Anthony Braxton - 23 Standards (Quartet) 2003

[relyles]

I have had a limited exposure to Anthony Braxton's voluminous recorded output. Of the Anthony Braxton recordings that I have heard, I prefer his more “straight ahead” projects when he interpreted the music of others. In particular, I really enjoyed his recordings of compositions by Monk, Six Monk’s Compositions (1987), and Andrew Hill, Nine Compositions (Hill) 2000. The core unit on the Hill CIMP release is also on this four disc set - Kevin O’Neil on guitar, bassist Andy Eulau and percussionist Kevin O’Neil. I had the opportunity to listen to all four discs today and my initial reaction is very positive. Braxton’s approach to these standards is fresh and engages the listener. His distinctive playing on various saxophones personalizes the tunes and Kevin O'Neil is impressive throughout. I know this disc is not as challenging as most of Braxton's other recordings that many of you are familiar with, but I have a feeling that upon repeated listens this will easily be one of my favorite releases for 2004.

[Tom Storer]

Thanks for the review, Ron. I haven't heard this one, but my starting point is the opposite of yours: I much prefer Braxton when he's playing his own music. His standards playing is not without merit, but I just don't think it's his strong point, as much as he might love the material. I find that his jerky phrasing, stiff tone, and his general approach to melody don't serve jazz standards well. Of course, maybe this set is something entirely different from his earlier work. I may never know!

[relyles]

Originally Posted by Tom Storer

I find that his jerky phrasing, stiff tone, and his general approach to melody don't serve jazz standards well. Of course, maybe this set is something entirely different from his earlier work. I may never know!

No, it probably is not. I generally prefer to listen to original music as opposed to standards that I have heard a thousand times. I think Braxton's phrasing, tone and approach to melody may be exactly the reasons why I enjoy his standards playing. The recognizable tune provides a good reference point for me the listener, but everything else about the Braxton experience adds something different to the standard that I don't hear from most other artists.

Like I said, I have only heard a few of his non standard projects, but a recording like this helps me to appreciate his playing more and then maybe I will be better able to get into his own music the next time I give it a try.

[Ennis Snavely]

I need to go back and give "The Charlie parker Project" a listen. A few here had some negative things to say about that one, but I recall liking it.

I didn't like the Monk album, despite the presence of Mal Waldron and Buell Neidlinger. It just didn't do anything for me and I thought Braxton really played against the compositions, unlike an interpreter like Lacy who really gets inside the seemingly simple constructions that Monk came up with. Braxton kills "Skippy" by just playing fast, capturing none of the character of the piece. Lacy's take on the same tune (with Waldron and Neidlinger) is just perfection. On the other hand, it may be unfair to compare any other Monk interpreter to Lacy who was really able to channel and extend Monk like nobody else.

Braxton's readings of "All the Things You Are" on various recordings (Trio/Quintet - Town Hall and the 1989 trio with Tony Oxley) are great, however. I have not heard the Steeplechase or the later standard albums with Hank Jones.

[Nate Dorward]

There's a thoughtful, not-entirely-positive piece on the set by Dan Warburton here:

http://www.bagatellen.com/archives/reviews/000592.html

[stonemonkts]

but I can't help thinking that in choosing to release 23 tracks instead of settling for half as many, Anthony Braxton has missed out on the chance of releasing one of this year's most spectacular double CDs.

Dan Warburton

Perhaps not entirely positive, but that ending quote suggests there's something special about half of it, at least.

[relyles]

Originally Posted by stonemonkts

Dan Warburton

Perhaps not entirely positive, but that ending quote suggests there's something special about half of it, at least.

I had a similar thought. Four CDs seemed a little excessive. There are a couple of tracks which did not work as well and it probably could have been condensed into an incredible two disc release. Nonetheless, for me the tracks that do work are exceptionable.

[Nate Dorward]

"exceptional"!


I gather that a further 4 CDs from these sessions are in the works.... good or bad news, depending on whether you agree with Dan.

I still haven't heard this one.

[relyles]

Originally Posted by Nate Dorward

"exceptional"!

Thanks. When I originally typed the post I had a brain dead moment and could not remember the word.

[gnhrtg]

Originally Posted by Nate Dorward

"exceptional"!

Or "not"? As in "the tracks that do not work are exceptionable [as regards their being that way]"? Help a non-native speaker sort(ie) this out.

Despite the mostly positive feedback I've gathered from friends here, I haven't yet picked this up either. Would certainly have done so if this were a 2-disc release - has to do with how much I can listen to and the price rather than the quality of the music.

