I have this crazy idea (and it's really quite strange) that we should
put together a Braxton package for Pierre Boulez with books, scores and
records, send it to IRCAM, hope that it reaches him and that his
interest is piqued :-)

---

Here's the link to Deutschlandfunk's German audio interview with Boulez

http://ondemand-mp3.dradio.de/file/dradio/2005/07/31/dlf_1706.mp3
(ca. 5.5 MB, 23 minutes)

Some of the things that Boulez talks about:

- The controversies regarding Christoph Schlingensief's Bayreuth
production of "Parsifal" and Patrice Chéreau's "Ring" from the 70s
(Boulez cannot understand the acrimony against these directors' work
with Wagner operas.)

- Boulez's time in England where he was organizing concerts to bring
conservative listeners and musicians in contact with Contemporary
Classical.

- Boulez criticizes musicians who don't want to play contemporary works.
He mentions a famous (unnamed) recently deceased conductor whose
discography didn't have works even of Stravinsky and Bartok. Boulez
accuses him of leading a museum-like musical life. (It would be
interesting to know who this conductor is.)

- Rock music: Boulez said (not surprisingly) that he can't fathom how
vital and energetic people spend their time playing banal rock music.

- Boulez defends the aesthetic concept of complexity (that's neither
surprising) and he hates "dilettantism".

- He has an analytic approach to music making and thinks that a certain
degree of abstraction to understand music is always necessary.

- "Spontaneity comes through the mastering of structure."

- Boulez remembers that Conlan Nancarrow preferred his player piano and
didn't want to use IRCAM's computers.

- "Interpretation is very easy - composing is much more difficult."

- Currently Boulez works on "Anthèmes" for violin and orchestra.

Best regards
Franz Fuchs

Dans un e-mail daté du 01/08/05 23:49:42 Paris, Madrid (heure d'été),
f.fuchs@... a écrit :

-  Boulez criticizes musicians who don't want to play contemporary  works.
He mentions a famous (unnamed) recently deceased conductor  whose
discography didn't have works even of Stravinsky and Bartok.  Boulez
accuses him of leading a museum-like musical life. (It would  be
interesting to know who this conductor  is.)


Sounds like Carlo Maria Giulini who died in June.

Best regards

Paul Dirmeikis

paul@...

30 rue de la  Fosse Argent
22590 PORDIC
FRANCE

Téléphone : 02 96 58 21  17

Site Internet : L'EVEILLEUR _http://www.dirmeikis.org/_
(http://www.dirmeikis.org/)




[Non-text portions of this message have been removed]

Begin forwarded message:

====================

From: Anthony Braxton <.....>
Date: August 2, 2005 11:49:48 AM EDT
To: andrew raffo dewar <......>
Subject: letter to website

Hello to the members of the Braxton Internet discussion site,

   This is my first attempt to communicate with you, even though I have
closely monitored this web site over the last couple of years. I am
grateful there are people interested in my music work, and up until
this moment, I have never tried to enter into the space of this
discussion site. I did not want to fool myself; your interest, was
directed towards my music work (this was something that was serious) -
it was important for me to keep a healthy distance; and this I have
tried to do. Even now I reluctantly enter into the space of this web
site, only after consultation with Andrew Raffo Dewar - but the time is
ripe for an invasion of this nature. Should you find in the future that
it would be preferable for me to stay separate from the discussion
group, I will most certainly abide by your decision and perspective. I
have no doubt that if the Internet existed when I was growing up, I
would have signed on the Charlie Parker/Warne Marsh web sites. I would
have been on the Karlheniz Stockhausen web site - because music is a
serious kind of subject. I would have signed on to the Sun Ra /Xenakis
website - this area of music information is not on the establishment
communication lines (what can I say?). I know what it means to be
searching for the "truth of a particular area of sonic "reality".
Suddenly in the new millennium, we find ourselves with a whole new set
of options - right at the time we need new options.

   First and foremost, I would like to say thank you to the people who so
beautifully thought enough of me to contribute money to help me in my
work. I am blown away by this act. I have given this money to Andrew
Raffo Dewar to put in the kitty for the 60th Birthday festival project
(beginning in September ). Many years ago, I came to understand that
the decision to dedicate oneself to creative music would not be what
could be called a great monetary decision. Even so; while I might not
have made a lot of money from my so-called music work, I was fortunate
enough to find an audience that would consider my creativity -- that is
to say, I came to see that there are people who can hear the kind of
things that interest me; that I have directed my life towards, and that
my work is part of a greater community of affinity that transcend
present day notions of race, politics and religion. It doesn't get any
better than this community - and the challenge for me is to justify the
"initial interest" given to my work by doing the best work I can do -
(there is a kind of unacknowledged connection between an artist and the
people who consider his/her work. All that is asked is that the artist
continues to evolve - that is to say, not take everything for granted.
The friendly experiencer only ask that there is serious research and
development happening - because there is a kind of trust and bond
between an artist and "the people who support his work" - the composite
experience must be seeking to expand in a forward direction. To be
moving into my sixties with this kind of endorsement is really
something; and I don't mean to take it for granted. I write this
message then with a sense of hesitance and nervousness; because there
are things that can now be discussed about the "operating music
system", and maybe the time has come to restart discussions on the
system-implications of the expanding model. Slowly but surely, I am
re-emerging from the ashes of the last cycle of my life - broken
marriage; children disconnection - you name it, I've been there. Even
so, slowly but surely I am finding that I'm still alive - and more
important; I'M GLAD TO BE ALIVE. More and more, the future will involve
a speed up of music system related activities and research paper
information. It is with this in mind that I find myself thinking, maybe
it might be a good thing to develop a deeper connection with the
discussion web site - and maybe (depending on how the membership views
this option) use this site as a platform that gives insight into the
deeper reality (and specifications) of the music system. In this
context I could first give members a more thorough background of how
the system is evolving - and the greater underlying internal
connections. This is possible because from the very beginning I have
approached my work from the perspective of KNOWN, UNKNOWN AND INTUITIVE
strategies.

   One thing is clear; the world is profoundly changing (and I feel that
this time period especially is important). The re-entry of the medieval
period will only continue to push non-marketplace information deeper
into the underground. This is why, more and more, it might be a good
thing to supply this discussion group with as much relevant information
(about the expanding music system particulars) as possible; especially
since the music system is coming to a new point of change. I am
projecting that the Ghost Trance Music prototype structures (in the
"house of Shala") will be completed by April 2006 - and from that point
a fresh field of activity (and research) will begin.

Oh, by the way, call me Anthony - not Professor Braxton. Please! My
work and life has nothing to do with the classical titles - professor
is great if you're taking my classes at Wesleyan, but that's about it.
I'm just a normal kind of guy who was lucky enough to have found
something that has redirected my life. Call me Anthony (please, not
"Tony") (smile). Finally I would like to thank Francesco Martinelli and
Franz Fuchs for the creation of this discussion group. I would also
like to thank Mr. Jason Guthartz for the Restructures Discography.
Andrew tells me that I might actually have an opportunity to meet Mr.
Guthartz in September. If this is true, my hope is that he likes wine -
if not; I will cover the wine for both of us, and we'll have a nice
dinner.

