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Label: Clean Feed
Catalog ID: CF 079
Squidco Product Code: 8305
Packaging: Cardstock foldover
Anthony Braxton-c melody, alto saxophones, contrabass, b flat clarinets
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1. All of you
3. Out of the Cage
4. Something from the Past
5. Composition 168+147
6. Composition 136
7. Composition 173
8. Autumn in New York
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"This is a reissue of the long disappeared CD on Konnex recorded by multi-instrumentalist Anthony Braxton with one of his most notable pupils, Joe Fonda. "Duets 1995" is a remarkable item of the duo series from this frontline figure of avant-garde jazz. If in that series we find two other Braxton partnerships with bassists, namely Mario Pavone and the late Peter Niklas Wilson, this is far from being more of the same. Even the conservative jazz fans will find here something to deal with. The renditions of two precious standards, Cole Porter's "All of You" and Vernon Duke's "Autumn in New York," show the obvious admiration Anthony Braxton has for Paul Desmond.
Both Fonda's and Braxton's compositions and improvisations are angular, complex, and tricky in terms of tonality and rhythm, but it would be unfair to say that this kind of approach to the jazz idiom is "cerebral". This music has such a human dimension and feeling that any liberty taken appears to be natural in the continuum of African-American music. "Ancient to the future" it is, and with a fine level of communicability. As Joe Fonda once put it, "we live in a time of evolution", and nothing can be taken out of the referred continuum: "For me there's no separation between Bill Evans and Cecil Taylor or Sun Ra and Charlie Parker." All of them communicated in different ways, but it always was understood. This Braxton / Fonda collection is also highly likeable."-Clean Feed
• 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 Joe Fonda
"Joe Fonda is a composer, bassist, recording artist, interdisciplinary performer, producer and educator.
An accomplished international Jazz artist, Fonda has performed with his own ensembles throughout the United States ,Canada , Europe and Asia. He has collaborated and performed with such artists as Anthony Braxton ,Archie Shepp, Ken McIntyre, Lou Donaldson, Bill and Kenny Barron, Leo Smith, Perry Robinson, Dave Douglas, Curtis Fuller, , Bill Dixon, Han Bennink, Bobby Naughton, Xu Fengia, Randy Weston, Gebhard Ullmann, Carla Bley, Carlo Zingaro, Barry Altschul, Billy Bang.
Fonda was the bassist with the renowned Anthony Braxton sextet, octet, tentet, from 1984 through 1999. Fonda also sat on the Board of Directors from 1994 to 1999, and was the President from 1997 to 1999 of the newly formed Tri-Centric Foundation. He has also performed with the 38-piece Tri-Centric orchestra under the direction of Anthony Braxton, and was the bassist for the premiere performance of Anthony Braxton's opera, Shalla Fears for the Poor, performed at the John Jay Theater in New York, New York, October 1996.
As a composer, Fonda has been the recipient of numerous grants and commissions From Meet the Composer New York and the New England Foundation on the Arts . He has released twelve recordings under his own name. (Reviews and recordings available). Fonda was also a member of The Creative Musicians Improvisors Forum directed by Leo Smith, and was the bassist with the American Tap Dance Orchestra in New York City, directed by world renowned tap dancer, Brenda Bufalino.
In 1989, Fonda performed with Fred Ho's Jazz and Peking opera in its world premiere at the Brooklyn Academy of Music. From 1982 to 1986 Fonda was the bassist and dancer with the Sonomama Dance Company. An independent producer since 1978, Fonda is the founding director of Kaleidoscope Arts an interdisciplinary performance ensemble and is the producer and musicial director for the Connecticut Composers and improvisors Festival from 2001 to 2011.
Currently Fonda has been recording and touring extensively with the Fonda-Stevens Group, Conference Call , The Fab Trio, The Nu Band and Bottoms Out , with performances at the Bim huis in Amsterdam, Holland, Prague Jazz Festival, Czech Republic, Jazz Halo Festival, Belgium, Jazz Festival Thurinsen, Weimer, Germany, Berlin Jazz Festival Berlin Germany , Jazz Im Agusto Festival Lisbon Portugal, Natt Jazz Festival Bergen Norway, The Vision Festival New York, New York, Jazz and More Festival Sibiu Romania, Bakau Jazz Festival ,Azerbijan, Tondela Jazz Festival Tondala portugal , Vancouver Jazz Festival ,Vancouver Canada, Guelph Jazz Festival ,Guelph Canada .
Two of Fonda's most recent projects are From the Source, The Off Road Quartet.
From the Source is a group that incorporates the tap dancing and poetry of Brenda Bufalino and the healing arts of Vicki Dodd, and four jazz musicians. The group has released their first CD entitled, Joe Fonda and From the Source, on Konnex Records.
The Off Road Quartet is comprised of four musicians from four different countries. Ux Fengia from Beijing China , Carlos Zingaro from Lisbon Portugal , Lucas Niggle from Zurich Switzerland and Joe Fonda New York USA. The Off Road Quartet blends the musics from all four of these musicians cultures into a unique musicial and visual experence."-Joe Fona Website (http://joefonda.com/biography)
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