Happy Record Store Day, 2024! This week was focused on preparing for Record Store Day sales, partnering with both New Braxton House and 577 Records for some amazing discounts, and preparing the Squidco website for site-wide discounts. As has been true for the last few years, RSD releases haven't been very compelling for the music that we sell, so instead we're discounting all new albums in the store, and offer a 50% discount on more than 60 albums, including those on 577 & New Braxton House. Our Record Store Day sales are online, we are not open for Record Store Day but I will be visiting our local record stores here in Wilmington, NC, to celebrate the day.

Speaking with a collecting friend yesterday, we reminisced about the wealth of record store and other stores — department store, drug stores, discount stores, &c. — that once carried albums. I recalled walking 30 blocks in New York City and stopping at more than a dozen stores along the way to find incredible gems for my collection. I recalled a close friend in the 1980s who had a circuit of record stores that he would make twice a week, looking for new albums and chatting with the store employees and other collecting friends. When I lived in both Syracuse & Albany, NY, every Saturday I would finish my household chores then drive to several record stores in the Syracuse University and downtown area to see what was new. And every few months I would drive up to 6 hours to shop in NYC on a Sunday for the unique music I could find nowhere else.

Record Stores were an integral part of all of our lives then, part of the social fabric, places where I personally met some of my longest lasting friendships. With the cautious return of vinyl records to the cultural eye, Record Store Day is a time to do more than reminisce: it's a time to ensure that the cultural, physical art objects that are record albums remain a part of that fabric. I hope that our readers and customers will take advantage of the discounts and sales Squidco offers this weekend — even online stores like ours and the artists & labels we represent depend on sales and promotions to support the creation of the incredible music we're all interested in. But be sure to take the time out Saturday to visit your local brick & mortar record store, chat with fellow customers, employees and store owners, and most importantly: pick up some new music to celebrate the day!

Anthony Braxton / New Braxton House / Trillium Series Overview:

As we added the recent 10 Comp (Lorraine) 2022 box set from Anthony Braxton's New Braxton House label to Squidco's catlaog, I've reflected on the series of albums the legendary saxophonist and composer has released over the last several years.

The lineage of boxes starts with the GTM (Syntax) 2017 box, a 12-CD box of his Ghost Trance Music (GTM) compositional system. Drawing from a set of roughly 150 pieces written between 1995 and 2006 developed to allow improvisers more control of their input and affect on the overall performance. The box was performed with his Tri-Centric Vocal Ensemble for a mix of sung, spoken, and non-verbal utterances. The previous release of GTM was from 2003 that combined vocals with electronics and acoustic instrumentation. The average listener will find the music unusual, but repeated listens draws one into a truly unique sonic world.

Following GTM (Syntax) 2017 is Quartet (Standards) 2020, a completely different and seemingly more conventional album of jazz standards, both from popular tunes like "I Get a Kick Out of You" or "Prelude to a Kiss" or jazz instrumental's like Dave Brubeck's "The Duke" or Thelonious Monk's "Evidence". Many of those pieces dramatically extend the original numbers ("Kiss" weighs in at 10:43, "Kick" at 22:02 !) The ensemble here is small but virtuosic - Anthony Braxton himself, Alexander Hawkins on piano, Neil Charles on bass and Stephen Davis on drums.

The contrast between these two boxes couldn't be sharper, the Standards box recalling his 2018 11-CD box set, Sextet (Parker) 1993, exploring the work of Charlie Parker in more traditional ways. GTM (Syntax) 2017 recalls his Trillium box sets, a system of composition that starts in the 1990s.

What follows is the most recent of Braxton's boxes and compositional systems: 10 Comp (Lorraine) 2022. Presented in 10 CDs from two trios, The Lorraine Music system incorporates graphic notation, traditional notation, and Braxton's interactive Diamond Curtain Wall Music system, which works with interactive electronics. The new box continues his integration of musical systems through unique compositional forms and pathways to freedom for improvising participants.

Before GTM and Lorraine, Braxton developed a series of compositions exploring his Trillium series, starting with the 2006 album Anthony Braxton With The Creative Jazz Orchestra, which includes "Composition No. 126 Trillium-Dialogues M".

