UPC: 038153041519
Format: LP
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Personnel: Anthony Braxton (alto & soprano saxophones, clarinet, flute, musette, accordian, bells, snare drum, mixer); Leroy Jenkins (violin, viola, harmonica, bass drum, recorder, cymbals, slide whistle); Leo Smith (trumpet mellophone, xylophone, bottles, kazoo); Muhal Richard Abrams (piano, cello, alto clarinet).
Recorded at Sound Studios, Chicago, Illinois on March 27 & April 4, 1968. Includes liner notes by John Litweiler.
Recorded in two sessions in the fractious spring of 1968, Anthony Braxton's debut album as a leader has, on the surface, little in common with the fierce political and racial strife that was exploding across North America--not least in Braxton's hometown of Chicago--and Europe at the time. This is not angry music, and the philosophically oriented Braxton never lapsed into mere rhetoric. Yet THREE COMPOSITIONS OF NEW JAZZ is very much an album of its time. Saxophonist and composer Braxton, a founding member of the stalwart Association for the Advancement of Creative Musicians (AACM), the cerebral Chicago-based answer to New York's explosive free-jazz scene, created three challenging compositions. The first two of them are titled with the inscrutable mathematical equations that would quickly become his trademark, while the third, "The Bell," seemingly intentionally recalls Albert Ayler's similarly named improvisation from 1965. Almost completely lacking in traditional rhythm and melody, the three pieces for sax, trumpet, piano, and violin nonetheless sound "composed" in a way that many similar free jazz blowouts do not.
Recorded at Sound Studios, Chicago, Illinois on March 27 & April 4, 1968. Includes liner notes by John Litweiler.
Recorded in two sessions in the fractious spring of 1968, Anthony Braxton's debut album as a leader has, on the surface, little in common with the fierce political and racial strife that was exploding across North America--not least in Braxton's hometown of Chicago--and Europe at the time. This is not angry music, and the philosophically oriented Braxton never lapsed into mere rhetoric. Yet THREE COMPOSITIONS OF NEW JAZZ is very much an album of its time. Saxophonist and composer Braxton, a founding member of the stalwart Association for the Advancement of Creative Musicians (AACM), the cerebral Chicago-based answer to New York's explosive free-jazz scene, created three challenging compositions. The first two of them are titled with the inscrutable mathematical equations that would quickly become his trademark, while the third, "The Bell," seemingly intentionally recalls Albert Ayler's similarly named improvisation from 1965. Almost completely lacking in traditional rhythm and melody, the three pieces for sax, trumpet, piano, and violin nonetheless sound "composed" in a way that many similar free jazz blowouts do not.