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Braxton, Anthony

3 Compositions Of New Jazz

Braxton, Anthony: 3 Compositions Of New Jazz (Delmark)

Anthony Braxton's first album as a leader, recorded in 1968 with Braxton performing on sax, clarinet, flute, bagpipes, accordion, bells & snare, in the company of trumpeter Wadada Leo Smith and violinist Leroy Jenkins, each taking on a variety of instruments as well.
 

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product information:


UPC: 038153041526

Label: Delmark
Catalog ID: DMK 415 CD
Squidco Product Code: 23257

Format: CD
Condition: New
Released: 1991
Country: USA
Packaging: Jewel Case
Recorded at Sound Studios on March 27th and April 10th, 1968, by Ron Pickup.


Personnel:

Anthony Braxton-alto saxophone, soprano saxophone, clarinet, flute, bagpipes [musette], accordion, bells, snare

Wadada Leo Smith-trumpet, mellophone, xylophone, percussion, kazoo

Leroy Jenkins-violin, viola, harmonica, bass drum, recorder, cymbal, slide whistle

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track listing:


1. 840M (Realize) {Composition 6E} 19:50

2. N/M488/44M/Z {Composition 6D} 12:50

3. The Bell 10:20




Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
Anthony Braxton
Smith, Leo
Trio Recordings
NY Downtown & Jazz/Improv
New in Improvised Music
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sample the album:






descriptions, reviews, &c.

"Anthony Braxton was first documented as a player in 1967 on Muhal Richard Abrams' Levels and Degrees of Light (DMK 413) Nine months of gestation produced this, his first recording as a leader. Braxton the player/composer/constructor is here at full length."-Delmark



"In the 1960s a new fuse had been lit under the ass of jazz. As musicians of the bop era drove out hard bop, free jazz and modal works, avant-garde was slowly taking root as well. Growing from the seeds of luminaries such as Ornette Coleman, John Coltrane, Albert Ayler, Eric Dolphy and Cecil Taylor came wild and turbulent sounds. Nowhere else in the history of jazz was there such ferocity and angst. Melody was scrapped and replaced with articulated chaos. In the process the jazz's ideology was wiped from the charts. Taking cues from the avant-garde composers, jazz reset the bounds of experimental composition. Standing at the forefront in the late sixties with another new vision of composition was Anthony Braxton.

As understated and misunderstood today as it was upon its release, 3 Compositions of New Jazz can be cited as a masterpiece of western music's deconstruction or a glaring opus of misdirected noise. I believe it is in fact a masterpiece! Many, including myself, see Braxton as genius who threw caution to the wind and created complex and intricate pieces that can still challenge and provoke controversy even close to forty years later. Fusing ideas of jazz's avant-gardists with Karlheinz Stockhausen and John Cage, Braxton created a new sound that stepped even further ahead than what his jazz predecessors had done. Though Coltrane may have channeled LaMonte Young on My Favorite Things , 3 Compositions of New Jazz tackles jazz from the view of deconstructionist western-based models. With this record and Braxton's career we have the New York Uptown Jazz scene featuring such notables as Bill Frisell, Joey Barron and of course Braxton's most notable heir John Zorn - his Naked City was profiled April 2003 - and America's answer to the European avant-garde take on third stream jazz.

Piled with layers complex pieces written for a variety of instruments clashing together is the first sound that comes to mind. The music hits like sheets of gnawing power, tearing into your head. Borrowing Coleman's melodic ideas, Braxton allows the rips of violinist Leroy Jenkins fill in for the brass' normally lyrical performance. Leo Smith's trumpet on the other hand works much in the same way as Don Cherry's did for Coleman, bending around the space and melody without filling any of it in. As well Muhal Richard Abrams uses the piano as a percussive instrument as John Cage and Cecil Taylor have. But Braxton's methodical composition style is where this record differs greatly from his peers. Braxton uses mathematical based methods for composing. This idea of using math as a foundation appears throughout the work of post-modern composer Iannis Xenakis who utilized graphs and architecture to create pieces. Although it may seem bizarre, music's structure is based in a numerical idiom itself, these composers merely twisted that foundation to different applications of mathematical ideas and created some of the most innovative sounds.