   Have a positive August people, and thank you for your support and
friendship.

   Anthony Braxton
----------------

On Aug 2, 2005, at 11:38 AM, andrew raffo dewar wrote:

> Begin forwarded message:
>
> ====================
>
> From: Anthony Braxton <.....>
> Date: August 2, 2005 11:49:48 AM EDT
> To: andrew raffo dewar <......>
> Subject: letter to website
>
> Hello to the members of the Braxton Internet discussion site,
<snip!>

For once in  my life I found myself speachless upon reading the
above. WELCOME, Anthony Braxton, and please feel completely at home
in this group. Your comments are most welcome to me, and I look
forward with great excitement to future comments and conversations
with you.

Saturnally,
Joe Moudry

find myself pleasurably forced to second that, joe.......
hello anthony, been waiting two years for this message. and even tho i
knew exactly what it would say,
it is a real blast to see the empathic message in all his compositions
at last in verbal  shape rather than  vibrating air.
yes indeed. no masters, no disciples, just kindred human spirits,
struggling to keep sane in a maddening world.
as to the charlie parker website principle, i think we've all logged
onto that one long ago without
using any kind of temporal connection or network, but on an almost
astral (cosmic cellular) level.

carrying the student/teacher analogy a bit further, parker stated the
growth theorems of modern music
clearly, cleanly and in an unstinting manner, at great personal cost,
but gaining great personal growth
for all of us down the temporal line from him. a kind of musical
redeemer, if you'll pardon the blasphemy.

so we struggle on, all of us, hoping to find, even momentarily, the
spark to light our own personal flames,
fanning that flame into life in others, whether through spiritual
procreation (music/art/theatrics)
or merely manually carrying that flame to others through wind and rain,
down through remaining time.

anthony b. lit my flame 27 years ago, and i've gone on to light a few
flames since then myself.
thanks anthony, the musical universe most of us here live in would have been
quite a few  degrees colder without you . your the man. and long may you
shine. amen.

and anything you want, just whistle. cue old lauren bacall and bogart joke
thats the thing about internet groups like this. nobody knows anymore
than anyone else
but somehow the sum of the musical parts is always greater than the
temporal whole.
  and hi to everybody else too. keep the flame ablaze, and pass it on
whenever/wherever possible

p the d.


Moudry wrote:

For once in  my life I found myself speachless upon reading the
above. WELCOME, Anthony Braxton, and please feel completely at home
in this group. Your comments are most welcome to me, and I look
forward with great excitement to future comments and conversations
with you.

Saturnally,
Joe Moudry


>On Aug 2, 2005, at 11:38 AM, andrew raffo dewar wrote:
>
>
>
>>Begin forwarded message:
>>
>>====================
>>
>>From: Anthony Braxton <.....>
>>Date: August 2, 2005 11:49:48 AM EDT
>>To: andrew raffo dewar <......>
>>Subject: letter to website
>>
>>Hello to the members of the Braxton Internet discussion site,
>>
>>
><snip!>
>
>
>
>
>
>
>
>Unsubscr.: Anthony_BRAXTON-unsubscribe@yahoogroups.com
>http://groups.yahoo.com/group/Anthony_BRAXTON
>Yahoo! Groups Links
>
>
>
>
>
>
>
>
>
>
>
>


[Non-text portions of this message have been removed]

From Joe Moudry:

> > From: Anthony Braxton <.....>
> > Date: August 2, 2005 11:49:48 AM EDT
> > To: andrew raffo dewar <......>
> > Subject: letter to website
> >
> > Hello to the members of the Braxton Internet discussion site,
> <snip!>
>
> For once in  my life I found myself speachless upon reading the
> above. WELCOME, Anthony Braxton, and please feel completely at home
> in this group.

My reaction to this letter was similar to Joe's. I'm touched that
Anthony took the time to write us...even offers to provide us with
first-hand information!

I thought already before that this has been the mailing list's best year
so far but now there can be no doubt about that :-)

Best regards and another WELCOME to Mr. Braxton
Franz Fuchs

Welcome, Anthony!  Thank you for bringing so much truth and beauty into our
world, in music and in words and in just being here with us.  I know we too
are so very glad you are alive!

<< >< >< >< >< > <> > >

On Tuesday, August 02, 2005 at 12:38 PM, Andrew Raffo Dewar at
freemovementarts@... wrote:

Begin forwarded message:

====================

From: Anthony Braxton <.....>
Date: August 2, 2005 11:49:48 AM EDT
To: andrew raffo dewar <......>
Subject: letter to website

Hello to the members of the Braxton Internet discussion site,

   This is my first attempt to communicate with you, even though I have
closely monitored this web site over the last couple of years. I am
grateful there are people interested in my music work, and up until
this moment, I have never tried to enter into the space of this
discussion site. I did not want to fool myself; your interest, was
directed towards my music work (this was something that was serious) -
it was important for me to keep a healthy distance; and this I have
tried to do. Even now I reluctantly enter into the space of this web
site, only after consultation with Andrew Raffo Dewar - but the time is
ripe for an invasion of this nature. Should you find in the future that
it would be preferable for me to stay separate from the discussion
group, I will most certainly abide by your decision and perspective. I
have no doubt that if the Internet existed when I was growing up, I
would have signed on the Charlie Parker/Warne Marsh web sites. I would
have been on the Karlheniz Stockhausen web site - because music is a
serious kind of subject. I would have signed on to the Sun Ra /Xenakis
website - this area of music information is not on the establishment
communication lines (what can I say?). I know what it means to be
searching for the "truth of a particular area of sonic "reality".
Suddenly in the new millennium, we find ourselves with a whole new set
of options - right at the time we need new options.

   First and foremost, I would like to say thank you to the people who so
beautifully thought enough of me to contribute money to help me in my
work. I am blown away by this act. I have given this money to Andrew
Raffo Dewar to put in the kitty for the 60th Birthday festival project
(beginning in September ). Many years ago, I came to understand that
the decision to dedicate oneself to creative music would not be what
could be called a great monetary decision. Even so; while I might not
have made a lot of money from my so-called music work, I was fortunate
enough to find an audience that would consider my creativity -- that is
to say, I came to see that there are people who can hear the kind of
things that interest me; that I have directed my life towards, and that
my work is part of a greater community of affinity that transcend
present day notions of race, politics and religion. It doesn't get any
better than this community - and the challenge for me is to justify the
"initial interest" given to my work by doing the best work I can do -
(there is a kind of unacknowledged connection between an artist and the
people who consider his/her work. All that is asked is that the artist
continues to evolve - that is to say, not take everything for granted.
The friendly experiencer only ask that there is serious research and
development happening - because there is a kind of trust and bond
between an artist and "the people who support his work" - the composite
experience must be seeking to expand in a forward direction. To be
moving into my sixties with this kind of endorsement is really
something; and I don't mean to take it for granted. I write this
message then with a sense of hesitance and nervousness; because there
are things that can now be discussed about the "operating music
system", and maybe the time has come to restart discussions on the
system-implications of the expanding model. Slowly but surely, I am
re-emerging from the ashes of the last cycle of my life - broken
marriage; children disconnection - you name it, I've been there. Even
so, slowly but surely I am finding that I'm still alive - and more
important; I'M GLAD TO BE ALIVE. More and more, the future will involve
a speed up of music system related activities and research paper
information. It is with this in mind that I find myself thinking, maybe
it might be a good thing to develop a deeper connection with the
discussion web site - and maybe (depending on how the membership views
this option) use this site as a platform that gives insight into the
deeper reality (and specifications) of the music system. In this
context I could first give members a more thorough background of how
the system is evolving - and the greater underlying internal
connections. This is possible because from the very beginning I have
approached my work from the perspective of KNOWN, UNKNOWN AND INTUITIVE
strategies.

