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Braxton, Anthony Steptet (with Ho Bynum / Halvorson / Pavone / Rozen / Siegel / Testa): Echo Echo Mi (Les Disques Victo)

Composer/saxophonist Braxton performed "Composition NO 347 + 62'37" " at the 2011 Victo Festival with the "super-group" of Braxton alumni - Mary Halvorson, Taylor Ho Bynum, Jessica Pavone, Jay Rozen, Aaron Siegel, Carl Testa", on their respective instruments + iPods.
 

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product information:


UPC: 777405012524

Label: Les Disques Victo
Catalog ID: CD 125
Squidco Product Code: 17688

Format: CD
Condition: New
Released: 2013
Country: Canada
Packaging: Cardstock gatefold foldover
Recorded at the 27th Festival International de Musique Actuelle de Victoriaville on May 21st, 2011.


Personnel:

Taylor Ho Bynum-cornet, bugle, trompbone, iPod

Mary Halvorson-electric guitar, iPod

Jessica Pavone-alto saxophone, violin, iPod

Jay Rozen-tuba, iPod

Aaron Siegel-percussion, vibraphone, iPod

Carl Testa-contrabass, bass clarinet, iPod

Anthony Braxton-alto saxophone, soprano saxophone, iPod, composition

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track listing:


1. Composition No 347+ 1:02:36
Related Categories of Interest:


Improvised Music
Jazz
NY Downtown & Jazz/Improv
Electro-Acoustic
Anthony Braxton
Staff Picks & Recommended Items
Victo
Top 40 for 2013
Septet recordings

sample the album:


descriptions, reviews, &c.

"Your "Echo Echo Mirror House" piece at Victoriaville was a time-warping concert experience. My synapses were firing overtime.

[Laughs] I must say, thank you. I am really happy about that performance. In this time period, we talk about avant-garde this and avant-garde that, but the post-Ayler generation is 50 years old, and the AACM came together in the '60s. So it's time for new models to come together that can also integrate present-day technology and the thrust of re-structural technology into the mix of the music logics and possibility.

The "Echo Echo Mirror House" music is a trans-temporal music state that connects past, present and future as one thought component. This idea is the product of the use of holistic generative template propositions that allow for 300 or 400 compositions to be written in that generative state. The "Ghost Trance" musics would be an example of the first of the holistic, generative logic template musics. The "Ghost Trance" music is concerned with telemetry and cartography, and area space measurements.

With the "Echo Echo Mirror House" musics, we're redefining the concept of elaboration. It's not a linear elaboration. The new holistic models are multi-hierarchical formal states that allow for many different things to happen at the same time, and the friendly experience can have the option of approaching the music in many different ways. Compositions, in this context, are not written to be like 5-minute or 30-minute compositions, but rather compositions that can stop and start to meet the needs of the friendly ensemble of musicians, depending on their needs.

I have designed my system, from the beginning, so that the formation reality of the music involves everything happening at the same time. With the "Echo Echo Mirror House" music, suddenly, it goes back to the old TV commercial: "Is it live or is it Memorex?"

-Part of an interview made by Josef Woodard and published in DownBeat Magazine, March 2012



Read more about this item
The Squid
At The Squid's Ear!

Artist Biographies:

"Taylor Ho Bynum (b. 1975) has spent his career navigating the intersections between structure and improvisation - through musical composition, performance and interdisciplinary collaboration, and through production, organizing, teaching, writing and advocacy. As heard on over twenty recordings as a bandleader, Bynum's expressionistic playing on cornet and his expansive vision as composer have garnered him critical attention as one of the singular musical voices of his generation. He currently leads his Sextet and 7-tette, and works with many collective ensembles including a duo with drummer Tomas Fujiwara, the improv trio Book of Three, the UK/US collaborative Convergence Quartet, the dance/music interdisciplinary ensemble Masters of Ceremony, and the trans-idiomatic little big band Positive Catastrophe.

His varied endeavors include his Acoustic Bicycle Tours (where he travels to concerts solely by bike across thousands of miles) and his stewardship of Anthony Braxton's Tri-Centric Foundation (which he serves as executive director, producing most of Braxton's recent major projects). In addition to his own bands, his ongoing collaboration with Braxton, past work with other legendary figures such as Bill Dixon and Cecil Taylor, and current collective projects with forward thinking peers, Bynum increasingly travels the globe to conduct community-based large ensembles in explorations of new creative orchestra music. He is also a published author and contributor to The New Yorker's Culture Blog, has taught at universities, festivals, and workshops worldwide, and has served as a panelist and consultant for leading funders and organizations. His work has received support from Creative Capital, the Connecticut Office of the Arts, Chamber Music America, New Music USA, USArtists International, and the Doris Duke Charitable Foundation."