This week in anticipation of the New Braxton House box sets, CDs & DVD going on sale I spent a significant amount of time listening to Anthony Braxton's music. In particular, I listened to the entire Trillium E box, along with some precursor compositions. Trillium E is an unusual but fascinating contemporary work, an opera of unusual components and topics. It's not difficult to follow the narrative, though I would not say that on this iteration of listening I would consider myself an expert. I enjoy the unusual "discussions" the performers engage in, much of it relating to science fiction and aspects of our society. Thematically I was reminded of Nicole Mitchell science fiction works (I suppose I should say that the other way round) and often stopped my Squidco work to follow the strange discourse. Through it a consistent musical vision comes through over a vast canvas of intriguing musical structures. Braxton set out to expand the abilities of both composer and performer, and the Trillium series is an achievement for both.

I asked the AI box ChatGPT to elucidate on the Trillium series, which was able to provide various aspects to the works that I would not articulate as well. I hate to rely on a robot to talk about art, but in this case I think the formal information about the series is worth reading:

"Anthony Braxton's Trillium series is a significant body of work in contemporary music composed by the American composer and multi-instrumentalist Anthony Braxton. The Trillium series is characterized by its scale, complexity, and innovative approach to musical composition.

The Trillium series began in the 1990s and has continued to evolve over the years. It encompasses a wide range of compositions, including operas, orchestral pieces, chamber music, and more. Braxton's vision for the Trillium series is expansive, incorporating elements of avant-garde jazz, contemporary classical music, improvisation, and experimental sound.

One of the defining features of the Trillium series is its modular structure. Braxton has developed a system of interconnected musical modules that can be combined and reconfigured in various ways, allowing for a high degree of flexibility and improvisation within the compositions. This modular approach reflects Braxton's interest in exploring new forms of musical organization and expression.

Each installment of the Trillium series is unique, with its own themes, concepts, and sonic explorations. Braxton's compositions often feature complex rhythms, intricate harmonic structures, and unconventional instrumentation, challenging both performers and listeners to engage with music in new and unexpected ways.

Overall, the Trillium series represents a groundbreaking contribution to contemporary music, pushing the boundaries of what is possible in terms of composition, performance, and sonic experimentation. It stands as a testament to Braxton's innovative spirit and his ongoing commitment to exploring the frontiers of musical expression.

The modular structure of Anthony Braxton's Trillium series is a key aspect of his compositional approach, allowing for a high degree of flexibility, improvisation, and reconfiguration within the music. Here's a closer look at how the modular structure works:

Musical Modules: Braxton has created a vast library of musical modules, which are self-contained musical fragments or cells. These modules can be as short as a few measures or as long as entire sections of music. Each module is characterized by its own melodic, harmonic, and rhythmic content.

Interconnectedness: The modules within the Trillium series are designed to be interconnected, meaning that they can be combined and recombined in various ways to create new musical sequences and structures. This allows for a virtually limitless number of possible compositions, as Braxton and performers can mix and match modules to create unique musical experiences.

Flexible Form: Unlike traditional compositions with fixed forms and structures, the Trillium series embraces a more fluid and open-ended approach to form. The modular structure allows for non-linear progression, with the music unfolding in unpredictable ways based on the choices of the performers and the composer.

Improvisational Elements: While the Trillium series is composed, it also incorporates elements of improvisation, particularly in how the modules are combined and interpreted during performance. Performers are encouraged to engage with the music creatively, responding to each other and to the musical material in the moment.

Conducting and Cueing: Braxton often uses conducting techniques and cueing systems to guide performers through the modular compositions. This may involve visual cues, verbal instructions, or other methods of signaling transitions between modules and shaping the overall direction of the music.

Overall, the modular structure of the Trillium series offers a dynamic and interactive approach to composition and performance, blurring the lines between composition and improvisation and inviting both performers and listeners to actively participate in the musical experience. It's a reflection of Braxton's experimental spirit and his commitment to pushing the boundaries of what is possible in contemporary music.

The performance history of Anthony Braxton's Trillium series is multifaceted and spans several decades. Here are some key points in its performance history:

Premieres: The Trillium series has been premiered and performed in various venues and contexts around the world. The premieres of different installments of the series have taken place at festivals, concert halls, and other performance spaces, showcasing Braxton's work to diverse audiences.

Ensemble Performances: Many performances of the Trillium series involve large ensembles of musicians, including orchestras, jazz bands, chamber ensembles, and experimental music groups. These performances often feature a mix of professional musicians and students, reflecting Braxton's commitment to education and collaboration.

