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Braxton, Anthony

12 Duets (DCWM) 2012 [12 CD Box Set]

Braxton, Anthony: 12 Duets (DCWM) 2012 [12 CD Box Set] (New Braxton House)

Newly Distributed in 2021: A 12-CD set presenting Braxton in dialogue with three distinctive duet partners: violinist Erica Dicker, vocalist Kyoko Kitamura and bassoonist Katherine Young, recorded in the summer of 2012 over two sessions with each player, a remarkable and expansive set of innovative and creative improvisation.
 

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product information:


UPC: 616892176145

Label: New Braxton House
Catalog ID: NBH904
Squidco Product Code: 30389

Format: 12 CD Box Set
Condition: New
Released: 2014
Country: USA
Packaging: Box Set
Recording dates in 2012: August 14 & 15 (Kyoko Kitamura), August 21 & 22 (Erica Dicker), August 28 & 29 (Katherine Young).


Personnel:

Anthony Braxton-Sopranino Saxophone, Soprano Saxophone, Alto Saxophone, Baritone Saxophone, Bass Saxophone, Contrabass Clarinet, Electronics

Erica Dicker-violin, Prepared/Scordatura Violin

Kyoko Kitamura-vocals

Katherine Young-bassoon, Electronics

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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)
6/11/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"A proponent of new music, Erica Dicker is committed to creative collaboration with living composers and innovation in both the classical concert hall and nontraditional contexts. Erica is a founding member of the contemporary chamber music collective Till By Turning, an ensemble devoted to reinforcing the modern canon and linking educational programs to their repertoire. As part of the New York-based horn trio, Kylwyria, Erica and her colleagues, Julia Den Boer (piano) and John Gattis (horn), work to generate interest in and develop adventurous chamber music repertoire for their unique instrumentation through dynamic programming and commissioning. Erica is also violinist in Katherine Young's Pretty Monsters, as well as Vaster Than Empires, an electro-acoustic collaboration with composer and sound artist Paul Schuette and percussionist Allen Otte. She has premiered works by many composers including solo works written for her by Olivia Block, Turkar Gasimzada, Ryan Ingebritsen and Katherine Young. Erica also writes and performs her own music, exploring the idiomatic modalities and textures of her instrument. Taking Auspices, her debut solo album, is released by Tubapede Records as a digital download and limited edition vinyl LP.

Erica serves as concertmaster of Anthony Braxton's Tri-Centric Foundation Orchestra, an ensemble founded to document and disseminate the operas by composer and multi-reedist Anthony Braxton, and has also performed with Braxton's Falling River Quartet and Diamond Curtain Wall Quartet at festivals in Belgium, Germany, Italy, Macedonia, Poland, and Turkey and appeared with the 12 + 1-tet at the 2012 Venice Biennale. Erica also writes about and curates performances of Braxton's work, most recently for the International Contemporary Ensemble at the 2017 Ojai Music Festival.

A passionate advocate for preserving the vitality of orchestral performance, Erica also lends her talent to orchestras across the Midwestern United States, such as the Grand Rapids Symphony. She previously served as associate concertmaster of the Peoria Symphony and associate principal second violin of the South Bend Symphony, and held leadership roles in festivals including Spoleto USA and the National Repertory Orchertra. In Germany Erica was part of the Bergische Symphoniker and performed with the Bachakademie Stuttgart International Festival Orchestra under the direction of Helmut Rilling.

Erica received her training at the Oberlin Conservatory of Music (BM), the University of Minnesota (MM), and the Cincinnati Conservatory of Music (DMA). Her primary teachers include Gabriel Pegis, Marilyn McDonald, and Jorja Fleezanis.

Erica resides in Astoria, New York with her husband and creative collaborator, tubist Dan Peck."

-Erica Dicker Website (http://www.ericadicker.com/bio/cv)
6/11/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"A former journalist (Fuji Television Network Japan) with childhood piano training at Juilliard Pre-College and a stint as a Gulf War reporter on her résumé ('90-'91 working in Iraq, Kuwait, Jordan and Saudi Arabia), Kyoko Kitamura is an oddball vocalist, composer and bandleader who has worked with many distinguished musicians including Anthony Braxton, Taylor Ho Bynum, Steve Coleman, William Parker and Reggie Workman.

