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	braxBIOshort
		Anthony Braxton is widely and critically acclaimed as a seminal figure in the music of the late 20th century.
		Braxton's three decades worth of recorded output is kaleidescopic and prolific, and has won and continues to win prestigious awards and critical praise.
		Braxton's name continues to stand for the broadest integration of such oft-conflicting poles as "creative freedom" and "responsibility," discipline and energy, and vision of the future and respect for tradition in the current cultural debates about the nature and place of the Western and African-American musical traditions in America.
	www.wesleyan.edu /music/braxton/abbio.html (567 words)

	Anthony Braxton - Music Downloads - Online
		Braxton began with jazz's essential rhythmic and textural elements, combining them with all manner of experimental compositional techniques, from graphic and non-specific notation to serialism and multimedia.
		Although Braxton exhibited a genuine -- if highly idiosyncratic -- ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen.
		Braxton was able to fuse jazz's visceral components with contemporary classical music's formal and harmonic methods in an utterly unselfconscious -- and therefore convincing -- way.
	musicstore.connect.com /artist/092/Anthony-Braxton/9976120.html (751 words)

	Anthony Braxton - Sound Clip - MSN Encarta
		Free jazz emphasizes group improvisation while striving to transcend traditional musical elements, such as harmony, form, and meter, which are often viewed as barriers to expression.
		In the 1970s American alto saxophonist Anthony Braxton created new structures for improvisation by combining free jazz with European art music and a variety of African influences.
		Here, Braxton is heard improvising on a selection from his “Composition No. 161” (1992).
	encarta.msn.com /media_461524746/Anthony_Braxton.html (136 words)

	Anthony Braxton Information
		Anthony Braxton (born June 4, 1945) is an American composer, multi-reedist and pianist.
		Braxton's music is highly theoretical and mystically influenced, and he is the author of multiple volumes explaining his theories and pieces—such as the philosophical three-volume Triaxium Writings and the five-volume Composition Notes, both published by Frog Peak Music.
		Braxton's regular group in the 1980s and early 1990s was a quartet with Marilyn Crispell (piano), Mark Dresser (double bass) and Gerry Hemingway on drums was called "his finest and longest standing band".
	www.bookrags.com /wiki/Anthony_Braxton (996 words)

	The History of Jazz Music. Anthony Braxton: biography, discography, review, links (Site not responding. Last check: )
		Chicago's saxophonist Anthony Braxton (1945) was the "creative" musician who displayed the most obvious affinity with western classical music, scoring chamber music (both for solo instrument and for small ensembles), as well as orchestral music, that seemed aimed at extending the vocabulary of European music rather than the vocabulary of jazz music.
		The music that was born as an evolution of blues and ragtime suddenly competed with the white avantgarde for radical redefinitions of the concept of harmony.
		Braxton's process was obscure and often not very musical, but the concentration was worthy of a physicist discovering a new substance.
	www.scaruffi.com /jazz/braxton.html (1819 words)

	Anthony Braxton
		Born in 1945, Anthony Braxton began studying music at age 17.
		Braxton was an integral part of Chicago's experimental jazz movement, his work often standing in opposition to the more established movement led by John Coltrane in New York.
		Braxton is currently a tenured professor at Wesleyan University.
	www.epitonic.com /artists/anthonybraxton.html (224 words)

	Bill Smith : imagine the sound: Anthony Braxton & Leo Records
		For Braxton the journey was a difficult one as the general attitude toward his music by the jazz press was negative, and it was apparent, even 30 years ago, that many detractors would come to him in his life.
		In the two previous CD sets Braxton is surrounded by moldable youth, but here we have him working with his peers in a trio of international unity.
		Nowadays with recording techniques at such a sophisticated level, the quality of sound is equivalent to that of a studio, and the musicians have the opportunity to capture their music in a more natural context, without the confines of a studio or the opinions of a producer hampering the result.
	vancouverjazz.com /bsmith/2006/02/anthony-braxton-leo-records.html (2015 words)

	Anthony Braxton (Site not responding. Last check: )
		Braxton began playing clarinet in high school, studied music for one semester at Wilson Junior College, then joined the US Army, where he played clarinet and alto saxophone.
		Braxton formed his own group (later called the Creative Construction Company) with Leroy Jenkins and Leo Smith and their first release, 3 Compositions Of New Jazz, was recorded in 1968.
		Braxton also followed the AACM trend towards multi-instrumentalism, becoming an accomplished master on most members of the saxophone, clarinet and flute families.
	musicstore.mymmode.com /artist.do?artistID=4438 (792 words)

	ANTHONY BRAXTON (Site not responding. Last check: )
		A saxophonist, clarinetist, composer, and philosopher, Braxton was born onJune 4, 1945, in Chicago, Illinois, where he grew up on that city's South Side, the middle of five children.
		Braxton's 1968 album, For Alto, was the first and most influential solo saxophone recording to stem from the AACM of that era and may just be the most significant effort of its kind.
		Braxton's a musical scientist who, in his ongoing quest for knowledge and self-expression, rejects no piece of information, musical or other, that might help him realize his creative and philosophical vision.
	aacmchicago.org /members/Anthony_Braxton.html (192 words)

