Samedi / Le Lieu Unique / Watch out ! Fermeture à 17h aujourd'hui ! En stock :
Anthony Braxton, Five Pieces 1975, original US lp, 1975..
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#anthonybraxton #jazz
#bookstore #livres #bouquiniste #vinylcollection #vinyls #recordstore #disquaire #lelieuunique #nantes

youtube.com/watch?v=nY5h...

#MusicSky
#JazzSky
#AnthonyBraxton
#GeorgeLewis
#MichaelJackson
#FredHopkins
#BarryAltschul
#PhillipWilson
#WildflowersTheNewYorkLoftJazzSessions

The cover of Anthony Braxton & Richard Teitelbaum, "Duet: Live At Merkin Hall" (Music & Arts, 1996) sits atop a GE tape recorder while the CD lays in the tray of a Phillips CD player, over stereo components, surrounded by other CDs.

#NowPlaying: Anthony Braxton & Richard Teitelbaum, "Duet: Live At Merkin Hall" (Music & Arts, 1996)

Way quieter so far than one would think given the Tyson vs. Spinks homage, LOL.

www.discogs.com/release/3338...

#nowlistening #musicsky #cdsky #anthonybraxton #richardteitelbaum

Calcagnile, Stoma, Caos, DonCherry 24 Febbraio 2029 - Tagging Heritage Recupera e ripropone le registrazioni live di circa 20 anni di attività di spettacolo nello spazio culturale di Alice nella città. Musica, incontri, talk e improvvisazioni estemporanee. Lo racconta Umberto Bellodi con il recupero sonoro di Andrea Grandi e mediante un ascolto selezionato, introdotto da quattro tags.

📣 New Podcast! "Calcagnile, Stoma, Caos, DonCherry" on @Spreaker #alicenellacitta #anthonybraxton #archivio #arcialicenellacitta #arte #caos #communityradio #cristianocalcagnile #cultura #doncherry #fondazionecariplo #freejazz #heritage #musica #perlacultura #recupero #repertorio #stoma

#hausofpaine @campradio.bsky.social feat. #anthonybraxton #maxroach #lukefowler @nofansrecords.bsky.social #sorleymaclean #annebriggs #teppanajanus #lumilaulu #billybenningham and more!

Black and white album cover features five white spheres with lines through them, sort of like repeated reflections of a full moon on water.

Marion Brown - "Afternoon of a Georgia Faun" (1970)

Got a bunch of jazz records in Detroit. This is the first listen.

#NowPlaying #MarionBrown #AnthonyBraxton #ChickCorea #AndrewCyrille #LarryCurtis #JeanneLee #BennieMaupin #ECMRecords #vinyl #VinylRecords

youtu.be/VTHcYM1JN44

🇺🇦 #NowPlaying on BBC #Radio3's #20thCenturyRadicals

Anthony Braxton & Ghost Trance Septet:
🎵 Composition 193

#BBCRadio3 #AnthonyBraxton #GhostTranceSeptet

To Composer John Cage Anthony Braxton · For Alto · Song · 2000

🇺🇦 #NowPlaying on BBC #Radio3's #20thCenturyRadicals

Anthony Braxton & Anthony Braxton:
🎵 To Composer John Cage

#BBCRadio3 #AnthonyBraxton
▶️ Track on #Spotify:

🇺🇦 #NowPlaying on BBC #Radio3's #20thCenturyRadicals

Anthony Braxton & Anthony Braxton Quartet:
🎵 Composition 122 (+108A, 40(0); Collage from Structure Composition 52, 86 (+32,1)

#BBCRadio3 #AnthonyBraxton #AnthonyBraxtonQuartet

🇺🇦 #NowPlaying on BBC #Radio3's #ComposerOfTheWeek #COTW

Max Roach, Anthony Braxton, Max Roach & Anthony Braxton:
🎵 Spirit Possession

#BBCRadio3 #MaxRoach #AnthonyBraxton

At 80, This Composer Is Easier Than Ever to Celebrate

Explore this gift article from The New York Times. You can read it for free without a subscription. www.nytimes.com/2025/11/21/a... First heard him in the 70s and it was as mind blowing then as it is now #anthonybraxton #sunday #nytimes

At 80, This Composer Is Easier Than Ever to Celebrate

Gift article, for this wonderful overview of the Braxton events at Roulette Intermedium by The New York Times. Happy to have been able to celebrate Anthony's oeuvre with the Tri-Centric Vocal Ensemble. Hooray for music!
#music #AnthonyBraxton
www.nytimes.com/2025/11/21/a...

