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Anthony Braxton

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Composer, instrumentalist, writer, educator

"My motto since I was 11 years old was, ‘Play or Die,’" multi-instrumentalist and jazz soloist, leader, and composer Anthony Braxton divulged to Peter Rothbart in Down Beat. A virtuoso who has won Down Beat magazine’s critics poll number one player award numerous times for various instruments, Braxton performs alto saxophone, contrabass clarinet, sopranino, flute, piano, percussion, and virtually every reed. He has written nearly 400 compositions, recorded more than 70 albums, and appeared on at least 50 others. The writer, lecturer, and educator cites John Coltrane, Paul Desmond, and Warne Marsh as major influences, but has also disclosed his love for the music of Frank Sinatra and Barbra Streisand.

Acknowledged as a gifted artist and composer of "free jazz," Braxton dislikes the name given his genre. "That gives the impression that there’s no preparation," he stated in Newsweek. Braxton even considers "jazz" too limiting a term to describe the evolution of his music over the years. "The music that pushed my button was more than a word ‘jazz,’" he asserted in Down Beat."It was individuals who were approaching the music in a certain way, with a certain set of value systems and intentions, a certain honesty and humility."

Titling his compositions with numerical configurations, linear designs, and idiosyncratic arrangements of letters, Braxton developed his own geometrically based notational system as well as philosophical stance about jazz in a cultural context. Though financial reward has proved elusive to Braxton, he disclosed to Rothbart, "If I wasn’t able to achieve what I wanted in my life as far as my creativity and my life’s growth is concerned, I would feel bad, but not too bad. But I would find it hard to forgive not trying and not giving everything to the struggle."

Alienated From His Surroundings
Born in Chicago, Illinois, on June 4,1945, Braxton grew up amid the violence and squalor of the city’s toughest neighborhoods. His musical and philosophical temperament set him apart from family and friends at an early age. "I came from a poor family—not really impoverished—we had enough food to eat," Braxton related to Michael Ullman in Jazz Lives."But my reality was the reality of the south side and I couldn’t understand what was happening there." He discovered that literature, chess, and music were antidotes to his feelings of alienation.

Initially, Braxton’s parents and his brothers were pleased when he began to play an alto saxophone, but their feelings changed as Braxton delved into avant-garde

jazz. Braxton dated his separation from his family from the moment he brought home a Cecil Taylor recording in his early teens. Since peers did not share his interest in mathematics, music, and logic, Braxton spent most of his time alone. "You see," he told Ray Townley in Down Beat, "I had a lot of problems as a teenager. I could never venture out to where there were a lot of people in a crowd situation. I used to stay in the house most of the time, and practice … play music, stuff like that."

Braxton refined his craft in his adolescent years studying with Jack Gell of the Chicago School of Music beginning in the mid-1950s. In the early 1960s Braxton met jazz legend John Coltrane in Chicago, but was too in awe of Coltrane to join him—upon Coltrane’s invitation—in a set. When Braxton enrolled briefly at Chicago’s Wilson Junior College, he became friends with two budding jazz artists who helped him later in his career, Roscoe Mitchell and Jack DeJohnette.

In 1966 Mitchell urged Braxton to join the renowned Association for the Advancement of Creative Musicians (AACM) after Braxton’s Army stint, which began in 1963. Founded in the late sixties in Chicago, the AACM promoted experiments with sound and improvisation that were pivotal to Braxton’s career. No longer confined to notes to make music, Braxton and AACM members investigated whistles, shrieks, and percussion made from hubcaps, among other devices, to develop sonic textures. Braxton thrived in the AACM’s creative atmosphere; however, he was unable to support himself financially.

Hustled to Maintain Profession
One of the AACM’s most accomplished instrumentalists, Braxton hustled, playing chess to pay the bills. When he contemplated marriage and family life on his income, he pondered relegating music to a hobby. Studying to become a philosophy teacher at Chicago’s Roosevelt University, Braxton reached a career crisis in 1969. "I left Chicago because I was desperate," Braxton confessed to Townley in Down Beat "I really wanted to play or else I wanted to see what it was like to really make the commitment. I split to Paris with $50.00 in my pocket."