The argument begins here, is Braxton a genius or fraud? Listening closely to the pieces takes a great amount of effort. There is no use in even denying it. But as the sounds individualize themselves the cohesive idea begins to form. Once you are able to get by the seeming randomness of the instruments, it easy to see why many consider Braxton among the last great visionaries of jazz. Though artists like Zorn surely deserve credit for their innovative ideas, they were certainly not the first to push jazz into such a wild frontier. 3 Compositions of New Jazz is without a doubt one of the hardest records to win over, but its style, tone and ideas are also some of the most influential in modern music today."-Trevor Maclaren, All About Jazz

Also available on vinyl LP.
Get additional information at All About Jazz

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)
5/16/2017

"Ishmael Wadada Leo Smith: trumpeter and multi-instrumentalist, composer and improviser has been active in creative contemporary music for over forty years. His systemic music language Ankhrasmation is significant in his development as an artist and educator.

Born in Leland, Mississippi, Smith's early musical life began in the high school concert and marching bands. At the age of thirteen, he became involved with the Delta Blues and Improvisation music traditions. He received his formal musical education with his stepfather Alex Wallace, the U.S. Military band program (1963), Sherwood School of Music (1967-69), and Wesleyan University (1975-76). Mr. Smith has studied a variety of music cultures: African, Japanese, Indonesian, European and American.

He has taught at the University of New Haven (1975-'76), the Creative Music Studio in Woodstock, NY (1975-'78), and Bard College (1987-'93). He is currently a faculty member at The Herb Alpert School of Music at California Institute of the Arts. He is the director of the African-American Improvisational Music program, and is a member of ASCAP, Chamber Music America, and the Association for the Advancement of Creative Musicians.

Mr. Smith's awards and commissions include: MAP Fund Award for "Ten Freedom Summers" (2011), Chamber Music America New Works Grant (2010), NEA Recording Grant (2010), Fellow of the John Simon Guggenheim Memorial Foundation (2009-2010), Other Minds residency and "Taif", a string quartet commission (2008), Fellow of the Jurassic Foundation (2008), FONT(Festival of New Trumpet) Award of Recognition (2008), Jazz Journalists Association Jazz Award (2005), Islamic World Arts Initiative of Arts International (2004), Fellow of the Civitela Foundation (2003), Fellow at the Atlantic Center for the Arts (2001), "Third Culture Copenhagen" in Denmark-presented a paper on Ankhrasmation (1996), Meet the Composer/Lila Wallace-Reader's Digest Commissioning Program (1996), Asian Cultural Council Grantee to Japan (June-August 1993), Meet the Composer/Lila Wallace-Reader's Digest Commissioning Program (1990), New York Foundation on the Arts Fellowship in Music (1990), Numerous Meet the Composer Grants (since 1977), and National Endowment for the Arts Music Grants (1972, 1974, 1981).

Mr. Smith's music philosophy Notes (8 Pieces) Source a New. World Music: Creative Music has been published by Kiom Press (1973), translated and published in Japan by Zen-On Music Company Ltd. (1976). In 1981 Notes was translated into Italian and published by Nistri-Litschi Editori.

He was invited to a conference of artists, scientists and philosophers "Third Culture Copenhagen" in Denmark 1996, and presented a paper on his Ankhrasmation music theory and notational system for creative musicians. His interview was recorded for Denmark T.V., broadcasted September 1996.

Some of the artists Mr. Smith has performed with are : Muhal Richard Abrams, Anthony Braxton, Leroy Jenkins, Roscoe Mitchell, Lester Bowie, Richard Teitelbaum, Joseph Jarman, George Lewis, Cecil Taylor, Andrew Cyrill, Oliver Lake, Anthony Davis, Carla Bley, David Murray, Don Cherry, Jeanne Lee, Milton Campbell, Henry Brant, Richard Davis, Tadao Sawai, Ed Blackwell, Sabu Toyozumi, Peter Kowald, Kazuko Shiraishi, Han Bennink, Misja Mengelberg, Marion Brown, Kazutoki Umezu, Kosei Yamamoto, Charlie Haden, Kang Tae Hwan, Kim Dae Hwan, Tom Buckner, Malachi Favors Magoustous and Jack Dejohnette among many others.