[jazzfiend]

Very nice review, relyles. This box has become my favorite release so far this year. Sure, there are a few problematic cuts, primarily when Brax plays his sopranino. (several with seemingly technical difficulty in negotiating the heads). But I even enjoy these tracks for the most part. His playing is very exciting and inspired throughout, especially on alto. In fact, as much as I love Willisau, Santa Cruz, & Dortmund, some of his playing here is just plain fabulous. Maybe it's the reference point provided by these wonderful tunes that works for me, but his fresh approach and unique phrasing, along with his great sense of swing, makes me keep these discs next to my cd player. There are many highlights, including 3 Coltrane tunes, Shorter's Ju - Ju, Rivers' Beatrice, After You've Gone, Can't Get Started, and a killer, swinging take of Ill Wind.

The band is wonderful throughout, with O'Neal proving that he is indeed a remarkable musician and guitarist. In fact, he may have much to do with the inspired playing of Braxton on these sessions.

Jon Rosenberg did a fine job engineering these live sets, providing an open, airy, detailed sound. According to Jon, Braxton is incredibly proud & happy with the recordings, and believes they include some of his own very best playing on record. In fact, he's planning to release another 4-cd box of sessions from the same 2003 European tour. Not sure if will be on Leo or another label. I, for one, will start saving my pennies for this momentous occasion.

DMG is now selling the box for 60 smackeroos. Y'all should snag one!

note: just listened to "Ill Wind" again, and Braxton's extended alto solo caused me to have chills up & down my spine. His powerful swing and incredible harmonics are indeed exciting and memorable.

.

[Tom Storer]

Fiend,

You and Ron have me wondering if I shouldn't pick this one up to see what's so exceptional about it. Still... 4 CDs...

[John L]

Originally Posted by Tom Storer

Fiend,

You and Ron have me wondering if I shouldn't pick this one up to see what's so exceptional about it. Still... 4 CDs...

What's a mere 4 CDs to Braxton's discography?

[jazzfiend]

Tom, stop wondering, and take the plunge. You shall be very pleasantly surprised. In fact, there's a good possibility that you may become an effective advocate of said box.

[Nate Dorward]

Oh, never mind my nitpicking about diction, god knows I muddle enough things myself. "Exceptionable" = "objectionable" or "unacceptable" (as in "to take exception to") rather than "excellent".

This one sounds interesting, but, hm, I really have to think before purchasing a 4-CD Braxton box, esp. of his standards readings. Maybe I'll just settle for purchasing the earlier Hill disc with some of the same guys on it.

[relyles]

Originally Posted by Nate Dorward

Maybe I'll just settle for purchasing the earlier Hill disc with some of the same guys on it.

I really enjoyed that one. Hill's material is a little more challenging than most of the standards on this disc and it the quartet plays the material very well - IMO.

[Ennis Snavely]

You guys have pequed (how's that for spelling) my interest. I may start with the Hill CD, or I might just take the plunge.

The only Braxton recording I was sorry I bought (besides the Monk) was one of his piano quartet recordings on Leo. I was just never able to get with taht stuff, dispite Marty Ehrlich's wonderful (exceptionable, even) work.

[stonemonkts]

I gladly bought the set and enjoy it, but I think it's only fair to say that if you (or anyone) don't care for the Monk recording, you may not care for this set as well. I would say his approach to these standards is quite similar to his approach to Monk's music. Jazzfiend - chime in if you agree or disagree.

I like the Monk CD so for me the similarities aren't a hindrance.

[jazzfiend]

LeMo, what are your thoughts on this release? Do you get goosebumps from this incredible box set?


Stoner, I somewhat disagree with your comparison to the Monk session. Here, I find Braxton playing with much more emotion & feeling, and he's so relaxed & flowing on these standards. Part of the reason for this lies with the players assembled here. This rhythm section swings in a more conventionally relaxed fashion, which seems to inspire Brax to kick back a bit while retaining the passion & creativity. O'Neal's wonderful comping and overall musicality even inspires me to dust off my old alto and kick out the jams. Lordy, I just love Braxton's spin on these old classics! Freshness personified, baby!

[jazzfiend]

up for LeMo

[LeMo]

I've told my view in the Bagatellen thread, fiend and I have nothing more to add as you have express my own feelings perfectly.

Very glad to learn that my joke about a second four CDs boxes at Warburton will become true.

Like I've said in this thread, I've heard some wonderfull stuff at the third concert I've seen from that band during this tour, in Gent, who was even better than the two previous and was surprised and a bit disappointed that this material wasn't included here.

I don't know if any recording has been made of the parisian date, at the "New Morning", who was, in fact, the first of this european tour, but I've been told than, when Braxton arrived in Paris the day of the concert, he discovers than, if he has his others reeds with him, he has forget his alto in New York (something who must not surprise people who knows him a bit. It happens, few years ago, that he has forgive his... BASS sax in his hôtel room in Hamburg!)
So, with his european manager, Rob Leurentop, he has to go to Selmer and spend part of the afternoon to choose a new one.
I just wonder if Braxton had to pay for it.

[crawjo]

jazzfiend,

First a comment: Of all the posters on JC, you must have the highest ratio of signal to noise in your posts, because you seem like such a major presence on the jazz threads and yet you have (comparatively) fewer posts than a lot of other people. Bravo. Your love for the music is very inspiring.

