Descrizione

PREMESSA: LA SUPERIORITA’ DELLA MUSICA SU VINILE E’ ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA’ E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU’ PALPABILE ED INOPPUGNABILE DELL’ ESSENZA, DELL’ ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E’ PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E  DI SENSIBILITA’. E’ TUTTO QUELLO CHE NON E’ E NON POTRA’ MAI ESSERE IL CD, CHE AL CONTRARIO E’ SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO,  UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL’ AVIDITA’ DEL MERCATO E DELL’ ARROGANZA DEI DISCOGRAFICI .

ANTHONY BRAXTON
alto saxophone improvisations 1979

Disco Doppio 2 LP 33 giri , 1979, arista records  , A2L 8602 , USA

OTTIME CONDIZIONI, vinyl ex++/NM,  cover ex++ ,  piccolo taglio orizzontale
(1,4 cm.) nell’ angolo superiore destro / short promo cut in the high right tip .

la sublime esattezza delle armonie musicali nei personalissimi ed ineguagliabili assoli algoritmici del virtuoso del sax Anthony Braxton

Anthony Braxton (Chicago, 4 giugno 1945) è un compositore, sassofonista e polistrumentista Jazz statunitense.

Definire Braxton un sassofonista jazz è alquanto riduttivo; come
compositore e musicista, ha incentrato la sua attività sul jazz
(soprattutto sul free) ma ha scritto anche per orchestra e perfino opere. Come strumentista, oltre a suonare il pianoforte, si è esibito utilizzando l’intera gamma dei sassofoni dal sopranino al contrabbasso e una grande varietà di clarinetti oltre al flauto e vari strumenti a percussione.

Supporto:vinile 33 giri
Tipo audio: stereo
Dimensioni: 30 cm.
Facciate: 4
Gatefold glossy cover / copertina apribile lucida, original lavender inner sleeves / custodie interne originali color lavanda

1. Cut One
   

   Comp. 77 A

   GNG
      B-(RN)
       |
      R

     (Braxton , 7:30)

2. Cut Two
   

   Comp. 77 C

   RKRR
    (SMBA)
    W
   

   (Braxton , 6:25)

3. Cut Three –  
   Red
   Top – 
   (Lionel
   Hampton / Ben Kynard , 6:13 )

Side 2

1. Cut One
   

   Comp. 77 D

   KSZMK
        PQ
          EGN

   (Braxton , 7:30)

2. Cut Two
   

   Comp. 77 E
   

        SOVA
    
   NOUB
         V-(AO)

   (Braxton , 4:25)

3. Cut Three
   

   Comp. 26 F
   

    104°-KELVIN
        |
       M-18

   (Braxton , 6:30)

4. Cut Four 
   

   Comp. 77 F

               
   ATZ
   GG-NOWH
      KR

         (Braxton , 6:19)

RECORD 2

1. Cut One
   

   Comp. 26 B

   JMK-730
   CFN-7

   (Braxton , 6:58)
   
   

2. Cut Two – Along
   Came Betty
   (Benny
   Golson , 8:00 )
3. Cut Three  
   

   Comp. 77 G

   VHR
     G-(HWF)
          APQ

         (Braxton , 5:15)

Side 4

1. Cut One
   

   Comp. 26 E

   AOTH
      MBA
      H

   (Braxton , 6:20)

2. Cut Two – Giant Steps 
   (John Coltrane , 6:20 )
3. Cut Three  
   

   Comp. 77 H

   NMMN
   TOWR
   VK-N

         (Braxton , 6:20)

Personnel

Anthony Braxton: alto saxophone

Produced by Michael Cuscuna
Executive Producer: Steve Backer
Recording
Engineer: Kurt Munkasci
Recorded at Big Apple Studios, New York City
Recorded on November 28 & 29, 1978, & June 21, 1979. Published
by Synthesis Music/BMI
Front Cover Art: Bonnie Singer Welton

