December 31, 2010 – 3:51 am

Let’s greet 2011 with Anthony Braxton’s music and his hope that in the coming years somehow room will be made for non-marketplace artists.

Click on the panels for a better view or to download artwork.

Anthony Braxton 65th Birthday Benefit for the Tri-Centric Foundation [no label, 3CD]

Live at (Le) Poisson Rouge in New York, June 18, 2010. Excellent audience stereo recording.

The appeal of Anthony Braxton to his peers can be summed up by this quote from his longtime bassist Mark Dresser:

“I had the pleasure and honor of working with Anthony for nine years, from ‘85 to ‘94, in a quartet with Marilyn Crispell and Gerry Hemingway. It just had magical chemistry. The group evolved a way to play his music that was not so much about the soloist, but about the ensemble. It was democratic in a way that anything we played would work. It’s a very, very flexible, modular approach.

“For example, if we had five major pieces in a set, in between, there might be sub-assignments for me and Gerry. But outside of that, anyone of us could do anything else. That means I could pull a piece from another part of the book and play it as notated music as a background. I could improvise. What was special about that group unlike any other I’ve played in is a maximum balance of responsibility and freedom. Anthony has a way of empowering his sidepeople…”

Braxton’s music never sold in large numbers for the majors to notice. But his peers did. Two benefit concerts were held in June to celebrate the talented musician and composer, educator and philosopher’s 65th birthday. His friends number among the top musicians in the avant garde scene. They played Braxton all night and on this June 18 night, the more experienced were featured.

The concerts were for the benefit of the Tri-Centric Foundation, a not-for-profit organization dedicated to realizing Braxton’s most ambitious projects and inspiring younger generations of creative artists. As a board member of the Tri-Centric Foundation, Taylor Ho Bynum, also in Braxton’s large ensemble, explained Braxton’s relevance:

“There are the existent models for organizations that raise money: the philharmonics and the operas and the places that do jazz. Anthony’s a black guy with a saxophone. It’s like you can go and play a quartet gig in Europe or at this club here. But he wants to do a four act opera with a twelve-person cast and a 50-piece orchestra. We’re doing sonic genome projects with 100 musicians playing for eight straight hours. His ideas completely transcend the boxes that people try to put him in.

“So the Foundation is here to support him, but ultimately the point is not to get 10,000 people doing Anthony Braxton’s music - it’s to get them doing their own music with a kind of vision, integrity, and beauty that Anthony has done with his own. We’re here to celebrate all of the ripples that his creativity has generated by bringing these people together in one room. The energy is so fantastic.”

It’s hard to imagine this being supported in $heep City, $ingapore where they recently told top-ranked bio-scientists to discover something that can sell or ship out. We’ll leave you with these words from Anthony Braxton, full speech also found on the first track of CD3:

“These guys and gals represent America and [our] composite reality. What a strange period we find ourselves in. The Internet is here. Things are upside-down. A new reality is coming in. My hope is that in the coming cycles somehow room will be made for non-marketplace artists who are trying to pursue their work…

“…The times are changing. Geopolitical dynamics are changing. Vibrational dynamics are changing. But everywhere I go, especially in America, I meet men and women of good will. I meet artists who have taken on the discipline in the old tradition, with total dedication and love. And it’s still happening now, just like a hundred years ago. We continue to turn out generations of artists who are ready to make the sacrifices that have to be made. What a life! So, at 65 years old, I find myself here this evening. If you have to be 65, this is the best way to do it.”

This sought-after recording was shared on Dime by bill123 in December 2010. Thank you.

Thanks also to Ed Saad, djwilly and Andrew Raffo Dewar for helping to identify some of the tracks. Wrote djwilly, “The Braxton/Teitelbaum duet was an improvised piece. (Teitelbaum had expected to play solo but Anthony wanted to join in and some spectacular music was played.)

“Crispell/Dresser/Hemingway were playing a variety of Braxton’s musics at the same time (they were the band during his “collage form structures” and “pulse form structures” compositions, after all) Again, unexepectedly, Braxton took the stage, a microphone was set for him, and the trio’s collage shifted into Coltrane’s “Impressions” to round out the set.

“John Zorn/Dave Douglas/Brad Jones/Gerry Hemingway played Braxton’s Composition 23D, Douglas’ “Backyard”, and Zorn’s “Mibi”.

“The 12 & 2tet played Composition 361 and, for an encore, an improvisation incorporating Braxton’s Language Musics.”

Click on the highlighted tracks to download the MP3s (these are high quality MP3s - sample rate of 224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. Please try again later. Kindly email us at [email protected] if you encounter persistent problems downloading the files.

