A great set of free bop oriented improvisations from Anthony Braxton in a great quintet with Muhal Richard Abrams on piano, George Lewis on trombone, Dave Holland on bass, and Barry Altschul on drums, recorded at Rainbow Gallery, in Minneapolis, Minnesota for broadcast.
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Label: Hi Hat
Catalog ID: HH 3027CD
Squidco Product Code: 22317
Country: Great Britain
Packaging: Jewel Case
Recorded live at the Rainbow Gallery, in Minneapolis, Minnesota, in September 1979 by KBEM-FM.
Muhal Richard Abrams-piano
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1. Free Jazz Improv. One 12:44
2. Free Jazz Improv. Two 28:19
3. Free Jazz Improv. Three 16:28
4. Free Jazz Improv. Four 22:02
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"Anthony Braxton live at the Rainbow Gallery, Minneapolis in September of 1979. Having made his name as one of America's most uncompromising and prolific jazz modernists, by the late '70s Chicago-born saxophonist-composer Anthony Braxton had long since abandoned attempts to categorize his work, preferring it simply to be termed "creative music". Combining elements of minimalism, free jazz and modern classical with virtuoso technique and fiery intensity, he worked solo and with bands and orchestras throughout the '70s. This release presents the entire set originally broadcasted on KBEM-FM at the end of the decade."-Hi Hat
• Show Bio for Anthony Braxton
[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)
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• Show Bio for Muhal Richard Abrams
"Muhal Richard Abrams - World renowned pianist and composer has been in the forefront of the contemporary music scene for well over forty years. Muhal is a co-founder of The Association for the Advancement of Creative Musicians (AACM), founder of The AACM School of Music and President of The Association for the Advancement of Creative Musicians, New York City Chapter. Muhal was the first recipient of the grand international jazz award, "The JazzPar Prize", which was awarded to him in 1990 by the Danish Jazz Center in Copenhagen, Denmark. In 1999 Muhal was presented a proclamation by Richard M. Daley, Mayor of the City of Chicago, declaring April 11, 1999 as Muhal Richard Abrams Day in Chicago. In 2009 Muhal was selected to be a USA Prudential Fellow by United States Artist. In 2010 Mr. Abrams was inducted into the Downbeat Magazine "Jazz Hall of Fame". Also, in 2010 Mr. Abrams was chosen by the National Endowment for the Arts to be a NEA Jazz Master. On May 16, 2012, Muhal received the degree of Doctor of Music, honoris causa, from Columbia University, New York City. Also, on October 19, 2012, the Mid-Atlantic Arts Foundation presented Dr. Abrams with The BNY Mellon Jazz Living Legacy Award at The Kennedy Center, Washington, D. C.
Except for a brief period of study at Chicago Musical College and Governors State University in Chicago, Illinois where he studied electronic music, Dr. Abrams is predominately a self-taught musician who, as a result of many years of observation, analysis, and practice as a performing musician, has developed a highly respected command of a variety of musical styles both as a pianist and composer. The versatile Dr. Abrams and members of The AACM (Association for the Advancement of Creative Musicians) are responsible for some of the most original new music approaches of the last four decades.
Some of Dr. Abrams' compositions are: "String Quartet #2" performed by Kronos Quartet on November 22, 1985 at Carnegie Recital Hall in New York City; "Piano Duet #1" performed by Ursula Oppens and Frederic Rzewski for Music at the Crossroads on February 11, 1986, "Saturation Blue" performed on March 14, 1986, by The Brooklyn Philharmonic Orchestra Chamber Ensemble, "Folk Tales 88'" performed by The Brooklyn Philharmonic Orchestra on July 9, 1988, "Transversion I OP. 6" performed February 22 & 23, 1991 by The Detroit Symphony Orchestra, "What A Man" commissioned and performed by the Black Repertory Ensemble in behalf of the Center for Black Music Research at Columbia College and The Friends of the Chicago Public Library in honor of the Late Mayor Harold Washington and to commemorate the opening of the Honorable Harold Washington Library on October 7, 1991; "Duet for Violin and Piano", commissioned by the McKim Fund in the Library of Congress, 1996; "Impressions 1" performed by the SEM Ensemble, 1997, "2000 Plus The Twelfth Step" performed by the Carnegie Hall Jazz Band, 1999. "Tomorrow's Song, As Yesterday Sings Today" performed by the American Composers Orchestra at Carnegie Hall in New York City, 2000. "Mergertone" performed by the Janacek Philharmonic Orchestra, in Ostrava, Czech Republic, 2009.
