DrJ Posted October 31, 2003 Report Share Posted October 31, 2003 (edited) Produced by Mr. Nessa, released on Delmark. Leo Smith (my first exposure to his playing) on trumpet, Richard Muhal Abrahms on piano, Leroy Jenkins violin, and Braxton. I've had FOR ALTO now for some time and have enjoyed it immensely. I am also really digging this one. I can't say I fully understand all of it yet, especially the first track, but it's fascinating stuff and the 2nd track is really pretty ear friendly for someone coming in from a more or less mainstream or mildly "out" post-bop perspective. Initial impressions: Leo Smith has a HUGE tone on trumpet, so far this has been my main pleasure in hearing the CD - I want to hear a WHOLE bunch more. Jenkins I'm not too keen on yet - he plays significantly out of tune, and in places and ways where it doesn't sound intentional, but again this is just first impressions. Braxton is a dynamo, as is Abrahms. Placed in the context of the year of recording (1968) it's a remarkably adventurous recording, who else was making music like this at that time (Art Ensemble was as adventurous in its own way but the sound is quite far from that music to me). Decent sound quality (maybe it's the CD transfer, but it's not the type of sound quality that was achieved on some other Nessa recordings of the time, like the Art Ensemble stuff). This is one to wear for a while. Ear expanding. Edited October 31, 2003 by DrJ Quote Link to comment Share on other sites More sharing options...
DrJ Posted October 31, 2003 Author Report Share Posted October 31, 2003 (edited) Some updates - I finally had a chance to really listen to the first track, and to hear things on a better stereo system (with the little one, most of my listening these days is in the car, and my car has a good system while my wife's is pretty horrible...it was hers in which I heard the CD initially). I take back what I said about the recording quality...it's quite excellent actually, so apologies to Mr. Nessa, fine work here as usual. And the first track, which demands that it be heard on a decent sound system, is now as a result starting to yield some of its secrets. It's actually rather conventional in one sense: Braxton uses a wordless bit of sung melody to link sections of the piece, it recurs at several key points. Again, Smith is simply HUGE here (as well as intelligent), when he plays it sounds like a mighty elephant trumpeting...damn! On a better system, for some reason Jenkins no longer sounds quite as out of tune...it's intermittent, and still doesn't sound right to me, but maybe he WAS actually going microtonal intentionally, I might have to yield on that point. Braxton's soprano playing toward the start of this track was a revelation, I haven't heard him on that horn much...tone is light years apart from his (equally compelling) sound on alto. Pet moment in this 20+ minute tune so far: at about 11 minutes, out of left field, there's a harmonica bit that will make you laugh out loud - it comes in sounding like a cowboy playing, way out of context, but then gradually the part transforms into long held dissonant chords with fascinating overtones, sounding more and more like a pipe organ away in the distance, getting things back to the prevailing mood of the piece which is more "serious." This is sounding to me like a truly great recording...I wonder why I haven't heard more about it? Especially compared to FOR ALTO which is admittedly great and daring but in some other ways far more conventional. Edited October 31, 2003 by DrJ Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 1, 2003 Report Share Posted November 1, 2003 Tony, PLEASE find a copy of Grahme Locke's Forces In Motion, a book written about a Braxton quartet touring England. everybody gets interviewed at length, and it's about as lucid, charming, and full a portrait of this man and his genius as there is. Trust me on this one. Quote Link to comment Share on other sites More sharing options...
Brandon Burke Posted November 1, 2003 Report Share Posted November 1, 2003 Tony, PLEASE find a copy of Grahme Locke's Forces In Motion, a book written about a Braxton quartet touring England. everybody gets interviewed at length, and it's about as lucid, charming, and full a portrait of this man and his genius as there is. Trust me on this one. I also rather liked Blutopia (Lock) but folks seem to be divided on that one. Interesting concept anyways...... Quote Link to comment Share on other sites More sharing options...
DrJ Posted November 1, 2003 Author Report Share Posted November 1, 2003 (edited) Just ordered a copy of FORCES IN MOTION for about 6 bucks at Amazon, thanks for the tip Jim. I've been looking for a way to get a bit more understanding of Braxton's thinking and music and, if nothing else, the way he titles his pieces! Edited November 1, 2003 by DrJ Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 1, 2003 Report Share Posted November 1, 2003 (edited) FORCES IN MOTION gives you a terrific vision of Anthony's pesonality and his music. Thanks for the compliments but a bit of clarification is in order. The original sessions for THREE COMPOSITIONS were produced by Bob Koester. Bob hired me to produce all the Delmark AACM cd reissues, and I went back the the original session tapes to remixed/edited the sessions. For your next musical adventure, I suggest Muhal Richard Abrams YOUNG AT HEART/WISE IN TIME. This contains a half hour solo performance by Abrams and a quintet with Leo Smith, Henry Threadgill, Lester Lashley and Thurman Barker. Your perception of Leo's sound large sound is correct. I'll never forget a session where we had to be careful with the placement of his mike, so his sound didn't overpower the other guy's mikes. The engineer made the mistake of calling it loud - Leo responded "It's not loud, it's strong". He has a wonderfully personal sound as well. PS Being referred to as "Mr. Nessa" gives me the willies. Edited November 1, 2003 by Chuck Nessa Quote Link to comment Share on other sites More sharing options...
