Anthony Braxton – 12 Comp (ZIM) 2017 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 10:38:15 minutes | 6 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Firehouse 12 Records
Early in his career, Anthony Braxton established a foundational taxonomy of musical concepts and gestural categories for improvisers and performers to use in the interpretation of his music – what Braxton calls Language Music. You can hear his first rigorous exploration of many of these on his celebrated 1969 record For Alto. There are only twelve basic varieties to his Language Music: long sound, accented long sound, trills, staccato formings, intervallic formings, and so on. An association with a particular variety of one of the Language Musics is a defining aspect of any of his individual works.
Braxton has also developed a series of compositional modalities: different ways of imagining and structuring how a musician, or musicians, may participate in a given piece. Since 1995, he has been primarily concerned with his Holistic Modeling Musics. Each is associated with one of the Language Musics: Ghost Trance Music (long sound), Falling River Music (accented long sounds), Diamond Curtain Wall Music (trills or ornamentation), Echo Echo Mirror House Music (multiphonics), and Pine Top Aerial Music (short attacks).
Firehouse 12 Records is pleased to release the latest iteration of Braxton’s musical system, called ZIM Music, which is derived from language number 11: gradient logics. Gradient logics pertain to aspects of music that continually change, faster and faster, slower and slower, brighter and brighter, darker and darker. 12 Comp (ZIM) 2017 documents 12 performances over the course of two years, showcasing the development of ZIM music as the compositions and ensemble adapted to new musical situations.
The very first ZIM Music composition was in fact presented to the quartet with Nels Cline, Greg Saunier, and Taylor Ho Bynum documented on Quartet (New Haven) 2014. During that session it was used only sparingly, and later became the first of four ZIM compositions (398 – 401) to be recorded during a residency at the University of Alabama in the summer of 2015.
While the first four ZIM compositions were short, linear, single-lined and mostly graphic, Composition No. 402 was scored for a quintet of reeds, brass, tuba, and two harps. Combining traditionally notated sections with sections of individual and tutti graphic notation, Composition No. 402 was premiered in Poland in November 2015, and appears on this Blu-ray as the opening track, recorded live at Wake Forest University in March 2017. At the Big Ears Festival in 2016, Braxton debuted Composition Nos. 403 & 404 which are primarily non-linear graphic compositions.
After the Wake Forest performance of Composition No. 402, the recordings in this set move through Composition Nos. 408 through 420. Recorded in a variety of contexts, these compositions maintain the gradient logics of dynamic and timbre change, but infuse gradients into the notated material itself. He dubs this computer-aided notation “extraction notation”: the musicians are given technically impossible music and are expected to “extract” a performance from the notation as part of their improvisational process. This resulting transformation, from notated to performed is in itself a gradient process.
The stellar core ensemble of Taylor Ho Bynum, Dan Peck, Jacquline Kerrod, and Shelley Burgon is augmented and altered with roster of star emerging musicians, including Tomeka Reid, Adam Matlock, Jean Cook, Stephanie Richards, Ingrid Laubrock, Brandee Younger, and Miriam Overlach.
1. Composition No. 402 (46:20)
2. Composition No. 408 (53:52)
3. Composition No. 409 (49:54)
4. Composition No. 410 (40:45)
5. Composition No. 412 (57:58)
6. Composition No. 413 (51:10)
7. Composition No. 414 (51:40)
8. Composition No. 415 (49:17)
9. Composition No. 416 (47:20)
10. Composition No. 418 (46:00)
11. Composition No. 419 (01:13:06)
12. Composition No. 420 (01:10:53)