   One thing is clear; the world is profoundly changing (and I feel that
this time period especially is important). The re-entry of the medieval
period will only continue to push non-marketplace information deeper
into the underground. This is why, more and more, it might be a good
thing to supply this discussion group with as much relevant information
(about the expanding music system particulars) as possible; especially
since the music system is coming to a new point of change. I am
projecting that the Ghost Trance Music prototype structures (in the
"house of Shala") will be completed by April 2006 - and from that point
a fresh field of activity (and research) will begin.

Oh, by the way, call me Anthony - not Professor Braxton. Please! My
work and life has nothing to do with the classical titles - professor
is great if you're taking my classes at Wesleyan, but that's about it.
I'm just a normal kind of guy who was lucky enough to have found
something that has redirected my life. Call me Anthony (please, not
"Tony") (smile). Finally I would like to thank Francesco Martinelli and
Franz Fuchs for the creation of this discussion group. I would also
like to thank Mr. Jason Guthartz for the Restructures Discography.
Andrew tells me that I might actually have an opportunity to meet Mr.
Guthartz in September. If this is true, my hope is that he likes wine -
if not; I will cover the wine for both of us, and we'll have a nice
dinner.

   Have a positive August people, and thank you for your support and
friendship.

   Anthony Braxton
----------------

> I would have been on the Karlheinz Stockhausen web
> site

I immediately have to ask (and maybe he has time to answer on occasion)
what Anthony thinks of "Licht" because I can't remember him making in
interviews an assessment of this monumental opera cycle. Also it'd be
interesting to know which of Stockhausen's music Anthony doesn't like.
In "Forces In Motion" he even uses the word "hate" but, as far as I
recall, doesn't name those works.

Best regards
Franz Fuchs

I too was delighted to see this message. A big thank
you to Anthony for taking the time to write. Having
solved the Professor debate, I hope you will be able
to share with us from time to time information on
current and future projects.

Bhreandain

--- andrew raffo dewar <freemovementarts@...>
wrote:


---------------------------------
Begin forwarded message:

====================

From: Anthony Braxton <.....>
Date: August 2, 2005 11:49:48 AM EDT
To: andrew raffo dewar <......>
Subject: letter to website

Hello to the members of the Braxton Internet
discussion site...



___________________________________________________________
To help you stay safe and secure online, we've developed the all new Yahoo!
Security Centre. http://uk.security.yahoo.com

Dear Anthony,
I consider it an honor to be able to address you at all so if you
want us to call you Anthony I'm glad to do it. I'm not a musician,
just a listener and appreciator. Your music has been touching me
for many years. I, for one, will be glad to hear anything you have
to say about anything, musical or otherwise. Thanks for being
willing to address our group and perhaps become an active member.

sincerely,
Robert Watling Jr.
Akron, Ohio USA


Even faith in God is only a stage on the way.
Ultimately, you abandon all, for you come to
something so simple that there are no words
to express it.

Sri Nisargadatta Maharaj



-----




> [Original Message]
> From: Margaret Davis <musicmargaret@...>
> To: <Anthony_BRAXTON@yahoogroups.com>
> Date: 8/2/2005 5:14:17 PM
> Subject: [Braxton] Fwd: letter from Anthony Braxton to Braxton discussion
group
>
> Welcome, Anthony!  Thank you for bringing so much truth and beauty into
our
> world, in music and in words and in just being here with us.  I know we
too
> are so very glad you are alive!
>
> << >< >< >< >< > <> > >
>
> On Tuesday, August 02, 2005 at 12:38 PM, Andrew Raffo Dewar at
> freemovementarts@... wrote:
>
> Begin forwarded message:
>
> ====================
>
> From: Anthony Braxton <.....>
> Date: August 2, 2005 11:49:48 AM EDT
> To: andrew raffo dewar <......>
> Subject: letter to website
>
> Hello to the members of the Braxton Internet discussion site,
>
>   This is my first attempt to communicate with you, even though I have
> closely monitored this web site over the last couple of years. I am
> grateful there are people interested in my music work, and up until
> this moment, I have never tried to enter into the space of this
> discussion site. I did not want to fool myself; your interest, was
> directed towards my music work (this was something that was serious) -
> it was important for me to keep a healthy distance; and this I have
> tried to do. Even now I reluctantly enter into the space of this web
> site, only after consultation with Andrew Raffo Dewar - but the time is
> ripe for an invasion of this nature. Should you find in the future that
> it would be preferable for me to stay separate from the discussion
> group, I will most certainly abide by your decision and perspective. I
> have no doubt that if the Internet existed when I was growing up, I
> would have signed on the Charlie Parker/Warne Marsh web sites. I would
> have been on the Karlheniz Stockhausen web site - because music is a
> serious kind of subject. I would have signed on to the Sun Ra /Xenakis
> website - this area of music information is not on the establishment
> communication lines (what can I say?). I know what it means to be
> searching for the "truth of a particular area of sonic "reality".
> Suddenly in the new millennium, we find ourselves with a whole new set
> of options - right at the time we need new options.
>
>   First and foremost, I would like to say thank you to the people who so
> beautifully thought enough of me to contribute money to help me in my
> work. I am blown away by this act. I have given this money to Andrew
> Raffo Dewar to put in the kitty for the 60th Birthday festival project
> (beginning in September ). Many years ago, I came to understand that
> the decision to dedicate oneself to creative music would not be what
> could be called a great monetary decision. Even so; while I might not
> have made a lot of money from my so-called music work, I was fortunate
> enough to find an audience that would consider my creativity -- that is
> to say, I came to see that there are people who can hear the kind of
> things that interest me; that I have directed my life towards, and that
> my work is part of a greater community of affinity that transcend
> present day notions of race, politics and religion. It doesn't get any
> better than this community - and the challenge for me is to justify the
> "initial interest" given to my work by doing the best work I can do -
> (there is a kind of unacknowledged connection between an artist and the
> people who consider his/her work. All that is asked is that the artist
> continues to evolve - that is to say, not take everything for granted.
> The friendly experiencer only ask that there is serious research and
> development happening - because there is a kind of trust and bond
> between an artist and "the people who support his work" - the composite
> experience must be seeking to expand in a forward direction. To be
> moving into my sixties with this kind of endorsement is really
> something; and I don't mean to take it for granted. I write this
> message then with a sense of hesitance and nervousness; because there
> are things that can now be discussed about the "operating music
> system", and maybe the time has come to restart discussions on the
> system-implications of the expanding model. Slowly but surely, I am
> re-emerging from the ashes of the last cycle of my life - broken
> marriage; children disconnection - you name it, I've been there. Even
> so, slowly but surely I am finding that I'm still alive - and more
> important; I'M GLAD TO BE ALIVE. More and more, the future will involve
> a speed up of music system related activities and research paper
> information. It is with this in mind that I find myself thinking, maybe
> it might be a good thing to develop a deeper connection with the
> discussion web site - and maybe (depending on how the membership views
> this option) use this site as a platform that gives insight into the
> deeper reality (and specifications) of the music system. In this
> context I could first give members a more thorough background of how
> the system is evolving - and the greater underlying internal
> connections. This is possible because from the very beginning I have
> approached my work from the perspective of KNOWN, UNKNOWN AND INTUITIVE
> strategies.
>
>   One thing is clear; the world is profoundly changing (and I feel that
> this time period especially is important). The re-entry of the medieval
> period will only continue to push non-marketplace information deeper
> into the underground. This is why, more and more, it might be a good
> thing to supply this discussion group with as much relevant information
> (about the expanding music system particulars) as possible; especially
> since the music system is coming to a new point of change. I am
> projecting that the Ghost Trance Music prototype structures (in the
> "house of Shala") will be completed by April 2006 - and from that point
> a fresh field of activity (and research) will begin.
>
> Oh, by the way, call me Anthony - not Professor Braxton. Please! My
> work and life has nothing to do with the classical titles - professor
> is great if you're taking my classes at Wesleyan, but that's about it.
> I'm just a normal kind of guy who was lucky enough to have found
> something that has redirected my life. Call me Anthony (please, not
> "Tony") (smile). Finally I would like to thank Francesco Martinelli and
> Franz Fuchs for the creation of this discussion group. I would also
> like to thank Mr. Jason Guthartz for the Restructures Discography.
> Andrew tells me that I might actually have an opportunity to meet Mr.
> Guthartz in September. If this is true, my hope is that he likes wine -
> if not; I will cover the wine for both of us, and we'll have a nice
> dinner.
>
>   Have a positive August people, and thank you for your support and
> friendship.
>
>   Anthony Braxton
> ----------------
>
>
>
>
> Unsubscr.: Anthony_BRAXTON-unsubscribe@yahoogroups.com
> http://groups.yahoo.com/group/Anthony_BRAXTON
> Yahoo! Groups Links
>
>
>
>
>
>