COMPOSITION NOTES

Composition 1 [Comp. 77A] is designed to utilize
princple information in a medium fast to fast pulse continuum. The most
apparent factor that holds this work together is the nature of how given
idea fragments are mashed together in a somewhat reverse development
situation. The dynamics of this piece also utilize extreme intervallic
leaps—which is to say, the idea construction of this work is both varied
and complex in that the actual ‘stuff’ of the music has nothing to do
with development but instead deals with the constant collision—or in
most cases interruption—of fragmented constructions. The principle
working tools which underlie how this process works can be reduced to
(1) intervallic phase fragments and (2) accented eighth note movement
figures. There are three time units in this movement—fast—medium slow
(with the use of more silence)—and medium fast. The extended use of this
approach also finds the use of melody—like related material in
juxtaposition to reverse development and thrust projected materials
(constructed as to give the impression of more than one instrument).

This composition is dedicated to the composer Ulysses Kay.

Composition
2 [Comp. 77C] is a work designed to deal with the dynamic possibilities
of a major third diatonic phrase (ie. CDE, DEF, EFG, etc.). This
version can be broken into three sections—original position, extended
position, and mixed position. Original position is only the basic use of
this principle in its normal diatonic state— with the added possibility
of changing keys whenever desired. The extended position of this
technique has to do with the modification of some aspect of its
use—which in this improvisation was an intervallic separation. The mixed
position of this technique utilizes the same ‘germ figure’ with the
added use of melodic material—that is, improvisation utilizing melodic
organization and conventional development.

This composition is dedicated to my friend Barbara Mayfield.

Composition 3 [Comp. 77D] was conceived as a work to utilize the
possibilities of slap tongue technique and can be broken into three
distinct compositional areas. The first area utilizes short multiphonic
phrases as a tool for establishing focus on slap tongue possibilities
(which in this case are against short pianistic phrases). The second
section utilizes multiphonic massed configuration movements with the use
of slap tongue technique as an integral factor in shaping attack. The
third section utilizes multiphonic phrase movement against ultra high
sound figures—with the added use of instrument sounds as a color factor.
Throughout the composition there is the added ingredient of vocal
intermixture—added to both given multiphonic chords or as an integral
factor in a given phrase-patch.

This composition is dedicated to my friends Emilio and Pat Cruz.

Composition
4 [Comp. 77E] is built from five notes (G, Ab, C, D, Eb) basically and
was designed as a vehicle to make a shakuhachi type music. (I have long
been interested in this kind of approach.) There are three basic
treatments in this version, one—the basic statement of material with
respect to the five note row, two—the use of this same concept with the
addition of circular breathing and three—the fragmented use of given
figures. This composition was also constructed to utilize a more
accented vibrato in given sections, and also half tone and micro tuning.
As an improvisor this composition presents a special challenge in that
its reality is not separate from world culture and as such, this work
represents a new beginning to solidify a wider basis for working
material—for me that is.

This composition is dedicated to the dancer Sheila Raz.

Composition 5 [Comp. 26F] is based on the concept of a repetition
continuum. That being the use of repetition and the gradual change of
events by either adding a given element to the basic idea scheme or
taking away a given element. The range of material in this version can
be separated into several categories—simple configurations, having to do
with an idea built from one or two notes—multiple configurations, ideas
that are constructed from several different figures and shape
configurations, that being shapes which serve as generating
considerations for repetition. The use of dynamics must also be
considered a principle factor in this composition, for the nature of how
a given figure is set up dynamically determines whether or not its
transformation can be successful. The nature of a given idea
transformation also necessitates the use of link structure elements—that
being the modulation of given aspects of a principle idea structure.

This composition is dedicated to the composer Phillip Glass.