Disc 1
Track 01. Improvisation - Matt Welch (7:46) (12.4MB)
Track 02. Unknown Braxton - Coleman Finlayson (18:33) (31.2MB)
Track 03. Unknown Braxton - Coleman Finlayson (3:16) (5.2MB)
Coleman pays tribute with a short speech at the end
Track 04. Improvisation - Teitelbaum Braxton (16:06) (27.1MB)
Track 05. Opus 23D - Zorn Douglas Hemingway (11:06) (17.8MB)
Click here if you reside in North America
Click here if you reside outside North America
Track 06. Backyard (D Douglas) - Zorn Douglas Hemingway (7:42) (12.3MB)
Track 07. Mibi (Zorn) - Zorn Douglas Hemingway (4:46) (7.6MB)

Disc 2
Track 08. Unknown - Nicole Mitchell (7:46) (13.1MB)
Track 09. Unknown - Nicole Mitchell (5:00) (8.0MB)
Track 10. Unknown - Nicole Mitchell (4:24) (7.0MB)
Click here if you reside in North America
Click here if you reside outside North America
Track 11. Unknown - Nicole Mitchell (6:00) (9.6MB)
Track 12. Unknown - Nicole Mitchell (5:05) (8.1MB)
Track 13. Improvisation / Impressions - Crispell Dresser Hemingway Braxton 2010-06-18 (34:01) (57.2MB)
Braxton joins on the last 5 minutes and leads the quartet into Coltrane’s Impressions.

Disc 3
Track 14. Anthony Braxton speech (4:43) (7.5MB)
Click here if you reside in North America
Click here if you reside outside North America
Track 15. Composition 361 - Anthony Braxton 12+1tet (20:33) (34.5MB)
Track 16. Improvisation w Language Music - Anthony Braxton 12+1tet 2010-06-18 (4:53) (7.8MB)

The lineup
6:00pm: invocation by Matt Welch
6:15pm: Steve Coleman & Jonathan Finlayson
6:45pm: Richard Teitelbaum
7:15pm: Nicole Mitchell’s Black Earth Strings
7:50pm: John Zorn / Dave Douglas / Brad Jones / Gerry Hemingway
8:25pm: Marilyn Crispell / Mark Dresser / Gerry Hemingway
9:00pm: Anthony Braxton 12+1tet [AB (reeds), Taylor Ho Bynum (cor), Jessica Pavone (vla), Jay Rozen (tba), Carl Testa (b), Aaron Siegel (perc), Mary Halvorson (g), Steve Lehman (reeds), James Fei (reeds), Andrew Raffo Dewar (reeds), Reut Regev (tb), Sara Schoenbeck (bsn), Nicole Mitchell (fl)]

3 Compositions of New Jazz is the debut album by Anthony Braxton released in 1968 on the Delmark label. It features performances by Braxton, Leroy Jenkins and Leo Smith with Muhal Richard Abrams appearing on two tracks. Click on the link to order the album.

For Alto is a jazz double-LP released in 1970. The tracks on this album are performed by Braxton on alto saxophone, with no additional instrumentation or musicians and no overdubbing. Click on the link to order the album.

Beyond Quantum is Braxton’s 2008 album with William Parker and Milford Graves. Click on the link to order the album.

  1. 4 Responses to “THE BENEFIT”

  2. hey bigo, will get!!! thanks!!!


    By Ed Saad on Dec 31, 2010

  3. hey bigo, thanks!!! i got disc 1, and it’s on my ipod charging so i can play it walking shortly.

    here’s more year end commentary. dewar got me braxton’s autograph on this cassette on mine. i found it at the thriftstore a few years ago. it’s a good one. i need to get it on disc.

    i don’t much care for various cause braxton paid his dues so i just put anthony braxton. this way i can keep it in my same folder with my other shows. i spelled out all the musicians names out to the side in parenthesis. it looks good.

    jonathan finlayson plays on mary halvorson quintet-saturn sings. everybody needs it. it’s one of favorite albums of 2010. she sent it to me as a late b-day present in aug cause it wasn’t out yet in june. we are buddies.

    everybody should download her willisau and the vortex jazz club shows bigo offered. do a search on the top right.

    i think, bigo should get on facebook. i know you like to get it old school, but you would even get more fans of this great site. people rave about the shows i give links to especially the avant and pink floyd shows. add me, and you can see pictures of me and mary, me and jessica, me and dewar, etc…

    happy new year!!!


    By Ed Saad on Dec 31, 2010

  4. thanks, it’s nice to see *all* the music available - the three sets including braxton were shared back in the summer.

    your personnel list for the gtm ‘tet is not quite right: reut regev did not play that night. cellist tomeka reid played instead; also, it was actually a 12+2tet, alumnus chris jonas returning to join in on reeds.

    i posted on my blog about this concert, and also provided indexed rips of the three braxton sets (with the trio/quartet set split into its separate compositions, all identified - of course the music is not an improvisation, nor is it collaged, as such):

    (i’ll probably post again on the blog about this share, even though the files won’t be available forever… unfortunately i am not able to identify the coleman/finlayson duet, if it is indeed a braxton composition)

    By centrifuge on Jan 5, 2011

  5. More broken/missing links *sigh*.

    All links broken for tracks 5, 7, 10, 11, & 16.

    By Jeff Powell on Nov 4, 2017

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