Well, that certainly made my day/week/decade!
Thank you, Anthony. I look forward to raising a glass in your presence,
in your honor.

-Jason

--
Jason Guthartz
jason@...

http://www.nytimes.com/2005/07/31/arts/music/31kapl.html

July 31, 2005
Bird Lives! The Birth of Bebop, Captured on Disc
By FRED KAPLAN

IT'S an unlikely story, but the most stunning jazz discovery in a
decade - the Rosetta Stone of bebop - was unearthed at an Elks Lodge in
Chelmsford, Mass. The trove consisted of seven 12-inch acetate discs, on
which was recorded a 40-minute concert by Dizzy Gillespie and Charlie
Parker at Town Hall in New York on June 22, 1945.

That date is significant. The two musicians - Diz and Bird, as the world
would soon know them - were still fairly obscure. (Most of the audience
had probably come to hear other musicians on the bill, especially the
tenor saxophonist Coleman Hawkins, who didn't show up.) The first
Gillespie-Parker record had been in stores for only a few weeks. The
second, produced on May 11, hadn't yet been released.

In short, these discs vividly transport us to the birth of modern jazz.

In those days of the 78 r.p.m. single, studio sessions were limited to
about three minutes per song, solos to 15 or 20 seconds. At the Town
Hall concert, the musicians were free to play the tunes - "Bebop,"
"Groovin' High," "Hot House," "A Night in Tunisia" and "Salt Peanuts,"
all jazz anthems by the end of that year but at the time still unknown -
for twice as long, and at a furious tempo. Solos went on for two minutes
or more, and they're blazing - Diz scaling heights on trumpet, Bird
hitting speeds on alto sax, that no one had heard before. The studio
recordings, great as they are, sound mellow, even quaint, by comparison.

Now, 60 years after the concert, the small jazz label Uptown Records has
sonically restored the acetates and transferred them to a CD titled
simply "Dizzy Gillespie-Charlie Parker: Town Hall, New York City, June
22, 1945."

The acetates were brought to light by Uptown's proprietor, Dr. Robert E.
Sunenblick, an internal physician who splits his practice between
Montreal and Plattsburgh, N.Y. - and splits his life between seeing
patients in the afternoons and running a one-man record company in the
mornings and at night.

Dr. Sunenblick, 56, has long been a denizen of the record-collecting
subculture, one of the bleary-eyed men who spend weekends at vinyl
expos, combing through stacks of LP's, 45's, 78's and the occasional
tape or acetate, yearning for out-of-print rarities or - the ultimate
dream - long-lost treasures. "They've got that psycho-killer look," he
said with a laugh. "I know it well; I get it myself sometimes."

In the early 1980's, while working in Manhattan for an emergency medical
service, Dr. Sunenblick started the Uptown label and began producing new
albums, often of once-prominent jazz musicians who had unjustly fallen
into shadows. After a divorce, he moved to Montreal and, removed from
the live music scene, began to explore the murky world of old, forgotten
recordings.

Newspapers were reporting that someone had taken a home movie - and
still had the reel - of the legendary moment in the 1932 World Series
when Babe Ruth pointed to center field, then slugged the next pitch over
the wall.

"It fascinated me that stuff like that exists," Dr. Sunenblick recalled
in a phone interview. "I got to thinking, what else exists in somebody's
closet?" He started looking.

In the early 90's, he traveled to Newton, Mass., to buy a record
collection from a former dealer. In the course of chatting, the seller
told him about a friend who had tape-recorded radio broadcasts of jazz
concerts in the 40's and 50's.

Dr. Sunenblick went to see the friend. One of his tapes was of a concert
in Boston in 1954 by the West Coast trumpeter Chet Baker, his first East
Coast appearance. It became the first album in Uptown's Flashback
Series. Another, from the same batch of tapes, was a Boston concert by
Charlie Parker in 1952.

The Parker tape posed a puzzle. The reel was undated. So Dr. Sunenblick
went to the Boston Public Library and looked up microfiche of old
newspapers, searching for an advertisement for a Parker concert. He
found one in the long-defunct Boston Daily Record. The concert's date,
he could authenticate, was Dec. 14, 1952.