Now, about this set. When you say it is worth taking the plunge, how much is it worth? I mean, where would you rate this on a scale of 1 to 10? I've just been getting into Braxton the last several weeks, and have liked every thing that I have heard, from the BYG/Actuel Sessions up through his '90s stuff on Leo. Obviously there is a lot that I haven't heard, and I'm sure Braxton has a few duds out there, but I haven't found any of them yet.

[Steve Reynolds]

fwiw - I love the Monk record, the Parker record and the Tristano record

I'm sure I would like this one

crawjo - do you have Basel & Dortmund?

I know Willisau is gard to find - I remember when I bought it for $64 and within 2 weeks cadence was offering the last copies for $32

[jazzfiend]

Crawjo, I appreciate the kind words. I believe it was my main man Reynolds who really turned me on to Braxton, even tho I had a few of his lp's earlier.
Regarding the box set, it really depends on your personal perspective. For me, hearing Brax playing standards with a swinging rhythm section is often better than sex. But hey, at my age...... Have you heard Brax in any of his standards sessions? If you dig them, you may well find the box very satisfying. As much as I love his more challenging stuff, I find myself constantly returning to these sets for their pure joy & Braxton's very unique and fresh approach to the classics. This band is a swinging machine, which includes a remarkable guitarist, who is largely responsible for inspiring the great reedman. It ain't perfect, however. Brax has some technical flubs with his sopranino in several tracks. But his great spirit and unique phrasing bring me lots of joy & happiness. It's fully worth the 60 smackers.

[crawjo]

Originally Posted by Steve Reynolds

crawjo - do you have Basel & Dortmund?

I have Basel, and love it. I've been trying to get Dortmund for awhile. Every time I try to order from Cadence they are out of it. Now they tell me to try again in two weeks, that they are reordering. So hopefully soon...

[crawjo]

Originally Posted by jazzfiend

Crawjo, I appreciate the kind words. I believe it was my main man Reynolds who really turned me on to Braxton, even tho I had a few of his lp's earlier.
Regarding the box set, it really depends on your personal perspective. For me, hearing Brax playing standards with a swinging rhythm section is often better than sex. But hey, at my age...... Have you heard Brax in any of his standards sessions? If you dig them, you may well find the box very satisfying. As much as I love his more challenging stuff, I find myself constantly returning to these sets for their pure joy & Braxton's very unique and fresh approach to the classics. This band is a swinging machine, which includes a remarkable guitarist, who is largely responsible for inspiring the great reedman. It ain't perfect, however. Brax has some technical flubs with his sopranino in several tracks. But his great spirit and unique phrasing bring me lots of joy & happiness. It's fully worth the 60 smackers.

Thanks, fiend. I have not yet heard any of the Standards sessions. I see no reason why I wouldn't like them, though. I really like Braxton's challenging stuff, but it is more for the reasons you state, namely his unique phrasing and the spirit conveyed through the music.

[MRS]

http://www.jazzloft.com

[claude]

Originally Posted by crawjo

I have Basel, and love it. I've been trying to get Dortmund for awhile. Every time I try to order from Cadence they are out of it. Now they tell me to try again in two weeks, that they are reordering. So hopefully soon...

I just picked up Dortmund for ~C$15 last week at my favourite local music shop. I only had one other Braxton before this one (3 compositions) that didn't really grab me, Dortmund is the shit though! I bought six disks that day and that is the one that I keep spinning over and over. I was surprised at how straight-ahead Dortmund is (but with plenty of edge though, just the way I like it).

[Ennis Snavely]

You can't go wrong with any of Braxton's small group stuff from the 70s through the end of the Crispell/Dresser/Hemingway group, IMO. I have not heard much of anything after that, so I have no opinion about recent stuff.

I really like the quartet from '84 (I think) on Black Saint with Crispell, Lindberg and Hemingway. The previous one on Black Saint from '83 is with George Lewis instead of Crispell and it is equally good.

Also, check out the quartet with Ray Anderson, Lindberg and Thurman Barker on HarArt.

It's time for the Mosaic box of the Arista years.

[Jason Bivins]

What Snavely said. There is so much good Braxton floating around on vinyl, that I'd recommend to anyone remotely interested that they start haunting Ebay. Some of his best work has never been issued on disc, but is not terribly hard (or expensive) to acquire:

7 Compositions 1978

Moers Quartet 1974

Moers Solo 1974

NY Fall 1974

Five Pieces 1975

Etc., etc., etc.

Not that the above-mentioned Hat stuff is less than stellar. I just know that after I stumbled on Dortmund in the early 90s - after having only heard "3 Compositions of New Jazz" - I had the bug big time and set about gobbling up everything I could. Not a completist (shit, only Ollie has that damn comedian record I think - and though recorded at my beloved alma mater, I ain't touching "For 4 Orchestras"), but Brax is a major household deity.