ANTHONY BRAXTON QUARTET
(Victoriaville) 1992

Braxton / Crispell / Dresser / Hemingway
Preis / Price : 15.60 €
Bestell-Nr. / Purchase Order No. : VICTO CD 021
  Warenkorb
   
Anthony Braxton alto- and Eb sopranino sax, Clarinet, bass clarinet
Marilyn Crispell piano
Mark Dresser double bass
Gerry Hemingway dr, perc, vibraphone, marimba
   
1
Composition No 159 10:37
2
Composition No 148 20:29
3
Composition No 161 12:52
4
Composition No 158 14:38
5
Impressions (J. Coltrane) 06:12
   
 
Total time:  64:48


All compositions by Anthony Braxton (Synthesis Music-BMI)
Except # 5 (Jowcol Music-BMI)

Recorded by Denis Leclerc and Marc Fortin on October 10, 1992
@ Festival International de Musique Actuelle de Victoriaville
Mixing : Robert Langlois (Studio 270, Montréal)
Layout: François Bienvenue
Photos : Sylvain Lafleur
Liner notes : John Corbett (Interview with Anthony Braxton)
Executive producer: Michel Levasseur
Booklet language version : English

Les Disques Victo / Les Éditions VICTORIAVILLE (Canada)

 
First release date: 1993
 

Excerpt from the booklet

J.C.: Could you talk a bit about the quartet?
A.B.: I feel that present day strategies in the neoclassic continuum have sought to erect an identity based on initiations from New Orleans to the bebop continuum, and at that point to contain the identity of music. But my work in the past 25 years has sought to erect a trans-idiomatic context for exploration, and along with that context to create a tri-metric architectonic unit that could serve as a basis for recognition in the post-nuclear continuum. I feel the quartet is an excellent example of a post-nuclear, tri-metric unit that demonstrates stable logic information, mutable logic information, and synthesis logic information in one time-space, where there is one individual having extended open improvisation and in that same space there is a logic containing two musicians working together - maybe in a pulse-track or whatever - and at the same time a stable logic component involving totally notated music. All these kind of interrelated partials now operate freely in the quartet, to create another context for experiencing and exploration. (…) I try to have structures that satisfy the urgency of the moment. (…)



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