Marsh and Foster sound amazing. Fluid and interesting lines; brilliant and informed players. I admire how they embed hemiola linearly. The rhythm is hypnotic.
I saw a Braxton quartet in Berkeley. Sax, Trombone, Bass, Piano. They killed... mind blowing what I thought was outside bop. Nearly unbelievable. Later I learned of Anthony's affinity for Marsh and I finally understood where he was coming from. He called Marsh the greatest harmonic saxophonist in jazz. He's 26 years old here... getting a good education. Can you imagine?
I rarely post comments as I find these sections often unproductive, however I find the amount of negativity shown towards Braxton here somewhat offensive and elitist. Comparison used in a way to tear down another musical artist rather than realizing the reality that they are a different person with a unique perspective and ability diminishes the scope of which music allows the individual to express themselves. I fell in love with Warne’s playing several years ago, and I am still in awe of his creative use of phrasing and harmony for a unique expression that sounds like no other. Braxton in a similar way approaches music with his own voice that blows me away with creativity every time. Just because they both use sound to communicate their experience doesn’t mean, that one they are comparable in they ways people are using in this thread, and two that they should all just sound like Lennie playing the saxophone. Let people embody their experience and try to connect with that experience with a sympathetic mind. That’s what allows people to truly enjoy art and the best music is made.
It's totally a different Alto player until the 5:30 mark, like that's the top of the form, there is a pause and the Alto that comes in sounds totally different in terms of timbre and vocabulary. it's definitely Braxton as the second Alto soloist.
In fact I don't think ti's Braxton for the first bit. There's no way. you can hear the pause at 5:31, and then it's a totally different sound, THAT is Braxton. The first person must be lee, but it's also the most lose I've heard lee before.
I have to disagree. Sounds exactly like Braxton on the tape to me. It's a known session that is on Marsh's discography (www.warnemarsh.info/discography_2.htm) Braxton goes into great depth about his love for Marsh in Graham Lock's book "Forces In Motion." Braxton was living in LA at the time the tape was recorded, he moved there w/ Chick Corea & Circle. I read an interview somewhere (can't find it now) in which Braxton talked about playing with Marsh. Everyone else who has heard the tape acknowledges that it's Braxton. How the tape might be cut/spliced/etc I don't know. This is how it came to me. I did not put the whole tape on YT; I just put up the most interesting chunks. There's more, and there's definitely some odd cuts, but none that would make me doubt it's really Braxton playing. Also, note that Gary Foster is also playing alto from time time to time.
Right Im not saying braxton isnt on this, because he is, but I dont think he plays until after 5:31. You can hear a huge change in sound, feel, and vibe from before and after 5:31.
Joel is absolutely correct. Braxton begins playing at the 5:31 mark, and as always when he attempts to play over conventional harmony he sounds like a rank amateur. I never understood this part of Braxton and I ADORE his playing when he's on his own turf. This is the equivalent of Marsh stepping in and playing on the changes to "It's You Or No One" in the middle of Braxton's solo on "Lookout Farm / 73 Kelvin" from the Circle Paris Concert. I'm not saying that it's impossible to inhabit both worlds, but each requires its own attention and neither of these guys paid it out (and Marsh didn't even try, to his credit I say).
The noisy audience ruins it for me. There are much better recordings out there. The drums are a little too forward as well. The recordings with Konitz and Tristano are preferable.
Joel Steinke Incidentally, according to Lee Konitz from an interview in his book, Anthony Braxtons solo on East 32nd was literally “the worst solo he’s ever heard in his life”
Never heard anyone play more antithetical music to his inspirations. Braxtons favorite sax player is Paul Desmond of all people? Give me a break. Lee Konitz called Braxtons solo on this track “the worst solo he’s ever heard in his life”. Lennie would have thought this was butchery of his music to the highest degree. It’s like Braxtons goal is to sound like nails on a chalkboard, consciously removing every bit of sweetness from music, and somehow, doing the rhythmic reverse of grooving. Sounds like John Coltrane if Coltrane had never practiced a day in his life, and then got dementia.
Inspiration can come from anywhere and how you interpret that is you. Continue to draw in the lines and understand it in just one way. Lee Konitz is amazing but Braxton is dealing in areas that he probably didn’t get. I mean look at reviews of C. Parker they said the same thing. All these guys are orginals
Marsh and Foster sound amazing. Fluid and interesting lines; brilliant and informed players. I admire how they embed hemiola linearly. The rhythm is hypnotic.
Points for knowing what Hemiola means! I can't hear it, you have a better ear. Cardiacs use hemiola.
I saw a Braxton quartet in Berkeley. Sax, Trombone, Bass, Piano. They killed... mind blowing what I thought was outside bop. Nearly unbelievable. Later I learned of Anthony's affinity for Marsh and I finally understood where he was coming from. He called Marsh the greatest harmonic saxophonist in jazz. He's 26 years old here... getting a good education. Can you imagine?