Composition
6 [Comp. 77F] is basically an open-ended ballad. By open-ended I mean
the improvisation is not based on either chord changes or a
predetermined time structure but instead extends freely with respect to
the stated melody at the beginning of the work. The theme at the
beginning is not a constructed melody in a completed sense but rather a
set of figures which can be used in several ways for improvisation. This
particular version utilizes an increased spacial arena—from (if numbers
one to ten could represent a tempo-pulse parameter) a velocity of
three-to-one-to-three. The structure of improvisation in this version
accents the register of a given idea alignment. That is: the opening
improvisation is in the middle register of the saxophone
and is played at a mezzo forte—the middle section is played in the low
register at a pianissimo—and the third section is high register at a
forte.

This composition is dedicated to my daughter Terri.

Composition 7 [Comp. 26B] is constructed to deal with the dynamic
possibilities of staccato long and short sound movements. The first
treatment utilizes changes in intervals as a reality factor and is the
primary shape (the staccato short sound in this context is also the
principle language factor as well). The second treatment for this
principle utilizes the long staccato sound in an extended
context—establishing the reality of the idea but functioning as one
ingredient among many. The third use of this principle is staccato
permutated type ideas which maintains the basic focus of constructed
elements but not in a dominant manner. The extended use of this approach
also finds the use of melodic related like material put in
juxtaposition to reverse development. Again, in this work there is no
development as such, rather the natural continuance of its design moves
to utilize principle material in as many ways as possible—(for its
moment improvisation).

This composition is dedicated to the saxophonist and composer Kallaparusha Difa.

Composition
8 [Comp. 77G] is based on the whole tone scale and utilizes the eighth
note as the primary language factor. There are three basic treatments in
this particular version and each treatment differs only with respect to
its tempo. The first section is medium to medium slow, the second
section is fast, and the third section is medium slow. The basic
phrasing of this work utilizes a more legato type connection between
events. This particular approach gives only three possibilities for
treatment—diatonic postulation, harmonic or chordal postulation (that
being the use when possible of major third and augmented fifth patterns
in a given idea formation) and scale changing (going from one whole tone
scale to the other and back). The actual continuum of this work does
utilize conventional type development—(ie. from idea to idea a given
expansion was executed with respect to what preceded it).

This composition is dedicated to the birth of my son Tyondai.

Composition 9 [Comp. 26E] utilizes intervallic shifts as a means to
establish its working language. By intervallic shifts I am referring to
the execution of a given figure in several registers of the
instruments—or in several permutations. The secondary working language
of this work are multiphonic sound block configurations with the added
use of voice material. In the principle language, dynamics are used in a
somewhat extreme manner as a means to establish the rotation of events
from interval to interval. The continuum of events in this work should
not be viewed as variation but instead expansion as a means to isolate
given aspects of its idea base.

This composition is dedicated to the multi-instrumentalist composer Karl Berger.

Composition
10 [Comp. 77H] is designed to deal with the dynamic possibilities of
trills. This work utilizes several types of trills—from the chromatic
and diatonic trill, to the intervallic trill, to the extreme intervallic
trill. This version is constructed in three principle sections and each
of these versions can be viewed with respect to its tempo function.
That being, the first section is slow, utilizing chromatic and diatonic
trill possibilities in a ballad like context, the second section is
faster with a more extreme use of trill material—and the third section
utilizes the trill in a more integrated phrase context. The actual
progression of events in this work are conventional as far as idea
sequencing is concerned—although there is no theme as such.

This composition is dedicated to the birth of David Aaron Weltin to my friends Hans and Bonnie Weltin.

This double-Lp features Anthony Braxton
playing his strongest horn (alto-sax) unaccompanied on ten of his
diverse originals plus a trio of standards (“Red Top,” “Along Came
Betty” and “Giant Steps”). The thoughtful yet emotional improvisations
contain enough variety to hold one’s interest throughout despite the
sparse setting; this twofer (as with many of Braxton’s Arista recordings) is long overdue to be reissued on CD.

En el campo de la improvisación, sobretodo en el que Braxton se
desenvuelve – ese de la garra, del feroz despliegue de recursos y un
opido envidiable – me dejo llevar simplemente hasta no ver fondo de
botella. Braxton tenía sus aptitudes musicales en su punto más alto en
1979. El aire no se le acababa tan fácilmente y su soltura para
improvisar le impedía repetirse constantemente. De hecho, a cada
composición, le suceden proezas de la música cruda y con variantes
tonales que se asumen como revisiones a su propia locura interpretativa.