Meanwhile, a fellow record collector in Cleveland told him about a
friend who had a tape of a 1958 Coleman Hawkins performance at a high
school dance in Jamestown, N.Y. The dance took place in a ballroom one
floor below a radio station. Someone at the station had covertly wired a
microphone through the ceiling and recorded the date. The friend, an
avid Hawkins collector, had obtained the tape.

A disc jockey in Pittsburgh, another acquaintance from the used-records
circuit, told him about a trumpeter named Danny Conn, who had played in
a local nightclub with Dodo Marmarosa - a brilliant pianist who in the
1940's had accompanied every jazz giant who came to Los Angeles. After
suffering a mental breakdown, Marmarosa returned to Pittsburgh, his
hometown, and resumed playing. Mr. Conn made tapes of their gigs. Dr.
Sunenblick bought them, had them restored, obtained the rights and
released them.

AND on and on the discoveries went.

Which leads to a Saturday morning in the fall of 2000, when Dr.
Sunenblick, while visiting his daughter in Boston, drove to a record
show at the Elks Lodge in nearby Chelmsford.

He struck up a conversation with a "picker," a special breed of
collector who tracks down extremely rare records and sells them quickly
for cash only. A few weeks later, the picker, who lived in Milton,
Mass., called him, said he'd found a very unusual acetate, and offered
to play it over the phone.

The first sound on the record was the voice of Sidney Torin, a popular
New York jazz D.J. in the 40's better known as Symphony Sid, introducing
a concert by the Dizzy Gillespie Quintet, featuring Charlie Parker, with
Max Roach on drums, Al Haig on piano and Curley Russell on bass.

Dr. Sunenblick knew that no live recordings of this quintet had ever
been found - or even been rumored to exist. The disc was the collector's
dream, a treasure-map fragment of a secret history.

The picker, who to this day insists on anonymity ("All these guys worry
about copyrights and tax collectors," Dr. Sunenblick said), told him
he'd found the acetate at an antique store just outside Stamford, Conn.
Dr. Sunenblick, who figured it had to be the first of a multidisc set,
begged him to go back to the store and look for the others. He found six
more. They turned out to contain the rest of the concert.

More than that, they sounded pretty good - cleaner and more balanced
than many studio sessions of the day - and they were complete; there
were no gaps or dropouts. It was clearly a professional job, engineered
backstage at Town Hall on two side-by-side disc-cutting machines.

Who recorded it? Why didn't he pass the discs around, try to sell them,
or even tell anybody about them? How did they end up in Connecticut?

Their sudden appearance, out of the blue, is a major find, but it stirs
deeper mysteries. Parker and Gillespie also played at Town Hall a month
earlier, on May 16, 1945. We know this because there are photos from
that concert (one of them is on the Uptown CD's cover). Are there
acetates, too? And if so, in what attic or junk shop have they been
lurking the past half-century?

--- In Anthony_BRAXTON@yahoogroups.com, "Franz Fuchs" <f.fuchs@g...>
wrote:
>
> http://www.nytimes.com/2005/07/31/arts/music/31kapl.html
>
> July 31, 2005
> Bird Lives! The Birth of Bebop, Captured on Disc
> By FRED KAPLAN

This is exciting news, especially on top of the newly discovered
Monk/Coltrane quartet CD that's coming out soon! Next, maybe someone
will find a Buddy Bolden recording!!! ;>)

Steve Bowie

Jazz Corner is reporting that the great saxophonist
Lucky Thompson passed away in Seattle at age 81.
He was always an interesting and ever-evolving player
and a principled person, but got fed up with the music
business in the 1970s.



___________________________________________________________
How much free photo storage do you get? Store your holiday
snaps for FREE with Yahoo! Photos http://uk.photos.yahoo.com

Hello Anthony!  I too am a relatively new member of the group, but have
been a fan of yours since college days (nearly 30 years ago.) I can't
tell you how the string of Arista/Freedom records ignited great
discussions in the dorm, and then it was on to find the more obscure
releases, and follow the development.  With all the live recordings I
feel like I have gotten to know you as a person as well.  Not being a
musician, I don't have the insight that many in this group do, but as a
listener maybe that doesn't really matter - it still moves me!

Looking forward to your input...

Bob Lambert

I am a huge fan of your music (since 1974) and have been on this forum
for about two years.

Stay true to your vision.  From hearing you de/re-construct standards,
wail on solo improvisations (I attended the NYC 2002 concert - flew in
from Kansas), not to mention your wonderful ensemble work (I'm still
hoping to nab a copy of Live at Yoshi's, Oakland 1993) and
compositional skills, I will always be an admirer of your music.

I look forward to all the new stuff down the pike.  And please
consider playing the Vision Festival next year!

Peace,

Don

Anthony,

Thank you for the kind words.  It's a positive and life-affirming thing to
hear firsthand that the connection we've made to you and your music is a
reciprocal one.



As a non-musician I find your suggestion to use this group as a forum for
deeper musical discussion to be equal parts exciting and intimidating.  That
said, I fully intend to grab on to the group's coattails and enjoy the ride!



Thanks again and Welcome,

Greg Blake




   _____

From: Anthony_BRAXTON@yahoogroups.com
[mailto:Anthony_BRAXTON@yahoogroups.com] On Behalf Of andrew raffo dewar
Sent: Tuesday, August 02, 2005 11:38 AM
To: Anthony_BRAXTON@yahoogroups.com
Subject: [Braxton] Fwd: letter from Anthony Braxton to Braxton discussion
group


Begin forwarded message:

====================

From: Anthony Braxton <.....>
Date: August 2, 2005 11:49:48 AM EDT
To: andrew raffo dewar <......>
Subject: letter to website

Hello to the members of the Braxton Internet discussion site...



[Non-text portions of this message have been removed]

This article is, I think, a wonderful culmination of sorts to a story that's
unfolded over several years.  Uptown Records is a first-rate label that
operates on a bare-bones budget.  This broad exposure can only help their
future efforts.

For those interested, there's a blog-like thread about the Bird/Diz Town
Hall '45 release on the Organissimo board that dates back more than two
years.

http://www.organissimo.org/forum/index.php?showtopic=2377
<http://www.organissimo.org/forum/index.php?showtopic=2377&hl=uptown>
&hl=uptown

Here's a list of Uptown releases (that can be ordered at most on-line music
sources or from Chuck Nessa at cnessa at earthlink dot net).


UP 27.33 An Uptown Christmas w/ Tommy Flanagan, Jack Sheldon, Sahib Shihab,
Barry Harris, Carl Fontana, Walter Davis, Jr., Maria Muldaur, Richard
Wyands, Charlie Rouse, Kenny Barron, Frank Wess, Johnny Coles, Claudio
Roditi & Don Sickler

UP 27.34 Charlie Rouse Soul Mates w/Sahib Shihab, Claudio Roditi, Walter
Davis Jr., Santi Debriano & Victor Lewis

UP 27.35 Chet Baker Boston, 1954 w/ Russ Freeman, Carson Smith & Bob Neel

UP 27.36 Charlie Parker Montreal 1953 w/Valdo Williams, Hal Gaylor, Billy
Graham, Dick Garcia, Paul Bley, Brew Moore, Steep Wade, Bob Rudd, Bobby
Malloy, Neil Michaud & Ted Paskert

UP 27.37 Densil Pinnock I Waited for You w/Richard Wyands, Neil Swainson,
Don Sickler, Jimmy Heath, David Laing, etc.

