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Braxton, Anthony & the AIMToronto Orchestra: Creative Orchestra (Guelph) 2007 (Spool)

AIMToronto (Association of Improvising Musicians Toronto) organized this concert for 18 AIMToronto members playing the music of American improv guru Anthony Braxton,
 

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UPC: 778224251521

Label: Spool
Catalog ID: SPL130
Squidco Product Code: 12692

Format: CD
Condition: New
Released: 2008
Country: Canada
Packaging: Jewel Tray
Recorded September 7, 2007 in Guelph, Canada.


Personnel:

Anthony Braxton-conductor & soprano sax

Christine Duncan-voice

Parmela Attariwala-violin

Tilman Lewis-cello

Ken Aldcroft-guitar

Justin Haynes-guitar & harmonica

Nicole Rampersaud-trumpet

Scott Thomson-trombone

Rob Piilonen-flute

Ronda Rindone-Eb & bass clarinet

Kyle Brenders-soprano sax

Evan Shaw-alto sax

Colin Fisher-tenor sax

Tania Gill-piano

Victor Bateman-bass

Rob Clutton-bass

Brandon Valdivia-xylophone

Nick Fraser-drums

Joe Sorbara-drums

Highlight an artist name or instrument above
and click here to Search
track listing:


1. Language Improvision 5:02

2. Composition 306 7:04

3. Language Improvision 15:09

4. Composition 307 25:36

5. Composition 91 9:00




Related Categories of Interest:


Improvised Music
Compositional Forms
Anthony Braxton
Staff Picks & Recommended Items
Free Improvisation

sample the album:








descriptions, reviews, &c.

"Barely four years since its founding, The Association of Improvising Musicians Toronto (AIMToronto), has raised the profile of local improvisers, while nurturing the scene. This almost 200-member, non-profit collective helps find venues in which to hear improvised music - most prominently Somewhere There in Parkdale - presents concerts featuring visiting musicians interacting with locals, and has organized a large improvisers orchestra. One of AIMToronto's highest profile gigs took place at the Guelph Jazz Festival in 2007, where 18 AIMToronto members played the music of the American improv guru Anthony Braxton with the composer on soprano saxophone. The result was Creative Orchestra (Guelph). It showcases 18 AIMToronto members following the ever-shifting tonal centres in five Braxton compositions.

Throughout these sequences and intervals it's evident that overtones and undertones are as audible as the melodies, so the aural coloration takes on a 3-D-like effect. Germane to these tracks are the bravura contributions of vocalist Christine Duncan, who personifies the program not only with guttural or bel canto warbling plus inflated or truncated syllables, but also with parlando declarations. Another connecting thread is percussive - with strokes, vibrations and rattles apparent in varied pitches and pressures from Nick Fraser's and Joe Sorbara's drums and Brandon Valdivia's clattering xylophone. Most characteristic of the pieces is Composition 307, a variation of sprechstimme, with Duncan's falsetto dramatics sharing space with antiphonal vamps from the horns or gong-ringing and rim shots from the percussion. As the resonance arranges itself architecturally, slurs, syllables and sequences peep from the layering, with particularly noteworthy contributions from tenor saxophonist Colin Fisher, growls from Ronda Rindone's clarinet and Scott Thomson's shaggy trombone triplets. [...] "-Ken Waxman


Artist Biographies:

[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)
3/23/2017
"Scott Thomson is a trombonist and composer who lives in Montréal, having moved from Toronto in 2010. He plays in established groups in many styles, and prizes ad hoc improvising as a way to meet many creative people. He has studied with Roswell Rudd, Jean Derome, Eddie Prévost, and John Oswald. Scott is one of the founders of the Association of Improvising Musicians in Toronto (AIMToronto), and co-directs the AIMToronto Orchestra, which was formed for a project with Anthony Braxton in September 2007. While in Toronto, Scott was the artistic director of Somewhere There, a venue for live creative music that he founded in 2007. Scott has composed a series of site-specific pieces that he calls 'cartographic compositions' for mobile musicians and audiences in unconventional performance contexts, including works for the galleries and corridors of the National Gallery of Canada and the Art Gallery of Ontario."-Bug Incision (http://www.bugincision.com/events-2014.html)
3/23/2017

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Recommended & Related Releases:
Other Recommended Releases:
Braxton, Anthony / Quartet
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Braxton, Anthony
Eight (+1) Tristano Compositions 1989 for Warne Marsh
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Customers Who Bought This Item Also Bought:
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