Rudos repasos a la siempre fiable habilidad de Braxton en cada
composición, que no solo cumplen un papel de tour de force en su
capacidad de improvisar, también son una guía tosca al papel de
explorador de sonidos de los instrumentos de viento que le provocan a
uno hasta dolor de cabeza al tratar de echarse completo el disco.



Pues quepa la advertencia, este disco no se traga tan fácil, pero
dándole unas cuantas repasadas se profundiza en ese sonido agresivo y
bello a la vez, atrapado en la necesidad de sonar y retumbar en
cualquier lugar que se escuche.



PD: Sus enfermizas variantes a Giant Steps y Along Came Betty son simplemente épicas.

Nato e cresciuto nel South Side di Chicago, studia sassofono con Jack Gell, al tempo insegnante anche di Henry Threadgill.
Nel 1963 si iscrive al Wilson Jr. College e poco dopo parte per il
servizio militare; nel 65 è in Corea dove suona con la banda militare e
ha modo di improvvisare con musicisti Coreani.

Nel 1966, appena tornato a Chicago, diventa membro della neonata AACM (Association for the Advancement of Creative Musicians).
Inizia a suonare in gruppi formati da musicisti dell AACM e forma
propri gruppi con Leroy Jenkins, Thruman Baker Leo Smith ed altri.
Inizia anche a esibirsi in solo: questi saranno concerti importanti per
il futuro sviluppo del suo linguaggio musicale.

Nel 1967, sotto l’ala protettiva di Muhal Richard Abrahams che lo vuole al suo fianco per la registrazione del suo Levels and Degrees of Light, entra per la prima volta in una sala d’incisione, già nel marzo del 1968 Braxton è pronto per registrare il primo album a proprio nome: il seminale e programmatico fin nel titolo, Three Compositions Of New Jazz insieme ai fidati Leroy Jenkins e Leo Smith.

Nel 1969 la francese BYG invita i musicisti dell’AACM a Parigi,
Braxton partirà per Parigi nel giugno di quell’anno ma prima avrà modo
di incidere per la Delmark altri due album capitali: l’album per solo
sassofono “For Alto” (probabilmente il primo album interamente per sax
solo) e il disco (a lui intestato ma di fatto cooperativo) con Jenkins e
Smith Silence.

I pezzi di “For Alto” portano dediche, tra gli altri, a Cecil Taylor e John Cage
un disco in solo per uno strumento melodico quale il sax contralto
diventerà, per motivi ideologici e ancor prima economici, negli anni a
venire una prassi diffusa. Tra coloro che negli anni settanta (e anche
dopo) si dedicheranno in maniera più convinta (e convincente) alla
performance solistica non si può non citare Steve Lacy.

Partito, insieme a diversi altri musicisti dell’AACM, per Parigi “in
cerca di fortuna” con un biglietto di sola andata, Braxton tornerà a
Chicago nei primi mesi del 1970, nel frattempo in Francia avrà modo di
documentare la sua musica con due album a proprio nome e diverse
collaborazioni.

Poco dopo il rientro negli USA (1970), Braxton entra in contatto con Chick Corea (piano), con il quale insieme a Dave Holland (basso) e Barry Altschul (batteria) forma il gruppo “Circle“.
Il quartetto ha vita breve, nonostante i numerosi ingaggi sia negli USA
che in Europa, ma Grazie a Circle Braxton ha modo di farsi
ulteriormente ascoltare e conoscere e può, nel frattempo, continutare ad
esibirsi in solo. Se Corea lascia il quartetto per più remunerativi
approdi, Holland e Altschul rimangono fedeli a Braxton e costituiranno
la base dei suoi più importanti gruppi degli anni a venire.