She is a featured vocalist on Anthony Braxton's opera Trillium J (New Braxton House 2015), 12 Duets (DCWM) 2012 (NBH 2014), Trillium E (NBH 2011, the first-ever studio-recording of an Anthony Braxton opera), and the Syntactical GTM Choir (NYC) 2011 (NBH 2012). Also known for her interdisciplinary projects, she released her first solo album Armadillo In Sunset Park in 2012, a collection of songs written for and choreographed by Mark Lamb Dance. She can also be heard on the critically acclaimed Taylor Ho Bynum & SpiderMonkey Strings release Madeleine Dreams (Firehouse 12 Records 2009), Jamie Baum's Solace (Sunnyside Records 2008), and Steve Coleman's Lucidarium (Label Bleu 2004) among others.

She currently works with Anthony Braxton as a vocalist in his Tri-Centric Orchestra and as the Director of Communications for his Tri-Centric Foundation. She studies counterpoint and Schoenberg harmony with Paul Caputo.

As for her own current projects, she leads Tidepool Fauna (Ingrid Laubrock on sax, Ken Filiano on bass) and co-leads Armadillo In Sunset Park (collaborative project with dancers of Mark Lamb Dance).

Kitamura has garnered critical praise for her "great vocal range, veering from wordless vocalese to near operatic feats" (AllAboutJazz) and All Music Guide describes her as "an expressive vocalist who knows how to be quirky and eccentric but is also quite musical." Most recently, in a performance with the Anthony Braxton Trio at the Angel City Jazz Festival in L.A. (Anthony Braxton, Taylor Ho Bynum, Kyoko Kitamura), Robert Bush of AllAboutJazz wrote, "Enough cannot be said about the stunning abilities of Ms. Kitamura-she functions at the highest instrumental level and was able to deal with pages of dense notation, acrobatic intervals and intricate layering with devastating surety." "

-Kyoko Kitamura Website (http://www.kyokokitamura.com/biography/)
6/11/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"The curious timbres, expressive noises, and kinetic structures of my electroacoustic music explore the dramatic physicality of sound, shifting interpersonal dynamics, and associations with the familiar and the strange. The LAPhil's Green Umbrella series, Chicago Symphony Orchestra's MusicNOW, Ensemble Dal Niente, Third Coast Percussion, Spektral Quartet, Weston Olencki, Nico Couck / Internationales Musikinstitut Darmstadt, Fonema Consort, and others have commissioned my music. I'm excited about coming-soon (and soon-to-be recent) projects with Lucy Dehgrae for Resonant Bodies Festival, WasteLAnd and RAGE, Distractfold Ensemble's Linda Jankowska, Callithumpian Ensemble, and Yarn/Wire. I'm releasing new music this year with Michael Foster & Michael Zerang, Wet Ink, and Amy Cimini (as Architeuthis Walks on Land).

As a bassoonist and improviser, I amplify my instrument and employ a flexible electronics setup. My debut solo album garnered praise in The Wire ("Bassoon colossus") and Downbeat ("seriously bold leaps for the bassoon"). Collaboration is central to my practice, and I perform regularly as a soloist, in ad hoc improvised groups, and with my long-standing ensembles Pretty Monsters, Architeuthis Walks on Land, and Till by Turning."

-Katherine Young Website (https://katherineyoung.info/about/)
6/11/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1.Composition No. 366b (+214, 365b) 56:23

2.Composition No. 366d (+239, 365f) 52:22

3.Composition No. 366a (+240, 367b) 56:03

4.Composition No. 364e (+346, 363a) 51:39

5.Composition No. 367d (+255, 364j) 57:33

6.Composition No. 363f (+338, 365k) 50:20

7.Composition No. 366g (+340, 367h) 49:56

8.Composition No. 367f (+241, 366m) 52:02

9.Composition No. 365a (+219, 364g) 58:29

10.Composition No. 366f (+265, 368a) 57:08

11.Composition No. 363h (+339, 366e) 56:37

12.Composition No. 367c (+341, 363f) 57:42
sample the album:






descriptions, reviews, &c.

"Several years ago, Anthony and I discovered our mutual (giddy) enthusiasm for the music of Richard Wagner. I feel compelled to mention this because there is a positively orchestral, if not Wagnerian, element to our recording together—a sonic Gesamtkunstwerk, if you will, representing all registers of playing. In each take, new drama unfolds, as if each were a new act in an operatic continuum.