UP 27.38 Serge Chaloff Boston 1950 w/Sonny Truitt, Nat Pierce, George Jones,
Joe MacDonald, Joe Schulman, Rollins Griffith, Milt Gold, Al Vega, Jack
Lawler & Sonny Taclof

UP 27.39 Don Sickler Night Watch w/Carl Fontana, Ralph Moore, Bobby
Porcelli, Gary Smulyan, Richard Wyands, Peter Washington & Kenny Washington

UP 27.40 Sonny Clark Oakland 1955 w/ Jerry Good & Al Randall

UP 27.41 Kenny Barron New York Attitude w/ Rufus Reid & Frederick Waits

UP 27.42 Charlie Parker Boston 1952 w/ Joe Gordon, Dick Twardzik, Charlie
Mingus, Roy Haynes, Herbie Williams, Rollins Griffith, Jimmy Woode & Marquis
Foster

UP 27.43 Jack Sheldon Playing for Change w/Jerry Dodgion, Barry Harris,
Rufus Reid & Ben Riley

UP 27.44 Dodo Marmarosa Pittsburgh 1958 w/ Danny Mastri, Henry Sciullo,
Danny Conn, Carlo Galluzzo, Jimmy DeJulio, Chuck Spatafore, Sterling Yates,
Johnny Vance & Buzz Renn

UP 27.45 Coleman Hawkins Jamestown 1958 w/Ted Donnelly, Norman Lester, Leon
Spann & Jerry Potter

UP 27.46 Lee Wiley Music of Manhattan, 1951 w/Billy Butterfield, Joe
Bushkin, Mort Schulmaker, George Wettling, Dave Bowman, Muggsy Spanier,
Barrett Deems, George Wein, Buck Clayton, Milt Hinton , Joe Jones, etc.

UP 27.47 Barry Harris For the Moment w/ Rufus Reid & Leroy Williams

UP 27.48 Charles 'Baron' Mingus West Coast 1945-49 w/Buddy Collette, Britt
Woodman, Lucky Thompson, Roy Porter, Maxwell Davis, Nat Bates, Lee Young,
Henry Coker, William Woodman, Willie Smith, Jimmy Bunn, Eric Dolphy, etc.

UP 27.49 Allen Eager In the Land of Oo-Bla-Dee 1947-53 with Dick Twardzik,
Serge Chaloff, Buddy Rich, Charlie Parker, Bud Powell, Max Roach, etc

UP 27.50 Charlie Rouse - Red Rodney Social Call w/ Albert Dailey, Cecil
McBee and Kenny Washington.


   _____

From: Anthony_BRAXTON@yahoogroups.com
[mailto:Anthony_BRAXTON@yahoogroups.com] On Behalf Of Franz Fuchs
Sent: Wednesday, August 03, 2005 6:35 AM
To: Anthony_BRAXTON@yahoogroups.com
Subject: [Braxton] NYT: Bird Lives! The Birth of Bebop, Captured on Disc



http://www.nytimes.com/2005/07/31/arts/music/31kapl.html
<http://www.nytimes.com/2005/07/31/arts/music/31kapl.html>

July 31, 2005
Bird Lives! The Birth of Bebop, Captured on Disc
By FRED KAPLAN





[Non-text portions of this message have been removed]

Thanks for the email Anthony, welcome to the group.

I've been a fan since I bought a copy of Circle/Paris Concert on August
17, 1988
at the Princeton Record Exchange and then picked up all the Arista
albums soon after.
17 years later and I'm still checking your music out.


--
* David Beardsley
* microtonal guitar
* http://biink.com/db

Welcome and thank you, Anthony!
I've been a fan of your music since I bought the For Alto Freedom record in the
early 70th (actually I did it by chance as an exchange for a Yusef Lateef album
which turned out to be scratched). I am looking forward to read more from you in
this discussion group, so stay tuned!

Yours sincerly
Walter

-----Ursprüngliche Nachricht-----
Von: Anthony_BRAXTON@yahoogroups.com im Auftrag von andrew raffo dewar
Gesendet: Di 02.08.2005 18:38
An: Anthony_BRAXTON@yahoogroups.com
Cc:
Betreff: [Braxton] Fwd: letter from Anthony Braxton to Braxton discussion group
Begin forwarded message:

====================

From: Anthony Braxton <.....>
Date: August 2, 2005 11:49:48 AM EDT
To: andrew raffo dewar <......>
Subject: letter to website

Hello to the members of the Braxton Internet discussion site,

   This is my first attempt to communicate with you, even though I have
closely monitored this web site over the last couple of years. I am
grateful there are people interested in my music work, and up until
this moment, I have never tried to enter into the space of this
discussion site. I did not want to fool myself; your interest, was
directed towards my music work (this was something that was serious) -
it was important for me to keep a healthy distance; and this I have
tried to do. Even now I reluctantly enter into the space of this web
site, only after consultation with Andrew Raffo Dewar - but the time is
ripe for an invasion of this nature. Should you find in the future that
it would be preferable for me to stay separate from the discussion
group, I will most certainly abide by your decision and perspective. I
have no doubt that if the Internet existed when I was growing up, I
would have signed on the Charlie Parker/Warne Marsh web sites. I would
have been on the Karlheniz Stockhausen web site - because music is a
serious kind of subject. I would have signed on to the Sun Ra /Xenakis
website - this area of music information is not on the establishment
communication lines (what can I say?). I know what it means to be
searching for the "truth of a particular area of sonic "reality".
Suddenly in the new millennium, we find ourselves with a whole new set
of options - right at the time we need new options.