Nei ritagli di tempo, rubati al quartetto Circle, Braxton continua a
documentare, in Francia Inghilterra ed altrove in Europa la sua musica
in solitaria o con gruppi diversi. La documentazione discografica della
musica di Braxton nei primi anni settanta è quasi esclusivamente
europea. Sarà solo nel 1974 con la firma di un contratto pluriennale per
l’Arista che Braxton tornerà ad incidere stabilmente in America. Il
primo disco del contratto, inciso alla fine del 1974, si titolerà “New
York Fall 1974” con Holland (contrabbasso) e Wheeler (tromba) e Jerome
Cooper anziché Atschul alla batteria. “New York Fall 1974” è insieme un
disco nodale ed estremamente variegato: in un brano suona in duo con le
elettroniche di Richard Teitelbaum,
in un altro chiama a se il futuro World Saxophone quartet. Nei mesi a
venire, grazie anche ad una maggiore serenità economica, Braxton
riuscirà ad riunire stabilmente un quartetto che, con lievi ma
significative varianti, lo accompagnerà per buona parte degli anni
settanta. Il primo quartetto verrà documentato compiutamente in uno dei
punti fermi della prima fase della carriera Braxtonia, (e di tutti gli
anni settanta) il fondamentale “Five Pieces”, secondo disco inciso per
l’Arista.

In quegli anni, Braxton registra anche duetti con George Lewis (lo splendido “Elements of Surprise” dal vivo a Moers) e con Richard Teitelbaum al sintetizzatore.
I potenti mezzi dell’Arista gli permettono di incidere due suoi
progetti, anche economicamente, impegnativi si tratta di “Creative
Orchestra Music”e “For Four Orchestras”.

Nel corso degli anni 80 e all’inizio degli anni 90, il gruppo regolare di Braxton fu un apprezzato quartetto con Marilyn Crispell (piano), Mark Dresser (basso) e Gerry Hemingway (batteria).

Braxton ha collaborato con decine di musicisti, tra cui Derek Bailey, Evan Parker, Globe Unity Orchestra, Max Roach, Mal Waldron, Dave Douglas, Ornette Coleman, Dave Brubeck, Lee Konitz, Peter Brötzmann, Willem Breuker, Muhal Richard Abrams, Steve Lacy, Roscoe Mitchell, Pat Metheny, Frederic Rzewski, Ursula Oppens.

Dal 1995
le composizioni e le esibizioni di Braxton riguardano interamente
quella che egli chiama “Ghost Trance Music” che consente la performance
simultanea di un qualunque numero di suoi pezzi.

Braxton ha studiato filosofia alla Roosvelt University. Dopo avere insegnato al Mills College è ora professore di musica alla Wesleyan University di Middletown (Connecticut) per le cattedre di composizione, storia della musica e improvvisazione. Nel 1994, Braxton ha ottenuto la MacArthur Fellowship.

La musica di Braxton

Dal punto di vista musicale Braxton è stato influenzato da Warne Marsh, John Coltrane, Eric Dolphy e, non ultimo, il suo prediletto Paul Desmond, ma anche da compositori contemporanei come Karlheinz Stockhausen, John Cage e Arnold Schoenberg.

La musica di Braxton è sorretta da un sostrato teorico nutrito: egli è
l’autore di diversi volumi nei quali spiega minuziosamente le proprie
teorie ed i principi su cui si basano le proprie composizioni: “Triaxium
Writings” (in tre volumi) e “Composition Notes” (in 5 volumi) entrambi
editi da Frog Peak Music.
Per quanto le sue composizioni siano decisamente di avanguardia, alcune
caratteristiche (soprattutto lo swing e la ritmica) mostrano radici che
affondano nel bebop di Charlie Parker.

I pezzi di Braxton hanno spesso per titolo dei simboli grafici ed
hanno costituito, e tuttora costituiscono, uno degli aspetti criptici
della musica e personalità di Anthony Braxton.