Streaming live now: Mary Halvorson and George Lewis - the music of Anthony Braxton - Live from Roulette in Brooklyn #maryhalvorson #georgelewis #anthonybraxton #jazz https://www.youtube.com/watch?v=7noTGqETaeA

Anthony Braxton Quartet - Quartet (England) 1985 (Burning Ambulance, 2025) Roundtable conversation with Gary Chapin, Andrew Choate, and Lee Rice Epstein __ __ __ _We join our trio of intrepids in the middle of a conversation about the new Burning Ambulance release of Anthony Braxton Quartet “bootlegs,”_ _Quartet (England) 1985_ _. The release presents music recorded by Graham Lock, who traveled with the quartet to write his book,_ Forces in Motion _. Adding to the original Leo recordings of the tour, we now get sets from Sheffield, Bristol, Leicester, and Southampton, in addition to sound check recordings from throughout the tour. If you are into this kind of thing, the set amounts to 6+ hours of manna from Heaven._ ** Gary Chapin** Let's start with the magnitude that we talked about because it seems like this has always been an iconic tour. Partly based on the Leo recordings—which are great—but also because of Graham Locke's book. This is probably the most well documented tour in this kind of music. So, is this an iconic tour because of the documentation or because of the performances themselves? ** Andrew Choate** I think that's a great question. The music definitely stands on its own and listening to all of these further recordings made me think this is the heart of Braxton's music for me, It's where I discovered his music, you know, the first time somebody played me some of his music. 16 years old. They showed me _Forces in Motion_ and I was instantly intrigued and wanted to get to know more. Graham's book helps a lot, but his book also talks about other aspects of Braxton's music. For me personally, this quartet was the height of when Braxton had a working band, and could do stuff on a really regular basis. They have this concentrated tour opportunity and I think it allowed a certain essence of his music to really get strong. ** Lee Rice Epstein** Maybe before hearing these additional recordings, I might have said it was the book that helped cement these recordings. That tour is critical, but hearing more performances by the group— You know what Andrew's getting at? It's a really transformational time for Braxton. He had already hit a bunch of highs, like his whole Arista run. ** Andrew Choate** Yeah. ** Lee Rice Epstein** Like _Montreaux/Berlin_ (1976), I go back to that a ton. That's a classic live Braxton. But in a way—listening to it in 2025—it’still just kind of like, yeah, they're really really out there in the compositional structure, but they're also still doing a lot of head, solo, solo, solo, head, right? And _England (1985)_ is like something else entirely. He's got three very brave musicians who are pushing as hard against expectations as he is. Marilyn Crispell's probably one of his most important all time partners in music. ** Gary Chapin** I actually saw this quartet in New York City, and that was amazing. One of the things that I loved about this period was that Braxton was moving into his own universe. But he was still drawing from those compositions around the 40s and the thirty-threes and the twenty-threes. I saw them do 23G, which—I love that piece very much ** Andrew Choate** There're a couple of sort of paradoxical things that I wrote down while I was listening. I kept thinking about Braxton's humbleness. Like he's writing these compositions and getting people to play them and push back. But I heard a sort of fundamental humility in the music, which I had never heard before. Like he's really excited about the music, but it's not ___For Alto_. The structures that he's created, and the young musicians with him pushing and pulling, emphasize that sense. ** Lee Rice Epstein**14:08 I for sure hear it. I've never met him. I only know people who know him, but he seems like one of the great humility engines in music. [...] ** Lee Rice Epstein** So what did you guys think [of the new set]? Even when you first heard they were coming out like, were you, “Oh yeah, that's gonna be all gold” or a little bit like, “I don't know.” They were very upfront about the fact that these were not professional recordings. ** Gary Chapin** My first thought was that this is going to be extremely interesting. My second thought was that I am no longer the kind of person who listens to every archival recording recorded in the club bathroom with a mic snaked out to the bandstand. That kind of stuff just doesn't get me anymore. Since they warned us that it might not be great production, I said, “I'll manage my expectations.” But there was nothing about the production that detracts from the music! For me it's just astounding that in 19—I don't know, what was that—80? 81? That they were able to get that quality from like a hand recording that Graham did. ** Andrew Choate** Yeah, my first thought was also, “I bet the production is just not going to be very good.” But, I'm interested in the music and I can filter that out. But listening to it: these are absolutely acceptable recordings, really. The balance: you hear the differences in the halls. It's like, “Wow, this is, this is what a live concert feels like. ** Gary Chapin** You can even hear the bass very clearly, which is so rare. ** Lee Rice Epstein** One of them—I think it's the Bristol set—sounds like you're in a small room. And you’ve got all four instruments—I wasn’t ready for the quality of the playing. In a way it’s like the Leo sets were the safer ones because there is some very, very out playing here. ** Gary Chapin** The opening of Sheffield, which is the first cut of the whole set, was such a blistering statement of purpose. It was just amazing, like a supernova of sound right from the start, so much energy. And it didn’t calm down for nearly 10 minutes. ** Andrew Choate** A supernova of sound is a great way to put it because it is. It is really dense, it is really lively and it just grabs you right from the start. ** Lee Rice Epstein** So, because I can't help myself. I made a playlist of the whole tour in order. I was looking at Graham's book a little bit online. Sheffield kicks off this set and is the first, yeah, but it's like the third, the third stop on their tour. By that point, they've really warmed up. And they sound it. They sound right. They don't let up for a minute. There's no coasting. ** Gary Chapin** They're always interesting. There's a lot of emotional energy being spent. ** Lee Rice Epstein** Additional thoughts? I don't know if we want to get into individual sets. We've talked about the whole of it, but are there specific highs? Listeners who haven't dipped into this yet, can get the set or you can get the individual concerts. ** Andrew Choate** I mean, I would say if you're interested in this music, just get the whole thing. There's so much. I think the one show I came back to the most often though was Leicester, partly because in the first set there's just an extraordinary Mark Dresser solo. There's also an extraordinary Gerry Hemingway solo, and they go on for more significant lengths of time than I think I would have guessed from reading Graham's book or from thinking about Braxton's compositions. They're significant. ** Lee Rice Epstein** It's funny. This is exactly why I like the round table format for something like this, because I have my own favorite set that I've been going back to most, which is Bristol. So we each named a different one, right? Which is very fun, but I concur 100%. I think like anyone who's interested, there's no reason not to hear all, all, all the music. There's delight in every set. ** Andrew Choate** We're really lucky that there's enough interest to have this stuff out there. It’s on a different level. There's no way not to be rewarded. <a href="https://anthonybraxton-bam.bandcamp.com/album/quartet-england-1985">Quartet (England) 1985 by Anthony Braxton</a>