Wow!!~!! thanks so much for postiing. some of the best Warne and Braxton i have heard.
check out warne with sal mosca at the vangaurd vol 1 and 2. The best warne in my opinion.
indeed. i have some of it on my channel
your channel is the bee's pajamas!
It is Gary Foster on alto, who is killing. Braxton starts at 5:33.
I rarely post comments as I find these sections often unproductive, however I find the amount of negativity shown towards Braxton here somewhat offensive and elitist. Comparison used in a way to tear down another musical artist rather than realizing the reality that they are a different person with a unique perspective and ability diminishes the scope of which music allows the individual to express themselves.
I fell in love with Warne’s playing several years ago, and I am still in awe of his creative use of phrasing and harmony for a unique expression that sounds like no other. Braxton in a similar way approaches music with his own voice that blows me away with creativity every time. Just because they both use sound to communicate their experience doesn’t mean, that one they are comparable in they ways people are using in this thread, and two that they should all just sound like Lennie playing the saxophone. Let people embody their experience and try to connect with that experience with a sympathetic mind. That’s what allows people to truly enjoy art and the best music is made.
braxton is killing here
whaaaaaaaaaaattttttttt
It's totally a different Alto player until the 5:30 mark, like that's the top of the form, there is a pause and the Alto that comes in sounds totally different in terms of timbre and vocabulary. it's definitely Braxton as the second Alto soloist.
In Portuguese there is a word called “tirambaço”, which means “violent kick”. LOL!
YESSS
Hard Level
just a subway ride away...
I still can't really believe this is Braxton. How do you know it's him?
It's just such a trip to hear him sound like lee, and then morph into his own vibe at the end! so unqiue
In fact I don't think ti's Braxton for the first bit. There's no way. you can hear the pause at 5:31, and then it's a totally different sound, THAT is Braxton. The first person must be lee, but it's also the most lose I've heard lee before.
I have to disagree. Sounds exactly like Braxton on the tape to me. It's a known session that is on Marsh's discography (www.warnemarsh.info/discography_2.htm) Braxton goes into great depth about his love for Marsh in Graham Lock's book "Forces In Motion." Braxton was living in LA at the time the tape was recorded, he moved there w/ Chick Corea & Circle. I read an interview somewhere (can't find it now) in which Braxton talked about playing with Marsh. Everyone else who has heard the tape acknowledges that it's Braxton. How the tape might be cut/spliced/etc I don't know. This is how it came to me. I did not put the whole tape on YT; I just put up the most interesting chunks. There's more, and there's definitely some odd cuts, but none that would make me doubt it's really Braxton playing. Also, note that Gary Foster is also playing alto from time time to time.
Right Im not saying braxton isnt on this, because he is, but I dont think he plays until after 5:31. You can hear a huge change in sound, feel, and vibe from before and after 5:31.
Joel is absolutely correct. Braxton begins playing at the 5:31 mark, and as always when he attempts to play over conventional harmony he sounds like a rank amateur. I never understood this part of Braxton and I ADORE his playing when he's on his own turf. This is the equivalent of Marsh stepping in and playing on the changes to "It's You Or No One" in the middle of Braxton's solo on "Lookout Farm / 73 Kelvin" from the Circle Paris Concert. I'm not saying that it's impossible to inhabit both worlds, but each requires its own attention and neither of these guys paid it out (and Marsh didn't even try, to his credit I say).
The noisy audience ruins it for me. There are much better recordings out there. The drums are a little too forward as well. The recordings with Konitz and Tristano are preferable.
could've told me this is Lee drunk and loose and I would've believed you
Joel Steinke Incidentally, according to Lee Konitz from an interview in his book, Anthony Braxtons solo on East 32nd was literally “the worst solo he’s ever heard in his life”
@@leobird8756 lee always knew how to vibe! Long live the vibe! People are far too forgiving on average.
Never heard anyone play more antithetical music to his inspirations. Braxtons favorite sax player is Paul Desmond of all people? Give me a break. Lee Konitz called Braxtons solo on this track “the worst solo he’s ever heard in his life”. Lennie would have thought this was butchery of his music to the highest degree. It’s like Braxtons goal is to sound like nails on a chalkboard, consciously removing every bit of sweetness from music, and somehow, doing the rhythmic reverse of grooving. Sounds like John Coltrane if Coltrane had never practiced a day in his life, and then got dementia.
You're demented and tone-deaf.
Inspiration can come from anywhere and how you interpret that is you. Continue to draw in the lines and understand it in just one way. Lee Konitz is amazing but Braxton is dealing in areas that he probably didn’t get. I mean look at reviews of C. Parker they said the same thing. All these guys are orginals