Solo Performances: Braxton himself has performed solo renditions of pieces from the Trillium series, demonstrating his mastery of multiple instruments and his unique approach to improvisation and composition. These solo performances offer a more intimate and personal exploration of Braxton's music.

Recording Releases: Some installments of the Trillium series have been recorded and released commercially, allowing listeners to experience Braxton's music outside of live performances. These recordings capture the energy and creativity of Braxton's compositions and performances, making them accessible to a wider audience.

Interdisciplinary Collaborations: In addition to musical performances, the Trillium series has inspired collaborations with artists from other disciplines, including dancers, visual artists, and poets. These interdisciplinary performances explore connections between music and other forms of expression, enriching the overall experience for audiences.

Educational Settings: Braxton's music has been performed in educational settings such as universities and conservatories, where students have the opportunity to study and perform his compositions. These performances provide valuable learning experiences and help to preserve and promote Braxton's musical legacy.

Overall, the performance history of Anthony Braxton's Trillium series reflects its versatility and adaptability to different contexts and settings. From large ensemble concerts to intimate solo performances, the Trillium series continues to captivate audiences with its innovative approach to music-making.

Within the Trillium series, different compositions may resonate more strongly with certain audiences or performers based on personal preferences, musical backgrounds, and the specific themes explored in each installment. However, it's challenging to pinpoint a single "fan favorite" across the entire series due to its expansive and diverse nature.

That said, some compositions within the Trillium series have garnered particular attention and acclaim for their innovative approaches to composition, performance, and sonic exploration. For example, "Trillium E" and "Trillium R: Shala Fears for the Poor" are often cited as significant works within the series, featuring expansive musical landscapes, intricate structures, and compelling thematic content.

Additionally, certain performances or recordings of specific pieces within the Trillium series may become favorites among fans due to memorable interpretations, standout solos, or other noteworthy aspects of the performance.

Ultimately, the appeal of the Trillium series lies in its rich and varied musical tapestry, offering something for fans of contemporary jazz, experimental music, avant-garde composition, and beyond. Each installment of the series presents its own unique journey through Braxton's musical imagination, inviting listeners to explore new sonic territories and discover their own favorites along the way."

Braxton, Anthony: 12 Duets (DCWM) 2012 [12 CD Box Set] (New Braxton House)

Newly Distributed in 2021: A 12-CD set presenting Braxton in dialogue with three distinctive duet partners: violinist Erica Dicker, vocalist Kyoko Kitamura and bassoonist Katherine Young, recorded in the summer of 2012 over two sessions with each player, a remarkable and expansive set of innovative and creative improvisation.

Braxton, Anthony: GTM (Syntax) 2017 [12 CD BOX SET] (New Braxton House)

A 12-hour collection over 12 CDs of composer Anthony Braxton's Ghost Trance Music (GTM), a compositional system he developed with his superlative Tri-Centric Vocal Ensemble, GTM allowing the ensemble to generate a performance in real time in a mix of sung, spoken, and non-verbal utterances, with unpredictable and surprising results that reveal fascinating layers with each listen.

Braxton, Anthony: Trillium J [4 CDs + Blu Ray] (New Braxton House)

Newly Distributed in 2021: A multimedia box set of Anthony Braxton's opera work "Trillium J", containing live performance video on Blu-ray disc of a 2014 performance at Roulette in NY, and studio recording on 4-CD set, with 12 vocalists, 12 instrumental soloists and a full orchestra.

Braxton, Anthony : Quintet (Tristano) 2014 [7 CDs] (New Braxton House)

Newly Distributed in 2021: Composer and jazz master Anthony Braxton performing on piano in a septet with saxophonists Jackson Moore and Andre Vida, bassist Eivind Opsvik and drummer Mike Szekely, exploring the compositions of Lennie Tristano plus peers Billy Bauer, Connie Crothers, Warne Marsh, Sal Mosca, &c.

Braxton, Anthony & Taylor Ho Bynum: Duo (Amherst) 2010 [DVD] (New Braxton House)

Newly Distributed in 2021: Limited edition DVD plus audio files of two extended sets bringing saxophonist Anthony Braxton and cornetist Taylor Ho Bynum together live at Bezanson Recital Hall in Amherst, MA in 2010, performing compositions by both artists.