Mr. Smith currently has three ensembles: Golden Quartet, Silver Orchestra, and Organic. His compositions have also been performed by other contemporary music ensembles: AACM-Orchestra, Kronos Quartet, Da Capo Chamber Player, New Century Players, San Francisco Contemporary Music Players, Contemporary Chamber Players (University of Chicago), S.E.M. Ensemble, Southwest Chamber Music, Del Sol String Quartet, New York New Music Ensemble, ne(x)tworks, and California E.A.R. Unit.

Mr. Smith's music for multi-ensembles has been performed since 1969. "Tabligh" for double-ensemble was performed by Golden Quartet and Classical Persian ensemble at Merkin Concert Hall (2006) and by Golden Quartet and Suleyman Erguner's Classical Turkish ensemble at Akbank Music Festival in Istanbul (2007). His largest work "Odwira" for 12 multi-ensembles (52 instrumentalists) was performed at California Institute of the Arts (March 1995). His Noh piece "Heart Reflections" was performed in Merkin Concert Hall, NY (November 1996)."

-Wadada Leo Smith Website (http://www.wadadaleosmith.com/pages/bio.html)
5/16/2017

"Leroy Jenkins (March 11, 1932 - February 24, 2007) was a composer and avant-garde jazz violinist and violist.

Jenkins was involved in the Association for the Advancement of Creative Musicians (AACM) while a public school teacher in Chicago. He co-founded the Creative Construction Company with Anthony Braxton and others. He led the Revolutionary Ensemble and formed a trio with Anthony Davis and Andrew Cyrille.

During 1987 he toured Europe as part of Cecil Taylor's group.

He gained recognition for music-theatre works such as The Mother of Three Sons (written in collaboration with Ann T. Greene), Fresh Faust and The Negros Burial Ground (in collaboration with Ann T. Greene), and The Three Willies (in collaboration with Homer Jackson)."

-Wikipedia (https://en.wikipedia.org/wiki/Leroy_Jenkins_(jazz_musician))
5/16/2017