In Paris, Braxton performed with the Creative Construction Company, a group he formed with AACM members violinist Leroy Jenkins and trumpeter Leo Smith in 1967. Braxton released his first recording with the Creative Construction Company, Three Compositions of New Jazz, in 1968. That same year he recorded For Alto, the first album ever made of unaccompanied saxophone, but the release date for the record was not until 1971.

Braxton was not successful in Paris, where his music was labeled "cold." He returned to New York to play with the Italian improvisational group Musica Elettronica Viva in 1970. Reduced to hustling chess games in the park at Washington Square to make ends meet, Braxton was introduced to keyboardist Chick Corea through Jack DeJohnette at the Village Vanguard in 1970. He joined Corea, bassist Dave Holland, and percussionist Barry Altschul to form the short-lived but highly influential quartet Circle from 1970 to 1971.

Introduced Saxophone Solos
Of Braxton’s milestone album For Alto, Down Beat’s Townley wrote, "The closest thing to it in recent centuries happened back in 1720 when Bach wrote six sonatas for unaccompanied violin and six suites for unaccompanied cello." A delayed success in 1972, the recording prompted invitations for Braxton to perform numerous solo concerts. From 1971 to 1976, he led his own groups, which included Circle alumni Holland and Altschul as well as trumpeter Kenny Wheeler and trombonist George Lewis. Braxton performed in London with avant-garde guitarist Derek Bailey from 1974 to 1977 and received Down Beat magazine’s critics’ poll best LP for the album Creative Music Orchestra in 1977.

His symphonies for large orchestras, parade marches, and a series of twelve operas called Trillium occupied Braxton in the eighties, but most of his monumental output rarely got published. In 1985, he took a teaching position as professor of music at Mills College in Oakland, California, then later moved to Wesleyan College in Middletown, Connecticut, to head the music department there. Though Braxton drafted 350 compositions and eight volumes of writings that codify his world view—Tri-Axium Writings, 1985, and Composition Notes, Books A-E, 1988—his success in mass marketing has been minimal.

Unyielding in his methodological approach to composition, Braxton confessed to Ullman that his analytical style "turns jazz critics off." In 1976 Down Beat labeled Braxton "overrated and overpublicized," describing the musician in concert as "a studied player" and "great technician" who "is loathe to reveal—and therefore include—his deepest emotions in his playing." The following year Newsweek paid him homage, lauding, "Anthony Braxton is original. His music is unique, and he is the most innovative force in the world of jazz." However, more critics responded to Braxton’s play like Gene Santoro in Nation in 1989, who wrote, "His music isn’t easy to pick up on: It has neither the glib melodic hooks of ‘jazz’ radio stars … nor an easy reliance on canonized traditions like bebop. It can be knotty and passionate, Cageian and Coltranesque, highly structured and deliberately destabliized—and usually tries to be all those things at once."

Critical Studies Published
By the late 1980s, Braxton’s work began receiving more critical attention. Full-length studies on his work were published, such as Forces in Motion, by Graham Lock, and New Musical Figurations, by Ronald Radano. John Corbett in Down Beat suggested, "What’s refreshing, if not surprising, is the fact that there’s so little redundancy in these studies—a clear testament to the breadth, depth, and richness of Braxton’s sound world."

Reviews of Braxton’s releases were becoming more laudatory as well. Corbett insisted that Braxton’s Willi-sau (Quartet) 1991, recorded with Marilyn Crispell on piano, Mark Dresser on bass, and Gerry Hemingway on drums, was "a miraculous four-disc set that should become a contemporary jazz landmark." Of Victorville 1992, a Pulse! writer commented, "No one in jazz organizes sets that flow more compellingly; this is one of [Braxton’s] classic quartet’s best." The writer also widely praised Wesleyan (12 Altosolos) 1992.

