| 1 | Composition No. 77a | 8:30 |
| 2 | Composition No. 138m | 6:40 |
| 3 | Composition No. 106d | 9:20 |
| 4 | Composition No. 77h | 7:25 |
| 5 | Composition No. 138p | 5:14 |
| 6 | You Go to My Head | 7:16 |
| 7 | Composition No. 26e | 13:09 |
| 8 | Composition No. 8d | 6:30 |
| 9 | Composition No. 26f | 6:27 |
| 10 | Composition No. 106f | 5:14 |
| 11 | Impressions | 2:10 |
"Saved from oblivion by Anthony Braxton himself this recording can't be more welcome, for at the time of the release other Braxton's solo CDs are mostly unavailable. But make no mistake: the thing that will strike your ears is how absolutely contemporary this music sounds. Recorded twenty four years ago it sounds as if it has been recorded today. It was a long concert, but we managed to save every sound by editiong out bursts of applause after each piece. Yet it happened to be the longest recording in the entire Leo Records catalogue: 78'02."
"Not released until 24 years after it was recorded, this classic solo album by one of the giants of the saxophone is a welcome addition to Anthony Braxton's discography. Performing solely on alto sax, there is a searing lyricism and a surprisingly jazz-oriented underpinning to even the most abstract of Braxton's improvisations. While most of the compositions are originals, the two that are not -- "You Go to My Head" and "Impressions" -- reveal Braxton's remarkable ability to delve deeply inside a song's structure and make it his own. In later years, Braxton often revealed a mellow tinge to his playing, even in solo performances. The instant release, though, reveals him in an energetic mood, and should satisfy those who appreciate his more radical side within the "mainstream" of the jazz avant-garde. He barks, screeches (though only occasionally and in characteristically good taste), and shows some outstanding technical skills, including incredible speed. While he has recorded some of these compositions elsewhere (for example, as Steve Day writes in the liner notes, four of the compositions appear on the impressive Alto Saxophone Improvisations 1979), Braxton is in peak form on this one and the results are uniformly excellent. Braxton enthusiasts (and others, too) will want this in their collections." - Surfing the Odyssey
Available as 320k MP3 or 16bit FLAC
Tracklisting:
1. Composition No. 77a - 8:30
2. Composition No. 138m - 6:40
3. Composition No. 106d - 9:20
4. Composition No. 77h - 7:25
5. Composition No. 138p - 5:14
6. You Go To My Head. 7:16
7. Composition No. 26e - 13:09
8. Composition No. 8d - 6:31
9. Composition No. 26f - 6:27
10. Composition No. 106f - 5:15
11. Impressions [Music By John Coltrane] - 2:11
The Chicago-born composer and multi-instrumentalist Anthony Braxton is recognized as one of the most important musicians, educators, and creative thinkers of the past 50 years. He is highly esteemed in the experimental music community for the revolutionary quality of his work and for the mentorship and inspiration he has provided to generations of younger musicians. His work, both as a saxophonist and a composer, has broken new conceptual and technical ground in the trans-African and trans-European (a.k.a. “jazz” and “American Experimental”) musical traditions in North America as defined by master improvisers such as Warne Marsh, John Coltrane, Paul Desmond, Ornette Coleman, Albert Ayler, and he and his own peers in the historic Association for the Advancement of Creative Musicians (AACM, founded in Chicago in the late '60s); and by composers such as Charles Ives, Harry Partch, and John Cage. He has further worked his own extensions of instrumental technique, timbre, meter and rhythm, voicing and ensemble make-up, harmony and melody, and improvisation and notation into a personal synthesis of those traditions with 20th-century European art music as defined by Schoenberg, Stockhausen, Xenakis, Varese and others.
