So I've had this Anthony Braxton record " new York fall 1974" and I keep returning to it.
Number 23 b ( or cut one ) off this record is a great opener and sets a tone for this time period and particular era of Braxton's aesthetic that really resonates with me and makes for repeated listening ( ... To the point of wanting to transcribe it ).
Check out this video on YouTube:
The whole record feels perfect and everyone is a true virtuoso here. The other side of the record has work that also includes Richard teitelbaum on moog synths. Although everyone is a badass, on this listen I decided to further search for things on the Internet about trumpeter/ fluegelhorn guy Kenny wheeler. As I find out more and hear more stuff of his I am more and more intrigued and digging his stuff. Trios, big bands and various formats and in several contexts too. Avant guarde stuff with Evan Parker and really nostalgia inducing inside-ish ECM vibes from late 70's ( especially with Norma winstone singing in that style reminiscent of brasilian female singers of the era ). His interests and crossovers show a balance that I'm really quite struck with ( as many are too ' something for my picky and under informed and unqualified current tastes ) - he is clearly a session dude who can totally arrange for larger ensembles and isn't dabbling with avant guarde when he does it.
I also dug how in the interviews ive read he states that he isnt totally comfortable with bebop or planning solos or having licks. This is something stylistically and almost ethically that i am gravitating towards.I am definitely beginning to get a little into him!
I'm making a concerted effort to explore avant guarde and feed my tastes and get informed - I've for years been in a " yeah yeah, I will get around to that" place... It's been long enough of this "phase " and even through most of the time I crave things that deal with improvisation form and melodic harmonic content in ways that are often discussed here but there is an undeniable history and exploration and mastery of a myriad of vibes and highly skilled technicians that have honed things in the service of highly individualized personal statements . I have been putting this stuff off partially because I haven't previously seen somebody's merit or skill or found it at odds with more conventional modes of expression or I've been at first or first 20 listens simply deaf to or just a priori decided on not listening to the command someone may have over a certain technique or unappreciative of a state or vibe the person is showcasing. There is a lot that I still find for lack of a better term wack but I've been subjectively sifting. Another reason for putting things off in this area is a downright fear of some of the unknown , period. Some people have made super unprecedented stuff. Some stuff may be being made with other cultural motivations in mind - things that aren't solely for entertainment purposes and especially through the avenues that have safely been tread upon as a mode of expressing a certain vibe only.
I was checking out some :Evan Parker, some tony oxley , Gordon beck ( who played with holdsworth ). I don't know what will come of it - I think it's mainly about exposure. I just feel to consciously show myself another way despite my feelings . I have fear or anger at some music and I kind of find that almost inappropriate and want to know what are my secret assumptions or biases contributing to this. Just the Internet and things I've read or people that know more suggesting stuff. I also finished a book of interviews with Steve lacy and parts of it were super inspiring. Idea of grappling with getting around your instrument, honestly improvising, the discipline of learning a body of work ( in his case monk and then to a lesser degree some modern classical composers, and all the while a commitment to making systems or ways to develop a personal style and later language ( that houses a body of work ) . Basically , I totally dig the more conventional stuff and gravitate to it: Desmond , bickert, Ted Greene , and later tristano , bud Powell And all the stuff I love historically or for structure or feeling or virtuosity . I feel it's incomplete to not be aware and know more thoroughly a history techniques or people and stuff in and around this other facet and discipline - that Braxton really strikes the balance for me on most levels but I can't keep out of guilt reading Steve Coleman essays to indirectly justify my desire to check out something more ' balls out 'from 40 years ago. I need to check it out and examine or set aside being freaked out by ( and i mean fear )sun ra and Cecil Taylor .
PS, after reading the lacy book and checking out various stuff of his I am seriously debating taking up ( I also got my wife's permission ) soprano sax! I love lacy but even anybody ( aside from smooth shit ) playing it really gets me... To the point where I could provably be really stoked to make this sound for myself. I also wonder if it would be an escape from chipping away at guitar.