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anthony braxton | part two

PERFORMANCE OF MARCH 1, 1975, Zellerbach Auditorium, University of California, Berkeley.

Piece 1: Anthony Braxton / reeds, Leo Smith / brass, Richard Teitelbaum / synthesizer. Piece 2: Anthony Braxton / contra-bass clarinet, Roscoe Mitchell / bass sax. Piece 3: Piece for Ten Instruments: brass and reeds, Braxton conducting. Part 4 (3 Pieces): Anthony Braxton / reeds, flute, Kenny Wheeler / trumpet, Barry Altschul: percussion, Glenn Howell / bass.

PERFORMANCE OF MARCH 10, 1975, Student Union Ballroom, San Jose State University, San Jose.

Anthony Braxton / alto saxophone.

Anthony Braxton is seeking to bridge musical gaps. He feels that improvised and composed music, as two distinct musical approaches, have been separated long enough; and he sees musicians all over the planet no longer making that distinction, but simply presenting creative music. In describing his own approach, he says: “I’m not really interested in ‘free’ music. What I attempt to do is to create situations for improvisers.” In Braxton’s music, then, there is both form and spontaneity; but his concern with form is probably of greater interest to him than it has been traditionally to other improvisational artists. It is this element, it seems, that makes Braxton’s music so attractive to some and that similarly causes others (who feel his formal emphasis is excessive) to turn away.

In the earlier concert, Braxton’s compositional concerns were apparent from the outset. The opening piece, with Smith on brass and Teitelbaum on synthesizer, featured (according to Anthony) three pre-determined episodes that were arranged so as to set up and bracket improvisational sequences. There was a certain similarity here, it seemed, to Braxton’s earliest work, but with a smoother flow and nicely overlaid electronic elements: perhaps the single most important work of the evening. The piece with Mitchell seemed to sway back and forth with a low rumble, the improvisational focus (blurted honks and growls) shifting from player to player: a very short piece, extremely self-contained. The piece for ten instruments featured no improvisation, at least none that was discernible, and compositionally didn’t seem too far removed from other works of its kind. Braxton’s interest seemed to be in exploring various combinations of timbres, ranges of sound, and dynamic emphases: very similar to what are his “usual” musical interests. But, perhaps due to its performers’ unfamiliarity with the piece, it was somewhat lacking in dramatic tension.

The quartet portion of the program (three connected pieces) most closely resembled what jazz has been in the sense that the pieces were built on thematic material and featured solos from each player. Braxton’s themes were fairly concise compositional statements meant to pervade the whole of each piece. But as compositions they appeared to owe much less to Monk or to Parker than to the school of music given impetus by Lennie Tristano. Altschul stood out in this part of the program which also included a fine alto solo from Braxton. The problem with this concert was that each of the pieces, while interesting to a greater or lesser extent, seemed to be leading toward some final climactic statement which, however, did not actually come. This feeling seemed to hang over the hall at the music’s conclusion.

Nine days later, the solo concert - scarcely advertised, barely a hundred people in attendance - provided a stunning encore. Again, Braxton’s concern with form was highly evident. But here Anthony seemed less a composer as such than a fine craftsman, a shaper and molder of sound. His command of the alto is astounding; his technique, through all ranges, embouchures, colorings, is flawless. In all, ten pieces of music were presented, none much longer than five to seven minutes. Within each, Braxton seemed to set himself maximum challenges. He worked through all registers of the saxophone, through various shadings, rhythms and dynamic levels, juggling and juxtaposing opposites, frequently within the most difficult musical constructs. Braxton is breaking new ground with the solo format and, with each statement he makes, he sets new standards for those who would (at some point) follow in his steps. Right now, he’s miles ahead of everyone; and, notably, it is his very conscious sense of form (with its technique-al implications) that has placed him in this position.

The Zellerbach Auditorium

Anthony Braxton is a new type of musician, one who feels comfortable working on many different levels simultaneously. (The solo alto concert was only one of four concerts that Anthony did at San Jose State as part of a two week artist-in-residence series. Others, which I was unable to attend, included a concert with himself, Roscoe Mitchell, Richard Teitelbaum, and another synthesizer player, Allan Strange; one with Frederick Rzewski performing his piano works; and one with San Jose State students performing other of his compositions.) While it may not be possible for everyone to like everything that Anthony Braxton does, it is obvious from these performances that he is consistently challenging himself to be original and creative.

Henry Kuntz, 1975