-Taylor Ho Bynum website (http://taylorhobynum.com/)
5/19/2017

"One of improvised music's most in-demand guitarists, Mary Halvorson has been active in New York since 2002, following jazz studies at Wesleyan University and the New School. Critics have called her "a singular talent" (Lloyd Sachs, JazzTimes), "NYC's least-predictable improviser" (Howard Mandel, City Arts), "one of the most exciting and original guitarists in jazz-or otherwise" (Steve Dollar, Wall Street Journal), and "one of today's most formidable bandleaders" (Francis Davis, Village Voice). The Philadelphia City Paper's Shaun Brady adds, "Halvorson has been steadily reshaping the sound of jazz guitar in recent years with her elastic, sometimes-fluid, sometimes-shredding, wholly unique style."

After three years of study with visionary composer and saxophonist Anthony Braxton, Ms. Halvorson became an active member of several of his bands, including his trio, septet and 12+1tet. To date, she appears on six of Mr. Braxton's recordings. Ms. Halvorson has also performed alongside iconic guitarist Marc Ribot, in his bands Sun Ship and The Young Philadelphians, and with the bassist Trevor Dunn in his Trio-Convulsant. Over the past decade she has worked with such diverse bandleaders as Tim Berne, Taylor Ho Bynum, Tomas Fujiwara, Ingrid Laubrock, Myra Melford, Jason Moran, Joe Morris, Tom Rainey and Mike Reed.

As a bandleader and composer, one of Ms. Halvorson's primary outlets is her longstanding trio, featuring bassist John Hébert and drummer Ches Smith. Since their 2008 debut album, Dragon's Head, the band has been recognized as a rising star jazz band by Downbeat Magazine for five consecutive years. Ms. Halvorson's quintet, which adds trumpeter Jonathan Finlayson and alto saxophonist Jon Irabagon to the trio, has released two critically acclaimed albums on the Firehouse 12 label: Saturn Sings and Bending Bridges. Most recently she has added two additional band members-tenor saxophonist Ingrid Laubrock and trombonist Jacob Garchik-to form a septet, featured on her 2013 release Illusionary Sea. Ms. Halvorson also co-leads a longstanding chamber-jazz duo with violist Jessica Pavone, the avant-rock band People and the collective ensembles Thumbscrew and Secret Keeper."

-Mary Halvorson Website (http://www.maryhalvorson.com/bio/)
5/19/2017

[Anthony Braxton (born June 4, 1945) is an American composer and instrumentalist.]

"Genius is a rare commodity in any art form, but at the end of the 20th century it seemed all but non-existent in jazz, a music that had ceased looking ahead and begun swallowing its tail. If it seemed like the music had run out of ideas, it might be because Anthony Braxton covered just about every conceivable area of creativity during the course of his extraordinary career. The multi-reedist/composer might very well be jazz's last bona fide genius. Braxton began with jazz's essential rhythmic and textural elements, combining them with all manner of experimental compositional techniques, from graphic and non-specific notation to serialism and multimedia. Even at the peak of his renown in the mid- to late '70s, Braxton was a controversial figure amongst musicians and critics. His self-invented (yet heavily theoretical) approach to playing and composing jazz seemed to have as much in common with late 20th century classical music as it did jazz, and therefore alienated those who considered jazz at a full remove from European idioms. Although Braxton exhibited a genuine -- if highly idiosyncratic -- ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen. Many of the mainstream's most popular musicians (Wynton Marsalis among them) insisted that Braxton's music was not jazz at all. Whatever one calls it, however, there is no questioning the originality of his vision; Anthony Braxton created music of enormous sophistication and passion that was unlike anything else that had come before it. Braxton was able to fuse jazz's visceral components with contemporary classical music's formal and harmonic methods in an utterly unselfconscious -- and therefore convincing -- way. The best of his work is on a level with any art music of the late 20th century, jazz or classical.