In addition, Down Beat’s Corbett was impressed with Duo (London) 1993, claiming, "Indeed, though he’s expressed waning interest in completely open playing of late … Braxton proves himself to be one of its most skilled practitioners—sensitive, reactive, relaxed, and full of ideas."

Braxton is a purveyor of provocative, more so than melodic, jazz. His writings document the complexity of a man who regrets none of the hardships brought on by his singular genius. He told Bill Shoemaker in Down Beat, "I was fortunate to discover something that I really love. Not many people are fortunate enough to find something that they can dedicate their lives to. The discipline of music is so wonderful, there’s always something new to learn.

Selected discography
Three Compositions of New Jazz, Delmark, 1968.For Alto, Delmark, 1968.Donna Lee, American, 1972.In the Tradition, Inner City, 1974.Creative Music Orchestra, Arista, 1976.Performance (Quartet) 1979, hat ART, 1979.Anthony Braxton With the Robert Schumann String Quartet, Sound Aspects, 1979. One in Two, Two in One, 1979. Six Compositions: Quartet, Antilles, 1981.Four Compositions (Quartet) 1983, Black Saint, 1983.Composition 113, Sound Aspects, 1984.Four Compositions (Quartet) 1984, Black Saint, 1984.Eugene (1989), Black Saint, 1992.2 Compositions (Ensemble) 1989/91, hat ART, 1992.(With Peter Niklas Wilson) Duets: Hamburg 1991, Music & Arts, 1992.Willisau (Quartet) 1991, hat ART, 1992.Composition No. 165, New Albion, 1992.4 Compositions 1992, Black Saint, 1993.Composition 95 tor Two Pianos, Arista.Composition 98, hat ART.Open Aspects ‘82, hat ART.Seven Standards 1985, Volume 1 & Volume 2, Magenta.Five Compositions (Quartet) 1986, Black Saint.London, November 1986, Leo.Six Monk’s Compositions (1987), Black Saint.19 (Solo) Compositions, 1988, New Albion.Ensemble (Victoriaville) 1988, Victo.Eight (+3) Tristano Compositions 1989, hat ART.Seven Compositions (Trio) 1989, hat ART.Compositions 99, 101, 107 & 139, hat ART.Duets Vancouver 1989, Music & Arts.The Aggregate, Sound Aspects.Kol Nidre, Sound Aspects.Victorville 1992, Victo.Wesleyan (12 Altosolos) 1992, hat ART.Duo (London) 1993.

Sources
Books
Ullman, Michael, Jazz Lives, New Republic, 1980.

Periodicals
Down Beat, March 1974; March 25, 1976; August 12, 1976; February 22, 1979; October 1981; February 1982; May 1983; April 1987; March 1989; February 1990; May 1990; November 1990; February 1993; March 1994; April 1994; May 1994.
Guitar Player, February 1988.
High Fidelity, October 1988.
Nation, May 8, 1989.
Newsweek, August 8, 1977.
New Yorker, April 4, 1977.
Pulse!, holiday issue 1993; December 1993; March 1994.
AMG AllMusic Guide: Pop Artists:

Anthony Braxton

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  • Genres: Jazz

Biography

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. ~ Chris Kelsey, Rovi
Wikipedia on Answers.com:

Anthony Braxton

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Anthony Braxton
Background information
Born June 4, 1945(1945-06-04)
Origin Chicago, Illinois, U.S.
Genres Avant-garde, jazz
Occupations Bandleader and composer
Instruments Saxophones, clarinet, flute, piano

Anthony Braxton (born June 4, 1945) is an American composer, saxophonist, clarinettist, flautist, pianist, and philosopher.[1] Braxton has released well over 100 albums since the 1960s. Among the array of instruments he plays are the flute; the sopranino, soprano, C-melody, F mezzo-soprano, E-flat alto, baritone, bass, and contrabass saxophones; and the E-flat, B-flat, and contrabass clarinets.

