- --- In thewire@y..., "Vincent Kargatis / Anne Larson" <lartis@a...> >
Aa, I wouldn't start with that as my first Braxton. It's fairly dry,
> perhaps not very illuminating as a first exposure. Plus, there arebetter
> solo discs, WESLEYAN 1992 (hat ART) for one. I think most peopleThanks for the tips.
> Erstwhile is a legitimately experimental label, and most of themusic is
> genuinely "out there". Based on your reaction to SOLAR WIND, Iwouldn't
> necessarily expect you to enjoy this music - none of it could beWell I dont know-for example the following excerpt from the AMG
review of Forlorn Green gives me the feeling this is right up my
"The first track, "Man on the Outside," opens with several seconds of
the noisy, echoing sounds of people in a large room before the space
is suddenly sliced open by a deep but piercing blast from Greg
Kelley's trumpet. That tone is picked up with related ones and looped
by Jason Lescalleet's tape recorders, woven into a rich drone which
is in turn commented upon by Kelley's trumpet, and so on. It's a
wonderful and layered performance where it swiftly becomes impossible
to tell which sounds are live, which not, and, indeed, who's
responsible for a given effect. Not that it matters. The duo work
hand in glove to produce a dense fabric of improvised sound tending.."
Words like dense,rich,layered are usually what I look for though that
maybe because I just havent encountered the right "throttled" stuff
> "accessible" in the conventional meaning. But I also encourage youto
> listen more, and let your ears adjust - I hear nothing beauty-denying from
> Parker/Casserley, and "texturally-throttled" sounds like a goodtime to me.
Fair enough,the listening histories plus the constantly morphing idea-
clusters that dictate our predilections are so webbily intricate that
I've no problem appreciating that others happen to be at different
listening coordinates vis a vis Parker+Casserly or whoever.I may get
to those coordinates myself tomorrow,anything is possible!
- peter marsh wrote:
>And also _Slow Music_, a duo of Coxhill and Morgan Fisher, from around
> one of my faves is the recent 'digswell duets' on
> emanem featuring the estimable lol coxhill and simon
the same time (1980) ... I do believe it had a reissue in the last
couple of years.
"When I say no Im always right and when I say yes
Im almost always wrong."
-- Dwight Macdonald
nr: Julie Hecht, _Was this Man a Genius? Talks with Andy Kaufman_
- --- In thewire@y..., Jim Flannery <NEWGRANGE@S...> wrote:
> peter marsh wrote:around
> > one of my faves is the recent 'digswell duets' on
> > emanem featuring the estimable lol coxhill and simon
> And also _Slow Music_, a duo of Coxhill and Morgan Fisher, from
> the same time (1980) ... I do believe it had a reissue in the lastMore in this vein...
> couple of years.
1.Ulrich Krieger - Walls of Sound
I havent heard this one but the title sure is inviting.I dont think
it features a lot of electronics but going by the reviews delivers on
the atmosperic front.
2.Rhys Chatham - Neon etc...
Here's another Wire favorite,uses trumpet+electronics.His latest
release features trumpet-stylings over breakbeats(?!isnt that so
3.Mark Cunningham - Blood River Dusk inspired apparently by Cormac
McCarthy's bloody novel Blood Meridian(lots of blood there!)
Look here -
- He also worked with Phil Niblock on his Dideridoo piece!
Also does performances involving stretched strings, dissected pianos.
> 1.Ulrich Krieger - Walls of Sound-- Kraig Grady
> I havent heard this one but the title sure is inviting.I dont think
> it features a lot of electronics but going by the reviews delivers on
> the atmosperic front.
North American Embassy of Anaphoria island
The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm
>From: "slsreeni" <slsreeni@...>No crime in SOLAR WIND not doing anything for you, though if it hasn't been
>Words like dense,rich,layered are usually what I look for though that
>maybe because I just havent encountered the right "throttled" stuff
mentioned yet, the first Evan Parker Electroacoustic Ensemble record, TOWARD
THE MARGINS (ECM) is excellent and has a nice meeting of e/a textures and
free improvisation; maybe more to your liking. The second EPEE record on
ECM is pricklier, and I prefer it, but I guess I would try that one first.