Anthony Braxton

Alto Saxophone Improvisations 1979

ANTHONY BRAXTON Alto Saxophone Improvisations 1979
Arista A2L 8602 (2-LP)

LINER NOTES

In the summer and fall of 1978 I had the opportunity to tour America and Europe performing solo music for the alto saxophone.
The route of these performances included such diverse places as
Boulder, Colorado; Austin, Texas; San Francisco as well as Vienna and
Central Europe. The challenge of performing so many solo concerts in one
period represented a new experience for me–normally my solo
performances are few and far between (averaging at most one or two
concerts every other month) and I was able to learn a great deal from
this opportunity. The past couple of years have seen many changes
reshape world creativity. Of those changes, certainly the dynamic
acceleration of solo activity can be viewed as a major factor
responsible for the expanded reality of present day creative music. The
reality implications of this phenomenon are clear; for the emergence of
solo activity increases the dynamic spectrum of individual
participation–and this is true on many levels. The progressional
continuance of this period has now seen the forming of a new kind of
creative musician–whose activity transcends any one criterion and whose
scope cannot be limited by superficial boundaries concerning whether or
not a given participation is ‘correct’ or ‘legitimate.’ In actual terms
we can now experience a spectrum of solo musics involving every kind of
instrument–this is true whether we are focusing on the saxophone,
guitar, trumpet, trombone, etc. I believe these changes represent a
positive advancement for world creativity, and a signal as to what the
future holds. My involvement with solo activity can be broken down into
several categories: one, the development of an alternative language pool
for improvisation (which for the past twelve years has involved
utilizing the altosaxophone as a separate tool for exploration); two,
the development of a body of solo music that utilizes improvisation only
in its infra-structure (a music comprised of 50% written material and
50% open material for every kind of instrument); three, the use of
traditional material in a solo context (involving the use of material
from every sector and time zone of earth music, from rags and bebop to
Western Art Music to Tibetan Music); four, the development of a body of
works for the creative multi-instrumentalist (that being a solo music
which would allow, and plan for, the use of several instruments and/or
medias in a given performance—including percussion and choreography);
five, the development of a series of completely notated works and six, a
more extended view of solo activity. All of these categories, and
hopefully new ones as well, will determine the reality of solo music as
we move to the next cycle. I believe we are now on the threshold of a
major vibrational and reality change in earth creativity and life. The
progressional emergence and participation of solo creativity will be
important for how it will clarify the nature of alternative creative
expansion.

