc and Marc Fortin on October 10,
1992
@ Festival International de Musique Actuelle de Victoriaville
Mixing : Robert Langlois (Studio 270, Montréal)
Layout: François Bienvenue
Photos : Sylvain Lafleur
Liner notes : John Corbett (Interview with Anthony Braxton)
Executive producer: Michel Levasseur
Booklet language version : English
Les Disques Victo / Les Éditions VICTORIAVILLE (Canada)
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| First release date: 1993 |
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Excerpt from the booklet
J.C.: Could you talk a bit about the quartet?
A.B.: I feel that present day strategies in the neoclassic
continuum have sought to erect an identity based on initiations
from New Orleans to the bebop continuum, and at that point
to contain the identity of music. But my work in the past
25 years has sought to erect a trans-idiomatic context for
exploration, and along with that context to create a tri-metric
architectonic unit that could serve as a basis for recognition
in the post-nuclear continuum. I feel the quartet is an
excellent example of a post-nuclear, tri-metric unit that
demonstrates stable logic information, mutable logic information,
and synthesis logic information in one time-space, where
there is one individual having extended open improvisation
and in that same space there is a logic containing two musicians
working together - maybe in a pulse-track or whatever -
and at the same time a stable logic component involving
totally notated music. All these kind of interrelated partials
now operate freely in the quartet, to create another context
for experiencing and exploration. (
) I try to have
structures that satisfy the urgency of the moment. (
)
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