Yet the most amazing thing about the process of recording with Anthony was the vast spectrum of sounds made by only two people. Much of this was inspired by the ghostly presence of the interactive electronics, which we joked about being the “third member” of our duo. I also used a second scordatura instrument, whose tuning I experimented with over the course of the two day recording process.

Such deep, multi-dimensional exploration can only take place in an atmosphere of friendship and positive energy. These qualities are what make working with Anthony so inspiring and richly rewarding. - Erica Dicker

Entering Anthony Braxton's musical world brought me surprises and revelations, as well as a lesson in letting go of expectations. When I joined the cast for his opera Trillium E in 2010, whatever musical expectations I had were joyfully thwarted: time signatures were slippery, harmonies complex, and through this beautiful musical maze, Anthony pushed us out of our comfort zones. Mistakes were not taboo but potential opportunities. The music was indescribably powerful, human and alive.

Two years later, Anthony asked me to record with him in a duo format. The recording was scheduled to take place in Wesleyan University's Daltry Room, the basement space where Anthony taught. But when we arrived, there was a strange smell and a sci-fi-esque scene of vibrating machines and gurgling tubes. A rainstorm had flooded the basement. Unfazed, Anthony simply said, "Well, that changes things." Once again, I understood that I had to let go of all expectations, musical and otherwise. And that is how it started as we made our way through Falling River and Ghost Trance Music, SuperCollider keeping us company with surprising utterances while sand slowly filled up the bottom of the hourglass. - Kyoko Kitamura

Working with Anthony has been a truly enriching experience for me over the past 6 years: his musicianship, curiosity, generosity and energy never fail to inspire me. So when he invited me for this duo project, I was of course thrilled, and having played in the delectably reedy orchestra for Braxton's Trillium E recording, I was looking forward to laying down some low reed sounds together.

Unfortunately the university's contrabassoon I'd planned to use had been damaged in a recent flood, and the contrabass sax didn't make an appearance. But in the end the specific instruments didn't so much matter. As the electronics immersed and encircled us, I felt transported to a different space, where one hour - or cumulatively four - seemed remarkably like far from enough time to explore all that we had to explore."-Katherine Young

Related Categories of Interest:


Box Sets
Improvised Music
Jazz
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
Unusual Vocal Forms
Anthony Braxton
Duo Recordings
NY Downtown & Metropolitan Jazz/Improv
New in Improvised Music
Recent Releases and Best Sellers