	Joe Fonda \| Discography \| Anthony Braxton: Four Compositions (Quartet) 1995
		Anthony Braxton - b-flat clarinet; sopranino and alto saxophones
		Braxton first explored this approach in such works from the late '70s and early '80s as "Composition 95," which called for the performers to be costumed (in the floor-length hooded cloaks of the then-emerging Zackko of Trillium figure) and make processional entrances and exits to and from the performance space.
		Braxton details the African leg of this route in "...Three Snapshots" when he discusses how "African ritual performance allows for a kind of actual ëtalkingí inside the music." The dynamics of this "inner communication" is consistent with the expression of African cultural memory in early-century African-American music in New Orleans.
	www.joefonda.digitalspace.net /cd_4comp1995.html (2277 words)

	Anthony Braxton : Oldies.com
		Braxton began playing clarinet in high school, studied music for one semester at Wilson Junior College, then joined the US Army, where he played clarinet and alto saxophone.
		Braxton formed his own group (later called the Creative Construction Company) with Leroy Jenkins and Leo Smith and their first release, 3 Compositions Of New Jazz, was recorded in 1968.
		Braxton also followed the AACM trend towards multi-instrumentalism, becoming an accomplished master on most members of the saxophone, clarinet and flute families.
	www.oldies.com /artist-view/Anthony-Braxton.html (168 words)

	Rambles: Anthony Braxton, News from the '70s (Site not responding. Last check: )
		Anthony Braxton is an enormously versatile and talented avant-garde musician and composer.
		Though Braxton has released many recordings, he is probably better known by reputation than actual listening experience because much of his music is experimental or otherwise difficult.
		It is influenced by Braxton's training in classical composition and wouldn't be much out of place in a concert of modern classical chamber music.
	www.rambles.net /braxton_news70s03.html (566 words)

	Anthony Braxton / Matt Bauder, 2 + 2 Compositions
		Anthony Braxton has of course had as much impact as anyone in modern (jazz) composition.
		Braxton writes, “Falling River Musics is the name of a new structural prototype class of compositions in my music system that will seek to explore image logic construct ‘paintings’ as the score's extract music notation.” Falling River scores consist of large, colorful drawings (reminiscent of the titles of Braxton’s earlier compositions) alongside much smaller writings.
		Braxton refuses to assign any specific meanings to the notations of his Falling River scores, since part of their purpose is to allow each performer to find her own way through them.
	www.482music.com /albums/482-1034.html (1025 words)

	SpiderMonkey Stories » Blog Archive » Braxton (Site not responding. Last check: )
		Braxton can just bring the pile of books written about him.”) I can in no way speak definitively on his music; he has such an overwhelming body of work, and while I am lucky enough to be a collaborator in some of his projects and a student of his work, I could never claim expertise.
		It is obvious to even the casual fan that Anthony Braxton’s name has been popping up on the radar with greater frequency recently, as the critical appreciation for his previous work increases and he is presently more active performing, with various ensembles and in various contexts, then he has been in a decade.
		It would be easy for Braxton to rest on his laurels, and revisit past successes; in fact, this would probably be more commercially viable in the present culture of museum jazz, retrospectives, and tributes.
	taylorhobynum.com /applications/wordpress/?p=6 (1510 words)

	Artists: Anthony Braxton
		Anthony Braxton and the Tri-Centric Foundation home page
		The Jazz Photography of James Radke includes one photo of Anthony Braxton
		A Conversation between Anthony Braxton and Volkan Terzioglu
	www.wnur.org /jazz/artists/braxton.anthony (213 words)

	ANTHONY BRAXTON
		TRY AS they might (and an example would be the recent packaging of a Braxton "bootleg" in a cover best fitted to the Ohio Players, circa 1974), it's difficult to constrain Braxton's music to the "race" categories that still apply in American culture.
		Braxton's attempt to square the circle has led him to a fairly rugged confrontation with materialism.
		Braxton is impressively and unaffectedly feminist and his personal voice - like the rapid interphase of voices on his phone - depends increasingly on a subdominant of femininity.
	www.thewire.co.uk /archive/interviews/anthony_braxton.html (1124 words)

	Amazon.com: For Alto: Music: Anthony Braxton (Site not responding. Last check: )
		Anthony Braxton's "For Alto" is one of the most bold recordings ever made-- Braxton, who was extremely new on the scene, recorded a double LP (73 minutes worth) of solo alto saxaphone performances.
		The "fascination," the proverbial point is that this albums is about you the listener and your environ at the times of listening, anthony braxton the musician at the time of recording, and the attempted elimination of spatial and temporal boundaries therewithin.
		anthony braxton is held to be a genius by the jazz literati, but, for me, he is the poster child for the problems of free jazz.
	www.amazon.com /Alto-Anthony-Braxton/dp/B00004U04J (2303 words)