In 1967 as a means to explore improvisation and composition I moved to
dissect the components of music methodology into several areas for
alternative investigation. At the time I referred to my approach as
‘conceptual grafting’—since the essence of this viewpoint involved
isolating various factors as a means to build a music from particular
parts, and this approach has underlined the route my work has since
taken. By ‘conceptual grafting’ I meant that a given composition could
be put together based on the integration of particular elements—as
opposed to the nature of its harmonic or thematic reality. In fact, the
reality of conceptual grafting would have nothing to do with
conventional harmony nor would there necessarily be a theme in the way
we have come to view this word. Instead this approach would move to
clarify the dynamic implication of ‘principal elements.’ The best
example to understand this approach would be to imagine painting a
picture with only blue or with only green, or better still with mostly
blue but with isolated touches of red and brown. The essence of
conceptual grafting is this and nothing more—that is, an attempt to
develop alternative considerations for participating in the creative
process, based on the reality of its ‘working ingredients.’ For the most
part, all of the material on this record can be viewed as representing
the first category of my involvement with solo music and as such the
basic focus of this essay will attempt to clarify just what this
approach is. The fact is, the reality of my solo music has served as the
basis of my total approach in creative music—and this is especially
true for how I have come to utilize improvisation. This can better be
understood by viewing the dynamic implications of the post Coleman and
Taylor juncture of the music in the sixties. For the information scan of
creative music in this period would transcend the nature of how
functionalism was perceived and practiced from the forties on thru to
the fifties. The dynamic implications of Coleman, Taylor and Coltrane’s
activity (among others) would exhaust the traditional application of
harmony rhythm and structure, and in doing so also establish the nature
of alternative investigation for the next generation of creative
musicians. My attempts to solidify an alternative methodology is a
direct response to what this development posed for both myself and for
expanded functionalism. For the expanded implications of post Ayler
creativity is not one dimensional but instead gives insight as to the
total reality position of alternative functionalism—as manifested in the
reality of creativity and/or composite information dynamics. With this
in mind, the accelerated continuum of alternative creativity must be
viewed for what its emergence will pose to the composite reality of
information dynamics and ‘particulars’—and will not be the work of any
one person but will solidify, in its nature state, as a result of the
work of many people. With this in mind, I offer my work as one approach
among many. The use of conceptual grafting has moved to give another
understanding of creative dynamics and information focus. For the
solidification and practice of this technique has helped to clarify my
understanding of alternative functionalism and/or musical language.
Moreover the reality of this technique has also moved to shape my own
improvisational vocabulary in other contexts as well. At present the
reality of my ‘working instrumental vocabulary’ has to do with the
extended use of conceptual grafting as an isolating factor for ‘idea
construction.’ In other words the dynamics of my participation in
creativity is not simply about ‘expressing myself’ as this is understood
in existential terms (as I am becoming less and less interested in
myslef in that position) instead, since the middle sixties I have moved
towards constructing a re-systemic viewpoint that clarifies the reality
dynamics of alternative methodology—with respect to the implication of
basic elements and reconstruction. By attempting to isolate and utilize
fundamental material in this manner, I have become interested in gaining
insight as to the composite implications of principle source
information–and what this could positively mean for transformation. The
essence of my work in this context can be viewed with respect to what
it raises about alternative functionalism, rather than what it signifies
about any one individual (although I have not meant to imply that this
technique is of no value for the individual). In other words, the
extended implications of a given mixture of elements transcends the
dynamics of any one person (which is to say, a given mixture of source
ingredients does produce a particular effect on any person experiencing
that mixture—no matter who is playing). All of the compositions on this
record—with the exception of the three pieces I have included from the
traditional repertoire—can be viewed with respect to the nature of its
use of conceptual grafting. For the dynamics of this principle do not
move to solidify one kind of music but instead help to differentiate one
procedure from another. Each composition on this record is built up
from a separate mix of elements—which is to say,
improvisation in this context is not simply about playing whatever seems
to be appropriate for the moment but rather ‘invention with respect to
the nature of its ingredients and the added demands of its schematic.’
What you have here is not a music designed for open improvisation rather
the technique of conceptual grafting can be viewed as an elastic
approach to composition. As such, the actual music on this record can be
viewed as one example of a particular mix—with the understanding being
that not only are other versions possible, but also other versions by
different musicians. The nature of a given ‘mix’ of material in this
process can be viewed in much the same fashion as one views chord
changes in traditional music. For the reality of a particular
interpretation must not only respect the principle ingredients of its
given mixture, but also the progressional sequence or ‘nature of
treatment’ of its components. As such, all of the material in a given
composition is dictated as well as how that material is to be treated
(or at least how a given principle is to be executed either technically
and/or conceptually). The challenge then for the creative musician is to