   First and foremost, I would like to say thank you to the people who so
beautifully thought enough of me to contribute money to help me in my
work. I am blown away by this act. I have given this money to Andrew
Raffo Dewar to put in the kitty for the 60th Birthday festival project
(beginning in September ). Many years ago, I came to understand that
the decision to dedicate oneself to creative music would not be what
could be called a great monetary decision. Even so; while I might not
have made a lot of money from my so-called music work, I was fortunate
enough to find an audience that would consider my creativity -- that is
to say, I came to see that there are people who can hear the kind of
things that interest me; that I have directed my life towards, and that
my work is part of a greater community of affinity that transcend
present day notions of race, politics and religion. It doesn't get any
better than this community - and the challenge for me is to justify the
"initial interest" given to my work by doing the best work I can do -
(there is a kind of unacknowledged connection between an artist and the
people who consider his/her work. All that is asked is that the artist
continues to evolve - that is to say, not take everything for granted.
The friendly experiencer only ask that there is serious research and
development happening - because there is a kind of trust and bond
between an artist and "the people who support his work" - the composite
experience must be seeking to expand in a forward direction. To be
moving into my sixties with this kind of endorsement is really
something; and I don't mean to take it for granted. I write this
message then with a sense of hesitance and nervousness; because there
are things that can now be discussed about the "operating music
system", and maybe the time has come to restart discussions on the
system-implications of the expanding model. Slowly but surely, I am
re-emerging from the ashes of the last cycle of my life - broken
marriage; children disconnection - you name it, I've been there. Even
so, slowly but surely I am finding that I'm still alive - and more
important; I'M GLAD TO BE ALIVE. More and more, the future will involve
a speed up of music system related activities and research paper
information. It is with this in mind that I find myself thinking, maybe
it might be a good thing to develop a deeper connection with the
discussion web site - and maybe (depending on how the membership views
this option) use this site as a platform that gives insight into the
deeper reality (and specifications) of the music system. In this
context I could first give members a more thorough background of how
the system is evolving - and the greater underlying internal
connections. This is possible because from the very beginning I have
approached my work from the perspective of KNOWN, UNKNOWN AND INTUITIVE
strategies.

   One thing is clear; the world is profoundly changing (and I feel that
this time period especially is important). The re-entry of the medieval
period will only continue to push non-marketplace information deeper
into the underground. This is why, more and more, it might be a good
thing to supply this discussion group with as much relevant information
(about the expanding music system particulars) as possible; especially
since the music system is coming to a new point of change. I am
projecting that the Ghost Trance Music prototype structures (in the
"house of Shala") will be completed by April 2006 - and from that point
a fresh field of activity (and research) will begin.

Oh, by the way, call me Anthony - not Professor Braxton. Please! My
work and life has nothing to do with the classical titles - professor
is great if you're taking my classes at Wesleyan, but that's about it.
I'm just a normal kind of guy who was lucky enough to have found
something that has redirected my life. Call me Anthony (please, not
"Tony") (smile). Finally I would like to thank Francesco Martinelli and
Franz Fuchs for the creation of this discussion group. I would also
like to thank Mr. Jason Guthartz for the Restructures Discography.
Andrew tells me that I might actually have an opportunity to meet Mr.
Guthartz in September. If this is true, my hope is that he likes wine -
if not; I will cover the wine for both of us, and we'll have a nice
dinner.

   Have a positive August people, and thank you for your support and
friendship.

   Anthony Braxton
----------------



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[Non-text portions of this message have been removed]

Great to have you on board Anthony. I'm another long-time fan, ever since
picking up the Montreux/Berlin LP back in the 70s.

You suggest that you could "use this site as a platform that gives insight
into the
deeper reality (and specifications) of the music system". That would be
great. The insights gained from the books of Composition Notes deepened my
enjoyment of the music and I for one look forward to further insights,

John Sharpe
Norwich, UK

All the great books have been written
All the great songs have been sung
Now a time to tell the story over
In the garden where we had once begun.

                             Hello Mr. Braxton
                             David Parker

John Sharpe <john-sharpe@...> wrote:
Great to have you on board Anthony. I'm another long-time fan, ever since
picking up the Montreux/Berlin LP back in the 70s.

You suggest that you could "use this site as a platform that gives insight
into the
deeper reality (and specifications) of the music system". That would be
great. The insights gained from the books of Composition Notes deepened my
enjoyment of the music and I for one look forward to further insights,

John Sharpe
Norwich, UK



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[Non-text portions of this message have been removed]

"And please consider playing the Vision Festival next year!"

Anthony, please don't....
instead of considering playing that reactionary festival, consider playing again
in Serbia (or any
other place which you don't visit so often/some place you've never been) and try
to
wide your fan base....and expose people here (somewhere) to some real art,
though I hate "art" as a term...
there is absolutely no use of playing on the festival where 90% of musicians
included are hopping
in the same place for some 20 years (approx.) and celebrating stagnation and
painfully well-known
dogmas, instead pointing out the new way, which is bare essence of the creative
music...
free jazz isn't creative music in the way it used to be, as one said " ..It also
seems to me that too much
American free jazz is a reactionary and conservative attempt to freeze or even
repudiate that
revolution by adhering - or even holding as inviolate - various traditional
conventions from the world of jazz."
Stagnation (and preserving of tradition) is something totally opposed to the
"progress" which is, also, one of the
key pre-conditions of vital, contemporary creative music....

I think that you're far from the minds gathered around that festival....maybe
I'm wrong....
in this sense, I also would like to hear directly from you what's with this
fascination with the jazz standards ?
4 cd's ???...not one, not two, but four....is that an inability to leave past
behind or something else ?...
if you ever decide to join this mailing list on some basis, I'd be the one with
the most questions, that's for sure... :))
and I'd like to get some answers from the one of mine favorite musicians...



"I immediately have to ask (and maybe he has time to answer on occasion)
what Anthony thinks of "Licht" because I can't remember him making in
interviews an assessment of this monumental opera cycle. Also it'd be
interesting to know which of Stockhausen's music Anthony doesn't like.
In "Forces In Motion" he even uses the word "hate" but, as far as I
recall, doesn't name those works."


look Franz, I'd stand behind that proposition, too.... :)
I'd like to hear what Anthony Braxton thinks of Karlheinz Stockhausen's story,
generally....






-----------------------------------
"Don't scab for the bosses
Don't listen to their lies.
Us poor folks haven't got a chance
Unless we organize.
Which side are you on?
Which side are you on?"

[Non-text portions of this message have been removed]

While you're at it, consider the Vancouver
International Jazz Festival next July. The weed is
better :-)

--- Revolution #9 <hendrix@...> wrote:


---------------------------------

"And please consider playing the Vision Festival next
year!"

Anthony, please don't....
instead of considering playing that reactionary
festival, consider playing again in Serbia (or any
other place which you don't visit so often/some place
you've never been) and try to
wide your fan base....and expose people here
(somewhere) to some real art, though I hate "art" as a term...





___________________________________________________________
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From Revolution #9:

> I also would like to hear directly from you
> what's with this fascination with the jazz standards ?
> 4 cd's ???...not one, not two, but four....is that an
> inability to leave past behind or something else ?...

8 CDs, Darko, even 9, if you count the excellent radio broadcast from
the Bergamo Festival. Not to mention the ca. 15 albums (some of them
with multiple CDs) from the previous thirty years. You could ask
like-wise "Why this fascination with orchestra music?" simply because
standards are an integral part of AB's discography. The usual
classification of the Braxton oeuvre is solo, duo, trio/quartet,
extended works and standards.