	* Dusted Reviews - Anthony Braxton *
		Across his long and multi-faceted career, Braxton has always returned to solo performance, usually with just his alto sax on stage with him (and who can forget that it was his stunning, two-LP salvo For Alto that launched him into creative music in the first place?).
		From his debut up to some of his recent releases, Braxton’s solitary music making has served as both a workshop for his latest compositional and improvisational ideas and the crucible for his intelligent and warm personal expressions.
		As always, the majority of the pieces from this performance are Braxton’s own, though he mixes in a number of his favorite standards.
	www.dustedmagazine.com /reviews/1908 (262 words)

	Anthony Braxton 60th Birthday Collection
		Braxton received the check from the birthday collection you started, and is very thankful about it -- he will be putting the funds towards the 3 month long 60th b-day festival we are doing here at Wesleyan from Sept. -- Dec. 2005.
		Braxton's birthday provides a great opportunity for us to show our appreciation - not only of his music but for him as an artist who held out through rough times (like the first half of the 80s or the period after his expensive opera project "Trillium R", 1996).
		Braxton has been quite generous about his fans' sharing of OOP records (for example the scandalously unavailable Arista albums!) and even encourages it.
	members.a1.net /frafuchs/abraxtonbirthdaycollection.html (485 words)

	Duo Palindrome, Vols. 1 & 2 : Anthony Braxton / Andrew Cyrille : CD Reviews : One Final Note
		Anthony Braxton has recorded in just about every kind of situation imaginable, from solo performance to puppet theatre to accompanying a comedian.
		Culled from a single evening's live performance at Braxton's home institution, Wesleyan University, these performances are filled with surprise and familiarity, toughness and whimsy, focus and erring.
		Braxton is undaunted here, and simply wends his unique way through the music at hand.
	www.onefinalnote.com /reviews/b/braxton-anthony/duo-palindrome.asp (539 words)

	Anthony Braxton: Four Compositions (GTM) 2000 - Jazzmatazz Review
		Hurrah for Braxton the composer, committed to a multi-year project of Ghost Trance Music, compositions founded upon a rhythm or pulse structure.
		And hurrah for Braxton having the wisdom to return to a traditional jazz quartet format, as he is joined here by bass, drums and piano/melodica.
		On "244," Monk is found in a reed-melodica cavort, in a piano cycle of notes that holds the ghost of Monk’s theme, and in a march-step finale by the quartet.
	home.att.net /~lankina/jazz/Reviews/R0303b.html (224 words)

	[No title]
		Braxton emerged, in the late 60s, as one of the first fl artists to acknowledge a debt to European new music, including composers such as Stockhausen, Xenakis and Schoenberg.
		Braxton’s work encompasses everything from solo to small ensemble to pieces for large groups.
		This is quite revealing, as some of Braxton’s own compositions can often seem quite abstruse; but in the context of listening to him approach these two standards, it makes it easier to find and appreciate a certain lyricism in his own compositions.
	www.indiejazz.com /IJ-review-a-braxton-solo-milano.aspx (530 words)

	Anthony Braxton:: Donna Lee
		Braxton, the supreme innovator, dives right into the bop classic, "Donna Lee", where his thick outlining of the tune is so dutiful that his alto playing verges upon eery caricature.
		In other words, this doesn't resemble a jazz 'blowing session', for Braxton's unique and rigorous music is more composed and organized than we realize, but it is music for improvisors.
		Anthony Braxton alto and soprano saxophones, flute, contrabass clarinet
	www.thelivemusicreport.com /received/2005a/america/anthonyBraxton.html (424 words)

	Jazzmatazz Review - For Alto - Anthony Braxton
		After a short, soft introductory piece, Braxton quickly goes to "To Composer John Cage," which is played quickly, with ideas coming as fast as they can be played, filling up space with his playing.
		Braxton alternates blowing high overtones with a roaring rasp, using multiphonics to manipulate the timbre of his playing.
		Braxton uses overtones and multiphonics to make low growls, high squeaks and other sounds that give the piece an abrasive and pained sound.
	home.att.net /~jazzmatazz/reviews.p/R0010g.html (466 words)

	23 Standards (Quartet) 2003 : Anthony Braxton : CD Reviews : One Final Note
		The Leo label, in particular, has shown a long-term commitment to documenting Braxton's projects in a completist manner, with two double-CD sets each of his Piano Quartet with Braxton at the keyboards (also captured on another four-CD set on Music and Arts) and his 1997 Ghost Trance Ninetet at Yoshi's.
		Braxton, guitarist Kevin O'Neil, bassist Andy Eulau, and drummer Kevin Norton had been working their way through a book of the jazz canon including pieces by Shorter, Hill, Dorham, Henderson, and Rollins since 2000 (documented on CDs on the Barking Hoop and CIMP labels), but this is the most exhaustive and inclusive recording yet.
		Instead, Braxton internalized the vocabulary and in his words (from the liner notes to the first volume of In the Tradition) endeavored to "research the whole (time-zone) of improvised music in all its structural progressions".
	www.onefinalnote.com /reviews/b/braxton-anthony/23-standards.asp (827 words)

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