Braxton began playing music as a teenager in Chicago, developing an early interest in both jazz and classical musics. He attended the Chicago School of Music from 1959-1963, then Roosevelt University, where he studied philosophy and composition. During this time, he became acquainted with many of his future collaborators, including saxophonists Joseph Jarman and Roscoe Mitchell. Braxton entered the service and played saxophone in an Army band; for a time he was stationed in Korea. Upon his discharge in 1966, he returned to Chicago where he joined the nascent Association for the Advancement of Creative Musicians (AACM). The next year, he formed an influential free jazz trio, the Creative Construction Company, with violinist Leroy Jenkins and trumpeter Leo Smith. In 1968, he recorded For Alto, the first-ever recording for solo saxophone. Braxton lived in Paris for a short while beginning in 1969, where he played with a rhythm section comprised of bassist Dave Holland, pianist Chick Corea, and drummer Barry Altschul. Called Circle, the group stayed together for about a year before disbanding (Holland and Altschul would continue to play in Braxton-led groups for the next several years). Braxton moved to New York in 1970. The '70s saw his star rise (in a manner of speaking); he recorded a number of ambitious albums for the major label Arista and performing in various contexts. Braxton maintained a quartet with Altschul, Holland, and a brass player (either trumpeter Kenny Wheeler or trombonist George Lewis) for most of the '70s. During the decade, he also performed with the Italian free improvisation group Musica Elettronica Viva, and guitarist Derek Bailey, as well as his colleagues in AACM. The '80s saw Braxton lose his major-label deal, yet he continued to record and issue albums on independent labels at a dizzying pace. He recorded a memorable series of duets with bop pioneer Max Roach, and made records of standards with pianists Tete Montoliu and Hank Jones. Braxton's steadiest vehicle in the '80s and '90s -- and what is often considered his best group -- was his quartet with pianist Marilyn Crispell, bassist Mark Dresser, and drummer Gerry Hemingway. In 1985, he began teaching at Mills College in California; he subsequently joined the music faculty at Wesleyan University in Connecticut, where he taught through the '90s. During that decade, he received a large grant from the MacArthur Foundation that allowed him to finance some large-scale projects he'd long envisioned, including an opera. At the beginning of the 21st century, Braxton was still a vital presence on the creative music scene."

-All Music, Chris Kelsey (http://www.allmusic.com/artist/anthony-braxton-mn0000924030/biography)
5/19/2017