DrJ Posted November 2, 2003 Author Report Share Posted November 2, 2003 PS Being referred to as "Mr. Nessa" gives me the willies. Sorry, sir! Seriously, thanks for clarifying on the production issue, Chuck. I'm REALLY enjoying this album a lot. Thanks also for the tip on YOUNG AT HEART/WISE IN TIME. Quote Link to comment Share on other sites More sharing options...
DrJ Posted November 12, 2003 Author Report Share Posted November 12, 2003 I've read the first couple chapters of FORCES IN MOTION. Really well-written and very valuable stuff! I must admit I never expected I'd be reading so far just about Sun Ra, but I can see where Lock is going here. Funny that I'd never made any connection with Braxton's music and Sun Ra's but it makes perfect sense now. I eagerly await the "main course," the entry of Braxton and his music, in the coming chapters. Quote Link to comment Share on other sites More sharing options...
.:.impossible Posted November 12, 2003 Report Share Posted November 12, 2003 I haven't listened to this album in a couple of years. In total, I think I've tried it three times. I didn't know the name Nessa back then either. Now that you've brought this music up Tony, I think it is time I bring it back out. I remember hearing the vocals for the first time and thinking Ummagumma! I know my wife won't appreciate this one, so I'll have to time it well... Quote Link to comment Share on other sites More sharing options...
Alexander Hawkins Posted November 21, 2003 Report Share Posted November 21, 2003 Just got hold of Young at Heart/Wise in Time yesterday. It's the first Threadgill I've heard, and I think it's superb (the whole thing, not just him). I'm not so into the solo track yet, although it is pretty intriguing... Not important, really, but does Muhal play some synthesiser right at the beginning of the quintet track? There's a sound I can't quite pin down. And if I could ask another discographical question on Muhal - this time about Levels and Degrees of Light: who plays vibes on this? I don't think the name on the back of the CD and in the booklet tally in this respect (Gordon Emmanuel, I think, on the back; someone 'Cranshaw' in the booklet)...Won't lose sleep over it, of course, but just curious! Thanks for any help. Quote Link to comment Share on other sites More sharing options...
JohnS Posted November 21, 2003 Report Share Posted November 21, 2003 Another interesting Braxton read is MIXTERY, a festchrift for Anthony Braxton edited by Graham Lock. It's a very readable collection of essays from 56 contributors, musicians and writers, to celebrate Braxton's 50th birthday. If anyone is interested I could be persuaded to part with it. Quote Link to comment Share on other sites More sharing options...
Gary Posted November 21, 2003 Report Share Posted November 21, 2003 I just ordered 3 Compositions & For Alto from Stefan on this board a couple of days ago - My first Braxton purchases , I'm looking forward to hearing them even more now after reading this thread. Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 21, 2003 Report Share Posted November 21, 2003 Just got hold of Young at Heart/Wise in Time yesterday. It's the first Threadgill I've heard, and I think it's superb (the whole thing, not just him). I'm not so into the solo track yet, although it is pretty intriguing... Not important, really, but does Muhal play some synthesiser right at the beginning of the quintet track? There's a sound I can't quite pin down. And if I could ask another discographical question on Muhal - this time about Levels and Degrees of Light: who plays vibes on this? I don't think the name on the back of the CD and in the booklet tally in this respect (Gordon Emmanuel, I think, on the back; someone 'Cranshaw' in the booklet)...Won't lose sleep over it, of course, but just curious! Thanks for any help. I believe this was Threadgill's first recording. Muhal is stroking the strings inside the piano in the beginning. Gordon Emmanuel was raised by the Cranshaw family (yes, Bob the bassist was a "step brother") and sometimes went by the name of Emmanuel Cranshaw. Quote Link to comment Share on other sites More sharing options...
Alexander Hawkins Posted November 22, 2003 Report Share Posted November 22, 2003 Thanks for that Chuck. I'd actually picked up the stroking of the strings - just thought I could hear something else - I'm probably just imagining things! Quote Link to comment Share on other sites More sharing options...
pryan Posted December 16, 2004 Report Share Posted December 16, 2004 I did a swap with a friend of mine the other day and acquired this album (on vinyl). Hoping to spin it soon. Quote Link to comment Share on other sites More sharing options...
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