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Anthony Braxton Septet March 29-April 1 at the Iridium Jazz Club

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IRIDIUM JAZZ CLUB
1650 BROADWAY (Corner of 51st)
NEW YORK, NY 10023
RESERVATIONS: 212-582-2121
http://www.iridiumjazzclub.com/
8:30 & 10:30PM, Fri. & Sat. 3rd Sets AT MIDNIGHT

The Iridium Jazz Club Is Pleased To Present

THE ANTHONY BRAXTON SEPTET

March 29-April 1

FEATURING
On all sets:


Anthony Braxton Septet
Anthony Braxton (reeds, including baritone, bass, contrabass saxophones), Taylor Ho Bynum (brass), Jessica Pavone (viola, violin), Jay Rozen (tuba), Mary Halvorson (guitar), Carl Testa (bass, bass clarinet), Aaron Siegel (drums, vibes)

guests:
Thursday 3/29
1st set: Nicole Mitchell (flutes)
2nd set: Nicole Mitchell (flutes), Caley Monahon-Ward (violin)

Friday 3/30
1st set: Stephanie Griffin (viola)
2nd set: Kyle Brenders (saxophones)

Saturday 3/31
1st set: just septet
2nd set: Matt Bauder (reeds), Katie Young (bassoon)

Sunday 4/1
1st set: just septet
2nd set: Eric Paul (reeds)

Anthony Braxton is widely and critical acclaimed as a seminal figure in the music of the late 20th century. 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 Northj Anmerica as defined by master improvisers as Warne Marshm 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 20-century European art music as defined by Schoenberg, Stockhausen, Xenakis, Varese and others.

Braxton's three decades worth of recorded output is kaleidoscopic and prolific, and has won and continues to win prestigious awards and critical praise. Books, anthology chapters, scholarly studies, reviews and interviews and other media and academic attentions to him and his work have also accumulated steadily and increasingly throughout those years and continue to so. His own self published writings about the musical traditions from which he works and their historical and cultural contexts (Tri-Axium Writings 1-3) and his five-volume Compositions Notes A-E are unparalleled by artists from the oral and unmatched by those in the literate tradition.

Braxton is also a tenured professor at Wesleyan University, one of the world's centres of world music. His teaching career, begum at Mills College in Oakland, California, has become as much a part of his creative life as his own work, and includes training and leading performance ensembles and private tutorials in his own music, computer and electronic music and history courses in the music of his major musical influences, from the Western Medieval composer Hildegard of Bingen to contemporary masters with whom he himself has worked (e.g. Cage, Coleman).

Braxton's name continues to stand for the broadest integration of such often-conflicting poles as “creative freedom" and “responsibility", discipline and energy, and vision of the future and respect for tradition in the current cultural debates about the nature and place of the Western and African-American musical traditions in America.

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