On Mon, 5 Feb 2001, Andrei wrote:
quoted 7 lines On Mon, 5 Feb 2001, R. Lim wrote:> On Mon, 5 Feb 2001, R. Lim wrote:
>
> > I will admit, however, that Anthony Braxton (the guy who Zorn got all of
> > his ideas from)
>
> Come on Rob, you know Zorn stole all his ideas from Kagel and Ornette ! ;)
> And Braxton got a lot of his ideas from Cage and Stockhausen, so...
OK, OK (though Zorn openly acknowledges his worship of big T). Braxton
has some obvious influences which he wears on his sleeves (like the
Tristanoites and Sun Ra) and others which he doesn't (Giuffre, for some
reason). On the whole, however, I think he does a pretty good job of
integrating everything into a system which steps further forward than it
does back. I don't think I'd say the same about Zorn or any of his
contemporary analogues in other fields (if I said their names, I'd be
afraid to sleep at nights).
And for what it's worth, the 20th c composer influences happened earlier
in his career and their influence has been more and more integrated into
his music, rather than become more and more obvious. In other words, he
matured out of it.
quoted 4 lines The 80's quartet with Crispell, Dresser and Hemingway did make some great> The 80's quartet with Crispell, Dresser and Hemingway did make some great
> records, but I think Braxton also did a lot of great work in the 70's. I
> find that his work form the 70's has more of a visceral punch than what
> he's done since. And his recent work is godawful imo.
I thought the same thing about Ghost Trance until I saw it live. It's
basically like an open-ended version of his 80s quartet stuff, another
step "meta" if you will. Tremendously exhilirating and it kicks ass all
over Cobra, at least.
He did some amazing stuff in the 70s, but they were mostly shorter pieces.
There's an awful lot of conservatory-oriented stuff that was pretty dull
(I'm talking about the stuff that HatArt licensed- I can't imagine that
this is the stuff you're referring to). Certainly the Arista series stands
as a remarkable and diverse body of work that, if not as important as the
Ornette quartet's early work on Atlantic, ought to be held in a similar
sort of regard (esp given that that was sort of it for corporate
sponsorship of a genuinely forward-thinking jazz musician).
-rob
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