The reasons for this life-long engagement are on the one hand personal
(after all Anthony grew up with the music that he's playing on the
standards albums) but there are wider ramifications, too. Firstly,
repertoire: In the 60s and 70s it wasn't taken for granted that an
African-American musician paid hommage to his white peers and Braxton
mentioning Warne Marsh and Paul Desmond as role-models drew some
controversy. Of course we are now thirty or forty years later and this
point may not be as valid as it was then. But even in the 90s there were
heated discussions, with the Lincoln Jazz Center as one of the main
points of the argument, about how much white musicians contributed to
the development of jazz. Secondly, and this has still some aesthetic
explosiveness: The way Braxton plays standards, how his soloing deviates
in rhythmic terms, in phrasing, etc. is obviously provocative. I was
surprised that even Andy Hamilton (in his 23 Standards review) dug out
that old red herring about "respect" ("Braxton is meant to respect
tradition").

As for 23 & 20 Standards: I love these sets. The sopranino saxophone
tracks were initially a shocker for me, but I overcame this
non-appreciation relatively quick. Just listen to "Manha de Carnaval
[theme from Black Orpheus]" and to its tender-fragile ending which I
find incredibly satisfying! I don't want to spend my wisdom ;- on the
standards box-sets prematurely, though, because I've been wanting for
some time to start a track-for-track discussion of these albums.

Best regards
Franz Fuchs

Hello Anthony,

Thanks for wrting and for all the music over the years.  And special thanks
for maintaining the developments of your concepts despite/inspite(of) all the
struggles.  That alone has been a strong inspiration for me.

First heard your work back in the late 70's when I was in High School.
Picked up Live at Wigmor in 1980.  Very nice - then and now.   I'm fond of a lot
of
your other work too.

If you're going to be around for a minute I'd like to ask you a few
questions.  I don't know man ,  I really don't want to intrude.  But you've been
around
longer than most so you've got first hand experience to boot and I suspect
you have a deeper insight  to the establishment's nature.

Specific to the creative improvised music world,  what's up with all these
clique's?  Has it always been this way or has the creative improvised music
scene gotten more fractured and fragmented over the years?

Why do so many musicians who are obviously in one clique or another have a
chip on their shoulder and thus make it so difficult for a newcomer to
participate?

Is it necessary for there to be an in group and an out group?
If so, is it because the pie is only so big?

Or is the pie ever expanding?

with respect,

Bruce Eisenbeil
www.eisenbeil.com


[Non-text portions of this message have been removed]

I'm not a musician, so the best I can do here is to retell a couple of
anecdotes I think the group would appreciate.
  I saw a Braxton solo performance in Ann Arbor at the Eclipse Jazz Festival
in October 1978 (or was it 1979)? He was playing at a very small auditorium
at the Residence College. There couldn't have been more than 40 people
there, but folks were pretty excited. He came out wearing his infamous light
gray cardigan. Played his alto for about 50 minutes -- occasionally playing
without his mouthpiece. Tour-de-force. Anthony barely made eye contact with
the crowd until the end when he looked up, and with incredible modesty
thanked the crowd for coming to hear the music. I couldn't believe he was
actually thanking us after giving such an incredible gift.
  Later I was privileged to see Anthony Braxton with Marilyn Crispell in Ann
Arbor the Michigan Union in Feburary 1982. Very challenging and wonderful
performance. After the show, I was talking to him about his horns. He had a
very unusual silver "C" horn. He asked me what I played. I told him "mostly
records and tapes." Such an incredibly humble and gentle person. Wonderful
musicians.
  Thank you Anthony for all the joy you have brought to the world.
  Stanley


On 8/4/05, indent1@... <indent1@...> wrote:
>
> Hello Anthony,
>
> Thanks for wrting and for all the music over the years. And special thanks
> for maintaining the developments of your concepts despite/inspite(of) all
> the
> struggles. That alone has been a strong inspiration for me.
>
> First heard your work back in the late 70's when I was in High School.
> Picked up Live at Wigmor in 1980. Very nice - then and now. I'm fond of a
> lot of
> your other work too.
>
> If you're going to be around for a minute I'd like to ask you a few
> questions. I don't know man , I really don't want to intrude. But you've
> been around
> longer than most so you've got first hand experience to boot and I suspect
>
> you have a deeper insight to the establishment's nature.
>
> Specific to the creative improvised music world, what's up with all these
> clique's? Has it always been this way or has the creative improvised music
>
> scene gotten more fractured and fragmented over the years?
>
> Why do so many musicians who are obviously in one clique or another have a
> chip on their shoulder and thus make it so difficult for a newcomer to
> participate?
>
> Is it necessary for there to be an in group and an out group?
> If so, is it because the pie is only so big?
>
> Or is the pie ever expanding?
>
> with respect,
>
> Bruce Eisenbeil
> www.eisenbeil.com <http://www.eisenbeil.com/>
>
>
> [Non-text portions of this message have been removed]
>
>
>
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>
>
>
>
>


--
Stanley Pollack
P.O. Box 710
Window Rock, AZ 86515
USA


[Non-text portions of this message have been removed]

Revolution #9 wrote: "consider playing again in Serbia (or any
other place which you don't visit so often/"

Which made me think of CHICAGO!! Would love to hear AB in Chicago again.
Come on home Anthony!

LAZARO VEGA
(with no insight on the quality of Chicago's weed)


-----Original Message-----
From: Anthony_BRAXTON@yahoogroups.com
[mailto:Anthony_BRAXTON@yahoogroups.com]On Behalf Of B. Clugston
Sent: Thursday, August 04, 2005 2:18 PM
To: Anthony_BRAXTON@yahoogroups.com
Subject: Re: [Braxton] to AB


While you're at it, consider the Vancouver
International Jazz Festival next July. The weed is
better :-)

--- Revolution #9 <hendrix@...> wrote:


---------------------------------

"And please consider playing the Vision Festival next
year!"

Anthony, please don't....
instead of considering playing that reactionary
festival, consider playing again in Serbia (or any
other place which you don't visit so often/some place
you've never been) and try to
wide your fan base....and expose people here
(somewhere) to some real art, though I hate "art" as a term...





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Yahoo! Groups Links

For all who are not as fortunate as Jason....Here is a good chance to see Mr.
Braxton on stage:


http://www.desingel.be/ProductionDetailView.orb?PR_ID=7333
http://www.freemusicfestival.org/

Lets meet us there, people, to have a drink or two!

Timo

[Non-text portions of this message have been removed]

From Timo Hoyer:

> For all who are not as fortunate as Jason....Here is a good
> chance to see Mr. Braxton on stage:
>
>
> http://www.desingel.be/ProductionDetailView.orb?PR_ID=7333
> http://www.freemusicfestival.org/
>
> Lets meet us there, people, to have a drink or two!

And for those you can't make it to Belgium there are several occasions
to see Andrew Raffo Dewar, Jessica Pavone, Phillip Schulze and Aaron
Siegel on their German tour:

24 August 2005 Butt Club, Hamburg, Germany

23 August 2005 Art Academy, Dusseldorf, Germany

22 August 2005 Center for Art and Design (ZKM), Karlsruhe, Germany
Performing with Low and Away: Andrew Raffo Dewar (soprano saxophone),
Jessica Pavone (viola), Phillip Schulze (live electronics), Aaron Siegel
(percussion).

Source:
http://adewar.web.wesleyan.edu/performances.html

Best regards
Franz Fuchs