Anthony Braxton

The short-lived Chick Corea outfit outdoes itself in this 1971 live recording. A delicate piano intro primes us for an extended rendition of Wayne Shorter’s “Nefertitti” to start. Once Braxton throws himself on top of incoming bass and drums, however, what began as contemplative awakening quickly turns into a spastic jaunt into more upbeat territory. The gnarled unity of the quartet paints in bold strokes, all the while flirting with total breakdown. Braxton’s perpetual motion and uncompromising tone make a superb tune out of a great one. “Song For The Newborn” gives Holland a moment in the spotlight. Swaddled in all the innocence of its title and bound by a mature sense of structure, this is an engaging interlude to the Braxton/Corea duet that follows.

Currently one of the most exciting and active groups in boundary-pushing jazz, is the collective trio Thumbscrew, who release their sixth album in seven years with Never Is Enough. Constantly taking the simple, ‘guitar trio’ line-up into new territories, their music is a masterclass of musical interplay and focused forward momentum.

In the early '70s, bassist Dave Holland and drummer Barry Altschul had a well-deserved reputation as the most fluently creative rhythm section in free jazz. Two of the groups they worked with regularly were those of Sam Rivers and Anthony Braxton.

For their second and, apparently, final album, the group of downtown New York City musicians who had come together under the banner of the New York Composers Orchestra branched out a bit from performing their own compositions in the attempt to construct a kind of repertoire of large ensemble music from various contemporary composers…

Joe Fonda - From The Source (1997) {Konnex Records KCD 5075}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 298 Mb | MP3 @320 -> 149 Mb
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© 1997 Konnex Records | KCD 5075
Jazz / Structured Improvisation / Avant-Garde Jazz / Bass

On From The Source, bassist Joe Fonda has constructed an elaborate multi-disciplinary program that meshes tap dance, otherworldly vocals acrobats, esoteric poetry, and freedom swing. Complemented by reed master, Anthony Braxton, tap dancer, Brenda Buffalino, body healer/vocalist, Vickie Dodd, trumpeter Herb Robertson, and percussionist Grisha Alexiev, Fonda’s ambitious efforts are successfully realized by Fonda’s spacious, melodically rich compositions and the ensemble’s amazing empathy. The hypnotic “High Tech #1,” which Braxton’s haunting flute, and Buffalino’s twinkling taps glide gently above Fonda’s infectious ostinato figure affords the easiest listening experience. For header, sonic explorations, “An Internal Look” is this program’s taster’s choice. Intriguing, soothing, and invigorating, Fonda’s From The Source is one of the most hauntingly beautiful arguments for free jazz to come along in a long while.

All the Things We Are is a bit unusual in the Dave Brubeck discography. The pianist is heard in a quartet with altoist Lee Konitz on "Like Someone in Love" and a brief "Don't Get Around Much Anymore," with avant-garde giant Anthony Braxton (also on alto) featured on "In Your Own Sweet Way," while both Konitz and Braxton team up for "All the Things You Are." In addition, the Brubeck Trio (with bassist Jack Six and drummer Alan Dawson) plays an exquisite and frequently exciting 21-minute, five-song "Jimmy Van Heusen Medley." A total success, this "experimental" Brubeck set is highly recommended.

The only real downside of this record is its length. But everyone is ON, right on, and the energy is remarkable. For Kaiser fans this will be a revelation. He's channeling Cosey, McLaughlin, and Sharrock (each of whom shaped Miles's sound from this period), but also doing his own Kaiser-effects. And they don't sound out of place! Smith sounds much closer to Miles than I would have expected. This isn't a bad thing of course. The other players here are fantastic, too, especially the bass clarinetist Oluyemi Thomas. John Medeski, the ROVA quartet, Greg Goodman, and Nels Cline are also here. It's a fine group of musicians lovingly indulging in the many sounds of Miles's 1970–1975 performances.