Braxton studied philosophy at Roosevelt University. He has taught at Mills College and as of 2012 is Professor of Music at Wesleyan University in Middletown, Connecticut, teaching music composition, music history, and improvisation.

Contents

Biography

Early in his career, Braxton led a trio with violinist Leroy Jenkins and trumpeter Wadada Leo Smith and was involved with The Association for the Advancement of Creative Musicians, the "AACM", founded in Chicago, Braxton's birthplace.

In 1968, Braxton recorded the double LP For Alto. There had been occasional unaccompanied saxophone recordings previously (notably Coleman Hawkins' "Picasso"), but For Alto was the first full-length album for unaccompanied saxophone. The album's songs were dedicated to Cecil Taylor and John Cage, among others. The album influenced other artists like Steve Lacy (soprano sax) and George Lewis (trombone), who would go on to record their own acclaimed solo albums.

Braxton joined pianist Chick Corea's existing trio with Dave Holland (double bass) and Barry Altschul (drums) to form the short-lived avant garde quartet Circle, around 1970. When Corea broke up the group, forming Return to Forever to pursue a fusion-based style of composition and recording, Holland and Altschul remained with Braxton for much of the 1970s as part of a quartet, with the rotating brass chair variously filled by trumpeter Kenny Wheeler, or trombonists George Lewis or Ray Anderson. This group recorded on Arista Records. The core trio plus saxophonist Sam Rivers recorded Holland's Conference of the Birds (ECM). In the 1970s he also recorded duets with Lewis and with synthesizer player Richard Teitelbaum.

In 1976

In 1975, he released an album on Muse Records titled Muhal with the Creative Construction Company, a group consisting of Richard Davis (bass), Muhal Richard Abrams (cello), Steve McCall (drums), Muhal Richard Abrams (piano), Wadada Leo Smith (trumpet) and Leroy Jenkins (violin).

In the late 1970s, he recorded two large ensemble recordings, Creative Orchestra Music 1976, inspired by American jazz and marching band traditions, and For Four Orchestras. Both of these records were released on Arista.

Braxton's regular group in the 1980s and early 1990s was a quartet with Marilyn Crispell (piano), Mark Dresser (double bass) and Gerry Hemingway (drums), "his finest and longest standing band".[2]

In 1994, he was granted a MacArthur Fellowship. From 1995 to 2006, Braxton's output as a composer concentrated almost exclusively on what he calls Ghost Trance Music, which introduces a steady pulse to his music and also allows the simultaneous performance of any piece by the performers. Many of the earliest Ghost Trance recordings were released on his own Braxton House label (now defunct). His final Ghost Trance compositions were performed with a "12+1tet" at New York's Iridium club in 2006; the complete four-night residency was recorded and released in 2007 by the Firehouse 12 label.

In addition, during the 1990s and early 2000s, Braxton created a prodigiously large body of jazz standard recordings, often featuring him as a pianist rather than saxophonist. He had frequently performed such material in the 1970s and 1980s, but only recorded it occasionally. Now he began to release multidisc sets of such material, climaxing in two quadruple-CD sets for Leo Records recorded on tour in 2003.

More recently he has created new series of compositions, such as the Falling River Musics that are documented on 2+2 Compositions (482 Music, 2005). In 2005, Braxton was a guest performer with the noise group Wolf Eyes at the FIMAV Festival.[3] A recording of the concert, Black Vomit, is described by critic François Couture[4] as sympathetic and effective collaboration: "something really clicked between these artists, and it was all in good fun."

One of his children, Tyondai Braxton, is also a professional musician. He was a guitarist, keyboardist and vocalist with American math rock band Battles.

Beyond his musical career, Braxton is an avid chess player; for a time in the early 1970s he was a professional chess hustler, playing in New York in Washington Square Park.