function from a given set of coordinates and actualize ‘it.’ This
approach can again be transferred to painting in the sense of making the
decision to paint a given picture using only blue as the principle
color—with red and brown for particular shapes–and basically choosing
to work from given shapes—like maybe deciding to use the ‘circle’ as the
primary shape and the ‘square’ as a secondary shape. In the final
analyses the concept of conceptual grafting gives insight as to the
reality of decision making— and the dynamic implication of
‘principle-material.’ The reality of conceptual grafting can be viewed
on several levels, for the dynamics of this approach is not limited to
any one region or information focus. Instead the continuum of this
forming methodology will address itself to both the implications of
re-functionalism and the particulars of spiritual designation. In other
words the dynamics of principle material is not separate from its
spiritual implications and its physical universe effect—and yet I do not
present this viewpoint as something new in itself, because it isn’t.
The fact is, the extended spiritual significance of information and
principle fundamentals has long been understood and practiced in world
culture (ie. Africa, India the American Indian, Tibet and the East) and
has only been subjected to dynamic confusion in the last five hundred
and some years in the West. There is now the need for new attempts to
deal with extended methodology—in all of its dynamic aspects
(encompassing the functional implications of a given system as well as
the vibrational and spiritual implications related to that system). Yet,
I am not proposing that the emergence of conceptual grafting will solve
this most complex problem—for the particulars of planet reconstruction
will involve much more than the dynamics of a given technique—but I can
say this approach has greatly clarified the route my own creativity has
taken. The basis of this approach has moved to give an alternative view
of principle material and reconstruction, and this information can be of
value in the search for the solidification of a complete alternative
methodology (and viewpoint). I see the technique of conceptual grafting
as only one factor in this resolidification—serving more in this period
as a foundation for extended investigation than a complete viewpoint.
The solidification of this approach in the middle sixties established
the nature of my involvement with creativity on many levels that I am
only now beginning to understand. In the beginning conceptual grafting
was only a tool I utilized for musical analyses—as a means to gain
insight into the music of my early influences—later, this same technique
would provide the basis for establishing my own creative viewpoint. As
such, the technique of conceptual grafting has helped me transcend the
reality of post-Webern organization and/or John Coltrane saxophone
licks, by providing a context for examining the dynamics of methodology
(that being—how given musical situations are formulated, and the
importance of understanding musical language). The realness of this
technique would clarify the dynamics of ‘principle working elements’
without imposing an empirical system separated from real spirituality.
In accepting this disciple the progressional reality of my activity has
become increasingly clear—that being: the reality of my work can be
viewed as an investigation as to the metaimplications of principle
formation—as it pertains to the dynamic fundamentals which solidify what
a given information line means in its expanded sense (its actual
physical universe effect as well as its spiritual assignment) and what
this implies for the formation of a possible alternative world music. As
such, to investigate the reality of various disciplines is to move
towards gaining insight as to the multi-implications of transformational
methodology—and what this poses for the dynamic cosmic factors which
dictate principle information. I have chosen this route because I
believe that the reality implications of creativity are directly related
to the progressional continuance of search life—and positive change. In other
words creativity is about something—and is not separated from the
fundamental laws that govern the composite universe. The nature of this
period in time has necessitated that this ‘something’ be investigated
and vibrated to, on as many levels as possible; and yet I have not meant
to construct a wrong impression about my viewpoint. In the final
analysis, I have chosen the route which makes the most sense for
me—which is to say, my work has not solidified because the universe has
necessitated that I come forth to save the planet. Rather I have moved,
like all of us, towards that which is most real to me—with the hope that
something of positive value can also come from what I am interested in.
I have included three compositions from the tradition on this record as
a means to have the widest possible spectrum of material. Each of the
compositions was chosen because of the nature of its particular
dynamics— that being, a blues from the tradition, a richly constructed
harmonic composition and a super harmonic structure from John Coltrane’s
third period. The use of traditional material in this context moves to
open new possibilities for treatment. Not only is there no piano voicing
chord positions but the rhythmic aspect of the music can also be shaped
more with respect to the nature of a given idea construction. As such, I
have regularly included standard material in my solo concerts (at least
for performances involving the use of material from category one
initiations) both as the color consideration, and as necessary material
in its own right. Finally it is important that the concept of conceptual
grafting be viewed in its most real context. In other words, I have not
simply constructed an organizational approach that has precedence over
the actual ‘isness’ of the music. Rather, the concept of conceptual
grafting was conceived as an alternative means to approach creative
organization and/or conceptual material. The challenge for the creative
musician is to make a given integration of elements ‘live.’ In other
words, the primary focus of the music is not on the ‘how’ but on the
‘is’—this is true whether the approach is perceived as traditional or
extended. Anthony Braxton ’79