Other Releases With These Artists:
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(Braxton House/Firehouse 12 Records)
Braxton, Anthony
Quintet (Basel) 1977
(Hatology)
Braxton, Anthony / Miya Masaoka
Duo (Dcwm) 2013 [2 CDs]
(RogueArt)
Braxton, Anthony
3 Compositions Of New Jazz [VINYL]
(Delmark)
Oliveros, Pauline / Roscoe Mitchell / John Tilbury / Wadada Leo Smith
Nessuno
(Angelica)
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)
Braxton, Anthony / Derek Bailey
First Duo Concert (London 1974)
(Emanem)
Braxton, Anthony / Quartet
(Santa Cruz) 1993 1st Set [REPRESS]
(Hatology)
Smith, Wadada Leo / Lewis, George / Zorn, John
Sonic Rivers
(Tzadik)
Sanchez, Angelica / Wadada Leo Smith
Twine Forest
(Clean Feed)
Braxton, Anthony & Taylor Ho Bynum
Duo [DVD]
(New Braxton House)
Shipp, Matthew
Greatest Hits
(Thirsty Ear)
Smith's Mbira, Wadada Leo
Dark Lady Of The Sonnets
(Tum)
Braxton, Anthony
Eight (+1) Tristano Compositions 1989 for Warne Marsh
(Hatology)
Braxton, Anthony
Trillium E
(New Braxton House)
Smith, Wadada Leo Organic
Heart's Reflection [2 CDs]
(Cuneiform)
Braxton, Anthony
GTM (Outpost) 2003 [2 CDs]
(Leo)
Malaby, Tony
Tamarindo Live
(Clean Feed)
LeBaron, Anne
1,2,4,3
(Innova)
Larner, Brett
Itadakimasu - Improvised Duets 1994-2000
(Spool)
Blake, Ran & Anthony Braxton
A Memory Of Vienna
(Hatology)
Braxton, Anthony
Creative Orchestra (Koeln) 1978 [2 CDs]
(Hatology)
Mitchell, Roscoe
L-R-G/ The Maze/ S Ii Examples
(NESSA)
Smith, Wadada Leo / Dejohnette, Jack
America
(Tzadik)
Smith, Wadada Leo
Procession Of The Great Ancestry
(NESSA)
Mitchell, Roscoe
Nonaah
(NESSA)
Braxton, Anthony / Morris, Joe
4 Improvisations (Duets) 2007
(Clean Feed)
Smith, Wadada Leo, Ibarra, Susie & Zorn, John
50Th Birthday Celebration - Volume 8
(Tzadik)
Braxton, Anthony
Trio (Victoriaville) 2007
(Les Disques Victo)
Braxton, Anthony
9 Compositions (Iridium) 2006 [DVD]
(Firehouse 12 Records)
Braxton, Anthony / Fonda, Joe
Duets 1995
(Clean Feed)
Wolf Eyes / Braxton, Anthony
Black Vomit
(Les Disques Victo)
Smith, Wadada Leo / Braxton, Anthony
Saturn, Conjunct the Grand Canyon in a Sweet Embrace
(Pi Recordings)
Smith, Wadada Leo
Kabell Years 1971-1979
(Tzadik)
Quintet for a Day (Ellis / Ochs / Robinson / Doublas / Smith)
What We Live
(New World Records)
Smith, Wadada Leo's Golden Quartet
The Year of the Elephant
(Pi Recordings)
Recommended & Related Releases:
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(Braxton House/Firehouse 12 Records)
Braxton, Anthony
Quintet (Basel) 1977
(Hatology)
Oliveros, Pauline / Roscoe Mitchell / John Tilbury / Wadada Leo Smith
Nessuno
(Angelica)
Braxton, Anthony
Live At The Rainbow Gallery '79
(Hi Hat)
Smith, Wadada Leo / Lewis, George / Zorn, John
Sonic Rivers
(Tzadik)
Shipp, Matthew
Greatest Hits
(Thirsty Ear)
Smith's Mbira, Wadada Leo
Dark Lady Of The Sonnets
(Tum)
Braxton, Anthony
Eight (+1) Tristano Compositions 1989 for Warne Marsh
(Hatology)
Smith, Wadada Leo Organic
Heart's Reflection [2 CDs]
(Cuneiform)
Braxton, Anthony
GTM (Outpost) 2003 [2 CDs]
(Leo)
Malaby, Tony
Tamarindo Live
(Clean Feed)
LeBaron, Anne
1,2,4,3
(Innova)
Larner, Brett
Itadakimasu - Improvised Duets 1994-2000
(Spool)
Blake, Ran & Anthony Braxton
A Memory Of Vienna
(Hatology)
Braxton, Anthony
Creative Orchestra (Koeln) 1978 [2 CDs]
(Hatology)
Mitchell, Roscoe
L-R-G/ The Maze/ S Ii Examples
(NESSA)
Smith, Wadada Leo / Dejohnette, Jack
America
(Tzadik)
Smith, Wadada Leo
Procession Of The Great Ancestry
(NESSA)
Mitchell, Roscoe
Nonaah
(NESSA)
Braxton, Anthony / Morris, Joe
4 Improvisations (Duets) 2007
(Clean Feed)
Smith, Wadada Leo, Ibarra, Susie & Zorn, John
50Th Birthday Celebration - Volume 8
(Tzadik)
Braxton, Anthony
9 Compositions (Iridium) 2006 [DVD]
(Firehouse 12 Records)
Wolf Eyes / Braxton, Anthony
Black Vomit
(Les Disques Victo)
Smith, Wadada Leo / Braxton, Anthony
Saturn, Conjunct the Grand Canyon in a Sweet Embrace
(Pi Recordings)
Smith, Wadada Leo
Kabell Years 1971-1979
(Tzadik)
Quintet for a Day (Ellis / Ochs / Robinson / Doublas / Smith)
What We Live
(New World Records)

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