Music

Anthony Braxton playing a contrabass saxophone

Braxton's music is difficult to categorize, and because of this, he likes to reference his works (and the works of his collaborators and students) as simply "creative music".[citation needed] He has claimed in numerous interviews that he is not a jazz musician,[citation needed] though many of his works have been jazz and improvisation oriented, and he has released many albums of jazz standards. In addition to these, Braxton has released an increasing number of works for large-scale orchestras, including two opera cycles.

Braxton's music combines an ecstatic, primal vigor with highly theoretical and mystically influenced systems. He is the author of multiple volumes explaining his theories and pieces, such as the philosophical three-volume Triaxium Writings and the five-volume Composition Notes, both published by Frog Peak Music. While his compositions and improvisations can be characterized as avant-garde, many of his pieces have a swing feel and rhythmic angularity that are overtly indebted to Charlie Parker and the bebop tradition.

Though much of his music can be safely classified as jazz, Braxton has worked in a wide variety of other genres and has sometimes had a prickly relationship with the jazz mainstream. Critic Chris Kelsey writes:

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.[1]
The graphical title for Composition No. 65 - the abstract shapes and cryptic letters are typical in such titles

Braxton is notorious for naming his pieces as diagrams, typically labeled with cryptic numbers and letters. Sometimes these diagrams have an obvious relation to the music — for instance, on the album For Trio the diagram-title indicates the physical positions of the performers, but in many cases the diagram-titles remain inscrutable. The titles can themselves be musical notation indicating to the performer how a piece is played. Sometimes the letters are identifiable as the initials of Braxton's friends and musical colleagues.

Braxton has pointedly refused to explain their significance, claiming that he himself is still discovering their meaning.[citation needed] Braxton eventually settled on a system of opus-numbers to make referring to these pieces simpler, and earlier pieces have had opus-numbers retrospectively added to them.

By the mid-to-late 1980s, Braxton's titles had become increasingly complex. They began to incorporate drawings and illustrations, such as in the title of his four act opera cycle, Trillium R. Others began to include life-like images of inanimate objects, namely train cars. The latter was most notably seen after the advent of his Ghost Trance Music system.

In the twenty-first century, he still actively performs with ensembles of varying sizes, and has to date written well over 350 compositions. He has just recently finished the last batch of Ghost Trance Music compositions, and has now shown his interest in three other music systems: The Diamond Curtain Wall Trio, in which Braxton implements the aid of the computer audio programming language SuperCollider; Falling River Musics; and, most recently, Echo Echo Mirror House music, which is meant to hone in many different types of performance arts in addition to music. In addition to their own instruments, musicians playing Echo Echo Mirror House compositions incorporate amplified mp3 players loaded with Braxton's discography to create a unique sound-space.

Discography

Main article: Anthony Braxton discography

References

  1. ^ a b Biography at Allmusic
  2. ^ allmusic ((( Quartet (Santa Cruz) 1993 > Review )))
  3. ^ Nick Cain, "Noise," The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009, p. 34
  4. ^ http://www.allmusic.com/album/black-vomit-r840353/review

Bibliography

  • Braxton, Anthony - Tri-Axium Writings Volumes 1-3 - 1985.
  • Braxton, Anthony - Composition Notes A-E - 1988.
  • Ford, Alun - Anthony Braxton (Creative Music Continuum) - Stride, 2004.
  • Heffley, Mike - The Music Of Anthony Braxton - Greenwood, 1996.
  • Lock, Graham - Forces in Motion: The Music and Thoughts of Anthony Braxton - Da Capo, 1989.
  • Lock, Graham - Mixtery (A Festschrift For Anthony Braxton) - Stride, 1995.
  • Lock, Graham - Blutopia: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington, and Anthony Braxton - Duke University, 2000.
  • Radano, Ronald Michael - New Musical Figurations (Anthony Braxton's Cultural Critique) - University of Chicago, 1994.
  • Sinclair, John and Robert Levin - Introducing Anthony Braxton - Music & Politics - World, 1970
  • Wilson, Peter Niklas - Anthony Braxton. Sein Leben. Seine Musik. Seine Schallplatten. - Oreos, 1993.

External links


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