In addition to teaching privately, Dr. Abrams has taught composition and improvisation classes at the Banff Center in Canada, Columbia University in New York City, Syracuse University in Syracuse, New York, the New England Conservatory in Boston, Mass, the BMI composers workshop in New York City, and the Sibelius Academy in Helsinki, Finland."-AkaMu (http://www.akamu.net/muhal/biography.htm)
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• Show Bio for George Lewis
"George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A 2015 Fellow of the American Academy of Arts and Sciences and a Corresponding Fellow of the British Academy, Lewis has received a MacArthur Fellowship (2002), a Guggenheim Fellowship (2015), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts. In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh.
A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work in electronic and computer music, computer-based multimedia installations, and notated and improvisative forms is documented on more than 140 recordings. His work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, Boston Modern Orchestra Project, Talea Ensemble, Dinosaur Annex, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble, and others, with commissions from American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Either/Or, Orkestra Futura, Turning Point Ensemble, San Francisco Contemporary Music Players, 2010 Vancouver Cultural Olympiad, IRCAM, Glasgow Improvisers Orchestra, and others. Lewis has served as Ernest Bloch Visiting Professor of Music, University of California, Berkeley; Paul Fromm Composer in Residence, American Academy in Rome; Resident Scholar, Center for Disciplinary Innovation, University of Chicago; and CAC Fitt Artist In Residence, Brown University.
Lewis received the 2012 SEAMUS Award from the Society for Electro-Acoustic Music in the United States, and his book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008) received the American Book Award and the American Musicological Society's Music in American Culture Award. Lewis is co-editor of the two-volume Oxford Handbook of Critical Improvisation Studies (2016), and his opera Afterword, commissioned by the Gray Center for Arts and Inquiry at the University of Chicago, premiered at the Museum of Contemporary Art Chicago in October 2015 and has been performed in the United States, United Kingdom, and the Czech Republic.
Professor Lewis came to Columbia in 2004, having previously taught at the University of California, San Diego, Mills College, the School of the Art Institute of Chicago, the Koninklijke Conservatorium Den Haag, and Simon Fraser University's Contemporary Arts Summer Institute. Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey."-Columbia University (http://music.columbia.edu/bios/george-e-lewis)
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• Show Bio for Barry Altschul
"Barry Altschul (born January 6, 1943, New York City) is a free jazz and hard bop drummer who gained fame in the late 1960s with the pianists Paul Bley and Chick Corea.
Altschul, having initially taught himself to play drums, studied with Charlie Persip during the 1960s. In the latter part of the decade, he performed with Paul Bley. In 1969 he joined with Chick Corea, Dave Holland and Anthony Braxton to form the group Circle. At the time, he made use of a high-pitched Gretsch kit with add-on drums and percussion instruments, which he integrated seamlessly in a whirlwind of sound.
In the 1970s Altschul worked extensively with Anthony Braxton's quartet featuring Kenny Wheeler, Dave Holland, and George Lewis. Braxton, signed to Arista Records, was able to secure a large enough budget to tour with a collection of dozens of percussion instruments, strings and winds. In addition to his participation in ensembles featuring avant-garde musicians, Altschul performed with Lee Konitz, Art Pepper and other "straight ahead" jazz performers.
Altschul also made albums as a leader, but after the mid-1980s he was rarely seen in concert or on record, spending much of his time in Europe. Since the 2000s, he has become more visible, with two sideman appearances on the CIMP label with the FAB trio (with Billy Bang and Joe Fonda), the Jon Irabagon Trio recording "Foxy", and the bassist Adam Lane. Altschul has played or recorded with many musicians, including Roswell Rudd, Dave Liebman, Barre Phillips, Denis Levaillant, Andrew Hill, Sonny Criss, Hampton Hawes, and Lee Konitz."-Wikipedia-Wikipedia (https://en.wikipedia.org/wiki/Barry_Altschul)
^ Hide Bio for Barry Altschul
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