Anthony Braxton (b. 1948)


  1. Anthony Braxton – Composition No. 62 ( + 30 + 96) 5:48

    Soprano Saxophone – Anthony Braxton
    Synthesizer [Kurzweil 250 Digital Synthesizer] – David Rosenboom

    Anthony Braxton, composer, multi-instrumentalist, teacher, and conductor, was born in Chicago, where he began studying music at age 11. After service in Korea with the 8th Army Band, he returned to Chicago and enrolled in Roosevelt University and Chicago Music College, studying philosophy and music composition and harmony. In 1966, Braxton joined the Association for the Advancement of Creative Musicians (AACM) in Chicago, an organization considered to be instrumental in the development of creative improvised music in the 1960's and 1970's. Since that time, he has recorded widely and performed throughout the world, winning numerous prizes and awards for both composition and performance. He is an acknowledged leader in the field of systematic improvisation and extended instrumental music, has recently composed large scale, operatic works and produced several volumes of theoretical, aesthetic and analytical writings about music. In 1985, he joined the Mills College faculty as Darius Milhaud Associate Professor of Music.

    Composition No. 62 ( + 30 + 96) is a combination structural platform that establishes terms (and particulars) for creative participation. The reality of this forum takes material from three different compositions to be used as fixed/mutable information for collective improvisation. This is in keeping with my idea to establish a universe of interchangeable and interlocking structural systems and multiple criterions (to be drawn from the collective pool of my completed works and systems). This is a 'state of being' for two instrumentalists that 'flows into the open space' (into the 'electric moment'). Composition No. 62 ( + 30 + 96) is a vibrational imprint image (context) that provides terms for interaction dynamics. The listener is given this experience as a sonic journey that involves the collective input of both instrumentalists. Believe me, Jelly Roll Morton would have understood the beauty and excitement of this soundstate. Ideas are flowing in every direction. I wanted this effort to serve as a platform for David Rosenboom and myself to relax and play (think/feel) music (sound/logic... and dreams). Improvisation in Composition No. 62 ( + 30 + 96) is the 'fluid' of the sound space that binds the composite logic of the experience. 'I dare each musician to not make a mistake!"' (Anthony Braxton)

    From Music From Mills (1986)