Anthony Braxton’s periodical incursions in standards repertory are always a new way to think classical structures. His style is immediately clear: pixeling notes, sudden fastness, stretched sentences. A live recording with all the freshness one needs to be in deep touch with creativity and joyous interplay. Italian partners provide a vivid sustain, an evocative tone palette, a great rhythmic support and sincere brilliant solos.
An elegant cardboard 6 CD box (Decca style) including a 26 pages booklet with three little essays by Italian poet and writer Erika Dagnino Continue reading
PENUMBREA for Woodwind(s) and Bass(es) is a series of 26 blocks of material to be played or faceted, forwards or backwards. The piece was composed for this duo, comprising Anthony Braxton on woodwind(s) and myself on bass(es). Along with my other Penumbrea-system compositions, PENUMBREA for Woodwind(s) and Bass(es) may be viewed as building blocks to be uniquely reconfigured for every different performance/realization. In the case of the four individual Penumbras on this recording, Anthony and I each drew from a deck of playing cards, corresponding to blocks (26×2) of the composition, which determined the actual recorded material at Wesleyan. Later, living in Berlin, I used indeterminate methods as well as some personal preferences to construct the Penumbras into their present form. Thank you, AB, for inspiration, support and your incredible music (billions and billions…). RCD/ Berlin, Nov. ’05 …Anthony Braxton … and I each drew from a deck of playing cards, corresponding blocks (26×2) of the composition, which determined the actual recorded material…Chris Dahlgren Continue reading