Braxton, Anthony and the Tri-Centric Orchestra: Trillium E [4 CDs] (New Braxton House)

Newly Distributed in 2021: Trillium E is the first-ever studio recording of an Anthony Braxton opera, a deluxe 4-disc set of this surreal and witty installment in Braxton's ongoing Trillium cycle, and includes a booklet with libretto, photos, and critical essays.

Squidco Publishing Roundup:

As is typical, I end with updates to Squidco and The Squid's Ear over the last week. You can see our latest fully cataloged albums in our Recently Section.

You can see new albums as they enter our Just In Stock Section, meaning that we physically have an album and are able to ship it with an order, but that we're not satisfied that we've added all the information we can about that release.

You can also see recent restocks of previously listed items at our Recently Restocked page.

You can ask us to inform you via email of any upcoming release that you're interested in, with no obligation.

April 18, 2024: New Review @ The Squid's Ear: Alan Shorter - Mephistopheles To Orgasm — Revisited (ezz-thetics by Hat Hut Records Ltd) by Andrey Henkin.

April 15, 2024: New Review @ The Squid's Ear: Niels Lynn Lokkegaard / Quatuor Bozzini - Colliding Bubbles (Surface Tension and Release) (Important Records) by Jeph Jerman.

Much of this week was spent preparing for the next wave of purchases, and personally for me, distracted by events here in Wilmington. Those included the annual Azalea Festival, and my participation in a March with the Filipino American Association of the Lower Cape Fear, a warm and wonderful group. I also attended a few Azalea events gratis my cat Miso, who "won" the Pet Royalty contest, raising money for the Paws4People organization.

Given all the local activities, it's a bit of a miracle that we got our mailing list out this week, but we somehow managed, fueled by some excellent records, particularly the latest Euphorium release, Fucking Ballads by the trio of Oliver Schwerdt, Barry Guy & Gunter Baby Sommer; the latest Remote Viewers album, Inside the Blizzard / Triva; the latest album from the trio JAKAL (aka J@K@L) of Fred Lonberg-Holm, Keefe Jackson & Julian Kirshner; and the latest Ethnic Heritage Ensemble album, Open Me, A Higher Consciousness Of Sound And Spirit, which includes a unique cover of "Kind of Blue".

Schwerdt, Oliver / Barry Guy / Baby Sommer: Fucking Ballads (Euphorium)

An enthusiastic and energetically powerful trio meeting between three masters--Oliver Schwerdt on grand piano & percussion, Barry Guy on double bass and Baby Sommer on drums & percussion--performing live in 2021 at naTo, in Leipzig for two extended improvisations of remarkable communication, incredible virtuosity, but most importantly, incredible and compelling creative drive!

JAKAL (Fred Lonberg-Holm / Keefe Jackson / Julian Kirshner): Peroration (Amalgam)

Formerly known as J@K@L, this Chicago trio has explored hard hitting improvisation since 2014, the band name an amalgamation of the performer's names--Keefe Jackson on tenor & sopranino saxophone & tube, Julian Kirshner on drums and Fred Lonberg-Holm on cello, tenor guitar and electronics--in a dynamic and exciting 2022 concert at Elastic Arts, in Chicago.

Remote Viewers, The: Inside The Blizzard / Trivia (Remote Viewers)

UK Composer David Pett's Remote Viewers present two large works: "Inside the Blizzard" in five parts of configurations from solo to quintet; and "Trivia", a quintet work in eight parts; solid, compelling work of forceful confidence from members Adrian Northover, Sue Lynch, Caroline Krabbel & Petts on sax, John Edwards on bass, Hutch Demouilpied on trumpet and Rosa Theodora on piano.

Ethnic Heritage Ensemble: Open Me, A Higher Consciousness Of Sound And Spirit (Spiritmuse Records)

Celebrating 50 years, percussionist Kahil El'Zabar's Ethnic Heritage Ensemble as the trio of El'Zabar, Corey Wilkes (trumpet) and Alex Harding (bar. sax), joined on tracks by James Sanders (violin) and Ishmael Ali (cello), reinterpret classics including "Great Black Music", "Ornette" and Aretha Franklin's "Compared to What", along with Miles' "All Blues" and McCoy Tyner's "Passion Dance".