Other Releases With These Artists:
Braxton, Anthony
GTM (Syntax) 2017 [12 CD BOX SET - MINOR DAMAGE]
(New Braxton House)
Kang, Eyvind
Ajaeng Ajaeng [VINYL 2 + DOWNLOAD CODE]
(Ideologic Organ)
Pavone, J. String Ensemble
Lost and Found [CD]
(Astral Spirits)
Pavone, J. String Ensemble
Lost and Found [CASSETTE w/ DOWNLOAD]
(Astral Spirits)
Testa, Carl
Sway Prototypes - Volume 3
(Sway)
exclusiveOr (Peter Evans / Wooley / Muncy / Olencki / Karre / Cimini / Young / Snyder / Pluta)
Modules [VINYL]
(Carrier Records)
exclusiveOr (Peter Evans / Wooley / Muncy / Olencki / Karre / Cimini / Young / Snyder / Pluta)
Modules
(Carrier Records)
Reid, Tomeka / Kyoko Kitamura / Tyler Ho Bynum / Joe Morris
Geometry Of Distance
(Relative Pitch)
Testa, Carl
Sway Prototypes - Volume 2
(Sway)
Braxton, Anthony
Dortmund (Quartet) 1976
(Hatology)
Braxton, Anthony
GTM (Syntax) 2017 [12 CD BOX SET]
(New Braxton House)
Foster, Michael / Michael Zerang / Katherine Young
Bind the Hand(s) That Feed
(Relative Pitch)
Parker, William
Voices Fall From The Sky [3 CD BOX SET]
(Aum Fidelity)
Reid, Tomeka / Kyoko Kitamura / Taylor Ho Bynum / Joe Morris
Geometry of Caves
(Relative Pitch)
Bailey, Derek / Anthony Braxton
Royal [VINYL 2 LPs]
(Honest Jons Records)
Braxton, Anthony
Solo (Victoriaville) 2017
(Les Disques Victo)
Braxton, Anthony
Ensemble (Victoriaville) 1988
(Les Disques Victo)
Braxton, Anthony
3 Compositions Of New Jazz
(Delmark)
Sinton, Josh / Dominic Lash
Signal Gain
(OutNow Recordings)
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(New Braxton House)
Braxton, Anthony
Quintet (Tristano) 2014 [7 CDs]
(New Braxton House)
Braxton, Anthony
3 Compositions (EEMHM) 2011 [3 CDs]
(Braxton House/Firehouse 12 Records)
Cady, Jason
Happiness Is The Problem
(Lock Step Records)
Braxton, Anthony & Taylor Ho Bynum
Duo (Amherst) 2010 [DVD]
(New Braxton House)
Braxton, Anthony Steptet (with Ho Bynum / Halvorson / Pavone / Rozen / Siegel / Testa)
Echo Echo Mirror House
(Les Disques Victo)
Braxton, Anthony
Eight (+1) Tristano Compositions 1989 for Warne Marsh
(Hatology)
Braxton, Anthony and the Tri-Centric Orchestra
Trillium E
(New Braxton House)
Braxton, Anthony
GTM (Outpost) 2003 [2 CDs]
(Leo Records)
Bynum, Taylor Ho & SpiderMonkey Strings
Madeleine Dreams
(Firehouse 12 Records)
Blake, Ran & Anthony Braxton
A Memory Of Vienna
(Hatology)
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 Trio, Anthony
Trio (Glasgow) 2005
(Leo Records)
Braxton, Anthony / Fonda, Joe
Duets 1995
(Clean Feed)
Wolf Eyes / Braxton, Anthony
Black Vomit
(Les Disques Victo)
Braxton, Anthony / Frith, Fred
Duo (Victoriaville) 2005
(Les Disques Victo)
Braxton, Anthony Sextet
(Victoriaville) 2005
(Les Disques Victo)
Smith, Wadada Leo / Anthony Braxton
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:
Braxton, Anthony
GTM (Syntax) 2017 [12 CD BOX SET - MINOR DAMAGE]
(New Braxton House)
Kang, Eyvind
Ajaeng Ajaeng [VINYL 2 + DOWNLOAD CODE]
(Ideologic Organ)
Pavone, J. String Ensemble
Lost and Found [CD]
(Astral Spirits)
Pavone, J. String Ensemble
Lost and Found [CASSETTE w/ DOWNLOAD]
(Astral Spirits)
exclusiveOr (Peter Evans / Wooley / Muncy / Olencki / Karre / Cimini / Young / Snyder / Pluta)
Modules [VINYL]
(Carrier Records)
exclusiveOr (Peter Evans / Wooley / Muncy / Olencki / Karre / Cimini / Young / Snyder / Pluta)
Modules
(Carrier Records)
Reid, Tomeka / Kyoko Kitamura / Tyler Ho Bynum / Joe Morris
Geometry Of Distance
(Relative Pitch)
Testa, Carl
Sway Prototypes - Volume 2
(Sway)
Braxton, Anthony
GTM (Syntax) 2017 [12 CD BOX SET]
(New Braxton House)
Foster, Michael / Michael Zerang / Katherine Young
Bind the Hand(s) That Feed
(Relative Pitch)
Reid, Tomeka / Kyoko Kitamura / Taylor Ho Bynum / Joe Morris
Geometry of Caves
(Relative Pitch)
Bailey, Derek / Anthony Braxton
Royal [VINYL 2 LPs]
(Honest Jons Records)
Braxton, Anthony
Solo (Victoriaville) 2017
(Les Disques Victo)
Braxton, Anthony
Ensemble (Victoriaville) 1988
(Les Disques Victo)
Braxton, Anthony
3 Compositions Of New Jazz
(Delmark)
Sinton, Josh / Dominic Lash
Signal Gain
(OutNow Recordings)
Cady, Jason
Happiness Is The Problem
(Lock Step Records)
Blake, Ran & Anthony Braxton
A Memory Of Vienna
(Hatology)
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 Trio, Anthony
Trio (Glasgow) 2005
(Leo Records)
Braxton, Anthony / Fonda, Joe
Duets 1995
(Clean Feed)
Wolf Eyes / Braxton, Anthony
Black Vomit
(Les Disques Victo)
Braxton, Anthony / Frith, Fred
Duo (Victoriaville) 2005
(Les Disques Victo)
Braxton, Anthony Sextet
(Victoriaville) 2005
(Les Disques Victo)

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