I badly wish this group would record again, at length. Maybe a live
Since Ersthwile was mentioned, I must say that the
percussion-and-live-electronics meeting between Le Quan Ninh and Guenter
Mueller, LA VOYELLE LIQUIDE, is a stand-out favorite of mine. It's gorgeous
and mysterious and incredibly varied. Any records that kind of work in this
vein (aggressive live concret, a little more Parmegiani/Henry than, say,
p16.D4, who are also fab) would be much desired, and any recommendations
appreciated. If you like free improv, and don't mind a little noise, you
might really like the FLIRTS (Gert-Jan Prins and Cor Fuhler, on synths, etc)
and BART (Thomas Lehn and Marcus Schmickler on aggressive synth/computer
np: Parmentier, LUXSOUND (sigma editions)
MSN Photos is the easiest way to share and print your photos:
- On Mon, 25 Feb 2002, slsreeni wrote:
> You're right,however Braxton's ideas and sometimes his playing orYou seem to be conflicting medium with message here. You can just as
> atleast Wire's accounts of them strike me as futuristic(and exciting!)
> in the same way that most electronics strives to be.
easily make boring, retrograde music with electronics as you can with a
alto saxophone. At any rate, Braxton's music is well-steeped in several
traditions, including jazz (like the kind Wynton Marsalis likes) and
academic classical music. His synthesis is really interesting, but I
would hardly call it "futuristic".
> Thanks for the suggestion,I've been thinking 19 Solo CompositionsI think this is one of his more lyrical solo records. I wouldn't recommend
> myself with the cover art of flying albatrosses on Albion.What do you
> think of it?
any of his solo records for an initiate except for the very first one (For
Alto). One problem in diving into Braxton is that you kind of have to
listen to a lot of them to get a real feel for what's going on, because
his music definitely evolves over the first couple of decades (plus it
helps to have at least a familiarity with jazz). In fact, I would say
that it doesn't become fully realized until the 80s.
This work-in-progress feel is particularly a problem with his solo
records, which tend to come across as studies in improvisational methods
rather than fully fledged pieces of music (explicitly so with the New
Albion disc). Anyway, I would say that the thing that "9 out of 10
Braxton fans" would agree on is that his late 80s/early 90s quartet with
Crispell/Hemingway/Dresser remains the most consistent high water mark of
his career. I personally think that chasing down his 70s output on Arista
is a very illuminating process, but you might want to check some of that
quartet stuff to make sure there's a "there" there for you.
By the way, trumpets are not reed instruments.
>One problem in diving into Braxton is that you kind of have toAt the risk of opening a redundant can of worms, would anyone who's familiar
>listen to a lot of them to get a real feel for what's going on, because
>his music definitely evolves over the first couple of decades (plus it
>helps to have at least a familiarity with jazz). In fact, I would say
>that it doesn't become fully realized until the 80s.
with a very large chunk of Braxton's disco (say, upwards of 30 titles) care
to sketch out an essential line of development in his music through his
catalog? I own probably 40 of his records (remorseful glance cast over
shoulder, into the void, turning into pillar of salt, etc etc), but it's
always interesting to see how serious listeners of his set up the crucial
turning points, etc. If anyone is willing to take a stab at this, please
include even stuff that was never rendered digital. I lost track after one
of the 'Ghost TRance" discs (a studio quartet recording), which was
dsiappointing at the time. I'm sure after I get back into the old man's
music again, everything will have dropped from print.
>I would say that the thing that "9 out of 10 Braxton fans" would agree >onI'd just like to chime in to say that the 4cd WILLISAU live and studio sets
>is that his late 80s/early 90s quartet with
>Crispell/Hemingway/Dresser remains the most consistent high water mark...
by this band (HatArt) are phenomenal, and rather excellently recorded. They
have survived dozens of listens over the past 6 years for me. Amazing and
Chat with friends online, try MSN Messenger: http://messenger.msn.com
- From: "Kristopher S. Handley" <thesubtlebody@...>
> I lost track after oneAs far as GTM goes, and since you're already a Braxton convert, you *must*
> of the 'Ghost TRance" discs (a studio quartet recording), which was
> dsiappointing at the time. I'm sure after I get back into the old man's
> music again, everything will have dropped from print.
check out Composition 247 on Leo (2001), a marvelous GTM record with a trio
of two reeds and bagpipes. Really extends into newish-sounding territory
for Braxton, imo.
np: The New Pornographers - MASS ROMANTIC