Anthony Braxton - Quartet (Coventry) 1985 (Leo, 1993)
This is a double-CD set documenting the last show of Braxton's quartet's tour of England back in 1985, which was later released in 1993. Each CD has an extensive interview following the respective sets, which are both fantastic. Indeed, I consider this to be some of Braxton's best work for a few reasons. There is the outstanding lineup: Marilyn Crispell on piano, Mark Dresser on bass, and Gerry Hemingway on drums. If you've seen my jazz list, you'll notice that I have a Crispell/Hemingway duo album on there, so you can imagine my excitement when I realized they were paired with Braxton during a creative high point for Anthony. Then there is the music: not only does this live up to those expectations, it surpasses them. Predating much of my favorite late-'90s "downtown scene" records by a decade, this album is rivaled by maybe only 'The Peach Orchard' in terms of its ability to maintain momentum, rather than indulging in the sputtering rhythms (stop-start-stop) and easy avantgarde gestures. Each solo is so full of ideas, and there is a more traditional sense of interplay between the intruments, even if this is certainly towards the free end of the spectrum.
On top of music, the set features some of the most enlightening insights I've heard about this brand of jazz. As opposed to some things I've heard, either from Leo Smith, or even Susie Ibarra, where there is a level of disconnect from this music from the jazz lineage, as if it somehow ceased to be jazz at some point, Braxton, while acknowledging it is new and difficult to classify, is surprisingly reverent towards jazz masters, most importantly John Coltrane. Also, he sees his music not as a departure from jazz as a reaction to it, a supplement, etc. I think this is a much less pretentious appraisal, and I think it is only fair to grant these musicians the "new" aspect as long as they acknowledge their place in the continuum. I'm adamant about this often because jazz, more than almost any music, regardless of what variant of jazz we're talking about, is about the act of listening - if your music is based in large part on listening to one another, and it involves some of the traditional jazz instruments, I don't understand the aversion.
Either way, this great record is one of the best in the genre, period.
On top of music, the set features some of the most enlightening insights I've heard about this brand of jazz. As opposed to some things I've heard, either from Leo Smith, or even Susie Ibarra, where there is a level of disconnect from this music from the jazz lineage, as if it somehow ceased to be jazz at some point, Braxton, while acknowledging it is new and difficult to classify, is surprisingly reverent towards jazz masters, most importantly John Coltrane. Also, he sees his music not as a departure from jazz as a reaction to it, a supplement, etc. I think this is a much less pretentious appraisal, and I think it is only fair to grant these musicians the "new" aspect as long as they acknowledge their place in the continuum. I'm adamant about this often because jazz, more than almost any music, regardless of what variant of jazz we're talking about, is about the act of listening - if your music is based in large part on listening to one another, and it involves some of the traditional jazz instruments, I don't understand the aversion.
Either way, this great record is one of the best in the genre, period.
6 comments:
Thanks! Been wanting a copy of this for a long time ...
No prob. It is awesome... ENJOY!
BTW, I am going to get the blog links back up. Sorry dudes, not trying to be selfish, I just deleted the old template messing around and haven't fixed it. I probably will just copy Danny's since most of those people are my people to some extent. ha
v nice
Thank you for posting this. From what I can remember this series of Braxton Discs was considered a high point in his career at the time of release. I think this may be under-rated now only because of the incredible wealth of material we have since then.
slovenlyeric is right. this breathes as very little in his recent output does. a high point. thanks
I prefer his ensemble/orchestra music.
I avoid his "quartet music", but … maybe its my prejudice talking loud.
I think his composition NO. 174 is a work of Marvel.
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