(Avant-garde / Free Jazz) Anthony Braxton 5 (5tet / Quintet) - Eight Compositions (Quintet) 2001 {CIMP #243, USA} - 2001, APE (image+.cue) lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
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Anthony Braxton 5tet / 8 Compositions (Quintet) 2001
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REM GENRE Avantgarde
REM DATE 2001
REM DISCID 77103309
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Anthony Braxton 5tet"
TITLE "8 Compositions (Quintet) 2001"
FILE "Anthony Braxton 5tet - 8 Compositions (Quintet) 2001.ape" WAVE
  TRACK 01 AUDIO
    TITLE "Composition No.295"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Composition No.300"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 09:30:19
    INDEX 01 09:32:58
  TRACK 03 AUDIO
    TITLE "Composition No.299"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 19:49:63
    INDEX 01 19:52:22
  TRACK 04 AUDIO
    TITLE "Composition No.294"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 23:30:68
    INDEX 01 23:36:13
  TRACK 05 AUDIO
    TITLE "Composition No.297"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 31:16:02
    INDEX 01 31:18:34
  TRACK 06 AUDIO
    TITLE "Composition No.293"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 37:12:55
    INDEX 01 37:15:09
  TRACK 07 AUDIO
    TITLE "Composition No.298"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 47:27:02
    INDEX 01 47:29:32
  TRACK 08 AUDIO
    TITLE "Composition No.296"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 52:07:37
    INDEX 01 52:09:71
  TRACK 09 AUDIO
    TITLE "Composition No.300 (tk.2)"
    PERFORMER "Anthony Braxton 5tet"
    INDEX 00 60:48:47
    INDEX 01 60:51:22

Recording day always starts with anticipation and the excitement mounts with the arrival of the musicians, new introductions, renewed acquaintances, and an almost physical ambiance of creativity. In the early afternoon of March 12, this was further heightened as The Spirit Room filled with the dozens of little percussion instruments and hand drums of various sizes (djembe, djundjun, songba, kinkini, conga, surf drum, tama, shekere, bells, rainstick) as Messrs. Carter, Carter, and Bellinger set about hammering down tensioners, stretching skins, and tuning the assorted hand drums, all of which slowly evolved into an of-the-moment percussion conversation. A break for an enthusiastic "talk & eat" lunch and, by 3:30 p.m., sound checks began to coordinate reeds and skins.
This is Anthony Braxton's (Chicago, IL, 1945) third trip to The Spirit Room; he's become acclimated. This time, he informs me upon arrival, he overshot the driveway only by about 100 feet.
I think only the musicians had an idea what to expect, but, having worked before with Anthony, we have a confidence in each other and I found this concept of reeds and African percussion intriguing.
They opened with Composition 295, and it occurred to me that this was a bit of a synthesis of the various forms that Anthony has been exploring since the 1960s. Although he had never recorded in this type of instrumental setting before, much of the lineage of Anthony's music of the past 30 plus years is clearly evident. Interesting also is how differently the percussion strategized and prepared between takes while the reeds worked on lines and embellishments. The percussionists caucused quite independently with themselves, working various patterns, emphases and cadences to fit the music and the structure prescribed by Anthony. Then the parts were put together, the audio emphasis usually on one of the parts. At times, the music sounds to me at cross purposes but it's really more pancultural post modern; something Anthony might suggest as very Third Millennial. Only an hour into the music and it was clearly evocative, not nostalgic – exactly what art-of-its-time should be.
At supper I learned that Abubakar (Alvin Carter, Sr.) (Coatesville, PA, 1941) has a long history of involvement with percussion and that he pretty much is considered the mentor for all the hand drummers in the Springfield, Massachusetts, and Hartford, Connecticut areas. Babafemi (Alvin Carter, Jr.) (Chicopee, MA, 1962), is his son and influence and respect between them is obvious. Sipho Bellinger (Stamford, CT, 1955) and Richard McGhee (Stamford, CT, 1955) have known each other since they were eight. This grouping came together because of Richard's friendship with Sipho and, through his work with Babafemi, he was introduced to Abubakar. Richard has also worked with Anthony. At Anthony's suggestion to expand their association, Richard brought all parties together.
Supper was familial and extremely conversational and suggested a commonality of understandings that was cross generational. Many experiences, one humanity. We were a bit slow to return to The Spirit Room and, once there, it took some moments to refocus. First the percussion, then the reeds, and then coordinating the two. Certainly this is a challenging situation for the percussionists, multi & odd rhythm demands and a coordination with 2 by 3.
Coordinate they did and, interspersed with lots of amiable conversation, we completed the concert and now offer it up to your listening experience.
Robert D. Rusch - March 13, 2001

Anthony Braxton has recorded in a variety of formats, from massive orchestras to solo alto saxophone. This CIMP session positions him with three percussionists and a highly complementary reedman. The session offers a clear view of Braxton's compositional process with the horns blowing in tandem. Richard A. McGhee III has a tone that matches Braxton in its dry vocalization. When Braxton and McGhee solo, they clearly connect their lines to the compositional motifs. The percussionists play carefully considered figures, often delicate and always firmly grounded, even flat-footed at times. The percussionists and horn players reflect each other's activities, but remain on parallel planes. The soundstage, set up with usual CIMP care, emphasizes this with the horns sandwiching the three percussionists. On "293" one can hear the way this works as the percussion rises and falls and the horns crescendo. The group also displays great delicacy, as on "296," with the contrabass clarinet and flute textures summoning images of a noh play. ~ David Dupont
Recorded on March 12 & 13, 2001.
Composer: Anthony Braxton.
Liner Note Authors: Marc Rusch; Anthony Braxton.
The Wire (2/02, p.67) - "...Places Ghost Trance Music within the rhythmic context of African percussion, which, combined with the progrssively variegated phrase shapes of '4th species' GTM, results in music thatbreathes fully and occaisionally sweats....a new point of entry..."