Other Releases With These Artists:
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(Braxton House/Firehouse 12 Records)
Braxton, Anthony
Ensemble (Victoriaville) 1988
(Les Disques Victo)
Braxton, Anthony
3 Compositions Of New Jazz
(Delmark)
Braxton, Anthony
Quintet (Basel) 1977
(Hatology)
Braxton, Anthony / Miya Masaoka
Duo (Dcwm) 2013 [2 CDs]
(RogueArt)
Halvorson, Mary Octet
Away With You
(Firehouse 12 Records)
Sharp, Elliott Aggregat (Bynum / Greene II / Jones / Altschul)
Dialectrical
(Clean Feed)
Braxton, Anthony
3 Compositions Of New Jazz [VINYL]
(Delmark)
Braxton, Anthony
Live At The Rainbow Gallery '79
(Hi Hat)
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(Braxton House/Firehouse 12 Records)
Braxton, Anthony
Quintet (Tristano) 2014 [7 CDs]
(Braxton House/Firehouse 12 Records)
Braxton, Anthony
3 Compositions (EEMHM) 2011 [3 CDs]
(Braxton House/Firehouse 12 Records)
Halvorson, Mary
Meltframe
(Firehouse 12 Records)
Bathysphere (with Bishop / Malaby / Ho Bynum / &c)
Bathysphere
(Driff Records)
Braxton, Anthony / Derek Bailey
First Duo Concert (London 1974)
(Emanem)
Convergence Quartet (Taylor Ho Bynum / Alexander Hawkins / Dominic Lash / Harris Eisenstadt)
Owl Jacket [VINYL]
(NoBusiness)
Braxton, Anthony / Quartet
(Santa Cruz) 1993 1st Set [REPRESS]
(Hatology)
Halvorson, Mary
Reverse Blue
(Relative Pitch)
Bynum, Taylor Ho
Navigation (Possibility Abstracts X & XI) [VINYL 2 LPs]
(Firehouse 12 Records)
Cady, Jason
Happiness Is The Problem
(Lock Step Records)
Braxton, Anthony & Taylor Ho Bynum
Duo [DVD]
(New Braxton House)
Convergence Quartet, The
Slow and Steady
(NoBusiness)
Halvorson, Mary / Kirk Knuffke / Matt Wilson
Sifter
(Relative Pitch)
Bynum, Taylor Ho / John Hebert / Gerald Cleaver
Book of Three: Continuum
(Relative Pitch)
Halvorson, Mary
Bending Bridges [2 VINYL LPs]
(Firehouse 12 Records)
Smith, Ches and These Arches (Smith / Berne / Malaby / Halvorson / Parkins)
Hammered
(Clean Feed)
Halvorson / Evans / Walter
Mechanical Malfunction
(Thirsty Ear)
Morris, Joe
Perpetual Frontier The Properties of Free Music [BOOK]
(Riti Publishing)
Joy Mega
Forever is Something Inside You
(New Atlantis)
Braxton, Anthony
Eight (+1) Tristano Compositions 1989 for Warne Marsh
(Hatology)
Braxton, Anthony
Trillium E
(New Braxton House)
Bynum Sextet, Taylor Ho
Apparent Distance
(Firehouse 12 Records)
Dixon, Bill
Envoi
(Les Disques Victo)
Braxton, Anthony
GTM (Outpost) 2003 [2 CDs]
(Leo)
Walter / Halvorson / Evans
Electric Fruit
(Thirsty Ear)
Bynum, Taylor Ho Sextet
The Middle Picture
(Firehouse 12 Records)
Lane, Adam Full Throttle Orchestra
Ashcan Rantings [2 CDs]
(Clean Feed)
Convergence Quartet (Bynum / Einsenstadt / Hawkins / Lash)
Song / Dance
(Clean Feed)
MAP (Halvorson / Nakatani / Radding)
Fever Dream [VINYL]
(TAIGA)
Larner, Brett
Itadakimasu - Improvised Duets 1994-2000
(Spool)
Halvorson Trio, Mary
Dragon's Head
(Firehouse 12 Records)
Bynum, Taylor Ho & SpiderMonkey Strings
Madeleine Dreams
(Firehouse 12 Records)
Dixon, Bill
Tapestries for Small Orchestra
(Firehouse 12 Records)
Blake, Ran & Anthony Braxton
A Memory Of Vienna
(Hatology)
Tsahar, Assif and the Zoanthropic Orchestra
Embracing the Void
(Hopscotch Records)
Braxton, Anthony
Creative Orchestra (Koeln) 1978 [2 CDs]
(Hatology)
Mitchell, Roscoe
L-R-G/ The Maze/ S Ii Examples
(NESSA)
Halvorson / Radding / Wooley
Crackleknob
(Hatology)
Bynum, Taylor Ho Sextet
Asphalt Flowers Forking Paths
(Hatology)
Morris, Joe Bass Quartet
High Definition
(Hatology)
Mitchell, Roscoe
Nonaah
(NESSA)
Eisenstadt, Harris
Guewel
(Clean Feed)
Braxton, Anthony / Morris, Joe
4 Improvisations (Duets) 2007
(Clean Feed)
Braxton, Anthony
12+1tet (Victoriaville) 2007
(Les Disques Victo)
Braxton, Anthony
Trio (Victoriaville) 2007
(Les Disques Victo)
Braxton, Anthony
9 Compositions (Iridium) 2006 [DVD]
(Firehouse 12 Records)
Wolf Eyes / Braxton, Anthony
Black Vomit
(Les Disques Victo)
Braxton, Anthony / Frith, Fred
Duo (Victoriaville) 2005
(Les Disques Victo)
Andel, Laura
Electric Percussive Orchestra - In::tension:.
(Rossbin)
Braxton, Anthony Sextet
(Victoriaville) 2005
(Les Disques Victo)
New York Underground Orchestra, The
Fragments
(Hopscotch Records)
Smith, Wadada Leo / Braxton, Anthony
Saturn, Conjunct the Grand Canyon in a Sweet Embrace
(Pi Recordings)
Andel, Laura
Somnambulist
(Red Toucan)
Braxton, Anthony / Derek Bailey
Moment Precieux
(Les Disques Victo)
Braxton, Anthony Quartet
(Victoriaville) 1992
(Les Disques Victo)
Recommended & Related Releases:
Other Recommended Releases:
Braxton, Anthony
Quintet (Basel) 1977
(Hatology)
Braxton, Anthony
3 Compositions Of New Jazz [VINYL]
(Delmark)
Braxton, Anthony
Live At The Rainbow Gallery '79
(Hi Hat)
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(Braxton House/Firehouse 12 Records)
Braxton, Anthony
3 Compositions (EEMHM) 2011 [3 CDs]
(Braxton House/Firehouse 12 Records)
Riggs, Christopher / Carl Testa
Sn (S to the power of n, or Sⁿ)
(Gold Bolus Recordings)
Braxton, Anthony
Quartet (Santa Cruz) 1993, 2nd Set
(Hatology)
Convergence Quartet (Taylor Ho Bynum / Alexander Hawkins / Dominic Lash / Harris Eisenstadt)
Owl Jacket [VINYL]
(NoBusiness)
Halvorson, Mary
Reverse Blue
(Relative Pitch)
Bynum, Taylor Ho
Navigation (Possibility Abstracts X & XI) [VINYL 2 LPs]
(Firehouse 12 Records)
Bittova / Riley / Ziporyn
Eviyan Live
(Les Disques Victo)
Braxton, Anthony & Taylor Ho Bynum
Duo [DVD]
(New Braxton House)
Halvorson, Mary
Bending Bridges [2 VINYL LPs]
(Firehouse 12 Records)
Braxton, Anthony
Eight (+1) Tristano Compositions 1989 for Warne Marsh
(Hatology)
Braxton, Anthony
Trillium E
(New Braxton House)
Braxton, Anthony
Seven Compositions (Trio) 1989
(Hatology)
Braxton, Anthony
Trio (Victoriaville) 2007
(Les Disques Victo)
Wolf Eyes / Braxton, Anthony
Black Vomit
(Les Disques Victo)



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