Anthony Braxton, Joe Morris - Four Improvisations (Duo) 2007 (2008)seeders: 3
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Anthony Braxton, Joe Morris - Four Improvisations (Duo) 2007 (2008) (Size: 871.61 MB)
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Anthony Braxton / Joe Morris
Four Improvisations (Duo) 2007 2008 - Clean Feed Records: CF100 http://www.cleanfeed-records...t/4-improvisations-duo-2007/ http://www.cleanfeed.wordpre...3/18/clean-feed-reaches-100/ http://www.cleanfeed-records.com/clean-feed-reaches-100/  * Anthony Braxton: Eb sopranino saxophone, Bb soprano saxophone, alto saxophone, C melody saxophone, baritone saxophone, bass saxophone, contrabass saxophone * Joe Morris: guitar http://www.tricentricfoundation.org/ http://www.joe-morris.com/ Recorded at Wesleyan University in Crowell Auditorium by Jon Rosenberg on July 30 and 31st, 2007. http://www.wesleyan.edu/ http://www.wesleyan.edu/cfa/...rthall-venueinformation.html Reviews By Stuart Broomer http://www.pointofdeparture.org/PoD18/PoD18MoreMoments2.html [...] While Braxton achieves a multiplicity of voices in part through the sheer number of his seven saxophones and a host of attendant techniques, Morris does an extraordinary job of finding different sounds and relationships within a lightly amplified archtop guitar, spinning out lightning runs of resonant harmonics or muffled boppish or serial-sounding lines, all finding certain accord in Braxton’s own developing parts. Form is both given and taken, but it’s established spontaneously. There’s mercurial musical intelligence almost always evident here and it consists not in an epic of mimesis but in the assured sense of each musician working a shared ground in which concordances might arise both inevitably as well as deliberately. It hardly matters if it’s the rapid bass sax sputter midway through “Improvisation III” against what sounds like a small orchestra of mbiras (there’s a lot of Africa in Morris’s guitar vocabulary), or the host of Indian and Japanese sonorities that Morris seems to command from his guitar. Braxton long ago codified the languages of his music and the saxophone (from wide intervals to pointillism and long tones), and he’s a master of creating large scale contrast between transient harmonic systems, and contrasting emphases between linear and sonic/timbral approaches. He can circular breathe and talk through a saxophone at the same time, while Morris finds a percussion instrument to bounce across his strings. Braxton can also use his bass horns to create layers of texture over which Morris’s guitar lines can dance. The result and maybe the surprise is the extent to which the two create continuously listenable music because they’re continuously listening to the larger patterns and not just the simultaneous instants of one another’s craft. It’s music for the long haul (the hour glass) just as it’s music for the instant. It’s also wonderful to hear how Morris can develop a texture out of the remains of a duo passage, gradually arching it into a new terrain before Braxton joins in, in another range, again. [...] -- By Stef http://www.freejazzblog.org/...braxton-joe-morris-four.html By Jason Bivins http://www.dustedmagazine.com/reviews/4517 By Martin Longley http://www.allaboutjazz.com/...review-by-martin-longley.php Par Julien Héraud (fr) http://www.improv-sphere.blo...braxton-joe-morris-four.html Por José Francisco “Pachi” Tapiz (es) http://www.tomajazz.com/disc...es.php?d=2008-07-01#ab_jm_fi Sharing Widget |