This album is documentation of a solo alto saxophone
performance given by Anthony Braxton at the Colisée Desjardins in Victoriaville
QC, on May 21 2017, his first solo performance in four years. Throughout his
memorable career Braxton has returned often to solo alto saxophone
improvisation as a means of exploring sounds, concepts, and structures. He has been both nostalgically lyrical and uncompromisingly
abrasive over his 20+ solo releases, and while he may have mellowed slightly
with age, here Braxton delivers an extended performance with all of his
characteristic poise, intensity, and wit to an enthusiastic audience.
On ‘No. 392a’ Braxton disperses a simple flowing figure and continually
reworks it. With every pass it is embellished with additional gestures,
emphasis, and alterations on the central theme. His sound is excellent and this
song provides a good profile of both his tone and control. ’No. 392b’ begins
with staccato lines capped with contemplative legato statements and the
occasional reed squeal, laying down a path of logic for Braxton to elaborate
on. With each pass through, the overall profile is retained but the detail is
completely different, the number of variants rendered is impressive. ‘No. 392c’
is built around a rising and falling figure. The intensity of Braxton’s
glissandos is cut by quiet, more reflective contours in which he gives himself
space to shape his response. ‘No. 394a’ offers disjointed growling timbres and
pointillistic squeaking, hissing, and pad clatter. Rather than the semi-linear
development of the previous pieces, this one is asymptotic and highly varied. It
stands out as the most texturally oriented of the set. On ‘No. 394b’ a trilled
figure is stated elegantly and is then pulled and stretched out like molten
glass across the six-plus minute duration. ‘No.394c’ is populated with full,
measured notes that state and deconstruct the theme in a manner similar to that
of ‘No. 392a’. He repeats and searches the shapes, modifying and/or
recalibrating them, and in doing so reveals the underlying patterns he’s traced.
‘No. 395a’ is a good lively piece, finding Braxton adding phrasing from the
great American songbook to the bounce of the main figure, both giving it a
sense of antiquity and setting us up for what follows. As per Braxton’s custom
he has included a solo interpretation of a standard jazz piece in the set, in
this case the well-worn 1930 ballad ‘Body & Soul’. Braxton completely abstracts
the song’s structure, offering a reprocessed version full of sudden stops,
staccato runs, and eloquent motifs created from the shards of the original.
Only towards the end does he bring in noticeable elements of the fundamental
form, using them to color his strange construct. The last track ‘No. 395b’ provides
us a final burst of energy; the initial staccato runs dissolve into plaintive
gestures only to pick back up in tempo and restart, ending with Braxton
thanking the audience and their warm ovation.
While not as texturally diverse as Saxophone Improvisations Series F, or as spirited as For Alto, Solo (Victoriaville) is a documentation of a modern genius working
out and sharing fantastic ideas. Braxton’s methods are infectious to hear play
out, and you get a sense that he’s really enjoying himself. Nothing feels
rushed and there are strains of real inspiration rather than just someone
running through the motions. Braxton remains a creative titan, whether in solo
performance, in an ensemble, conducting his orchestras and operas you get a
sense that people are going to spend centuries decoding and studying his work.
Braxton Solo 10-6-17
at the October Revolution, Fringe Arts, Philadelphia, PA:
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