"...a conversation about the new Burning Ambulance release of Anthony Braxton Quartet “bootlegs,” Quartet (England) 1985."

www.freejazzblog.org/2025/10/anthony-braxton-...
#AnthonyBraxton #FreeJazz #Jazz #music

1969 - First International Jazz Event in Liège (Belgique / Belgium)

1969 - First International Jazz Event in Liège (Belgique / Belgium)

#MilesDavis, Jake DeJohnette, Dave Holland, #ChickCorea, #WayneShorter, Gunther Hampel, #AnthonyBraxton, Willem Breuker, Jeanne Lee, J.R. Monterose, Joachim Kühn, ...

#jazz jazzsky

Now on YouTube, the documentary I created on Anthony Braxton and Syntactical Ghost Trance Music. Tri-Centric is moving videos to YouTube after the announcement of Vimeo's acquisition by Bending Spoon. Workshop happening at Roulette in November.
www.youtube.com/watch?v=kDAO...
#music #AnthonyBraxton

'Conference of the Birds' An early ECM release from 1973. Excellent Free jazz by the David Holland Quartet. Early ECM albums tended to be more experimental #DaveHolland #AnthonyBraxton #SamRivers #BarryAltschul #nowplaying #ECMrecords #FreeJazz #vinylcommunity #vinyllover

Anthony Braxton’s Syntactical Ghost Trance Music scores (Comp No. 265 and 399) with his graphic titles on the cover.

Starting the slow prep for the Tri-Centric Vocal Ensemble performance in November. My desk is once again covered in Braxton scores. It’s been a while. Feels good to be back in this music. #music #AnthonyBraxton

1978 - The new Anthony Braxton Quartet - Willisau

1978 - The new Anthony Braxton Quartet - Willisau

#AnthonyBraxton (saxes, clars), Ray Anderson (tb), Brian Smith (b), Thurman Barker (dr)

#jazz jazzsky

🇺🇦 #NowPlaying on BBC #Radio3's #NewMusicShow

Anthony Braxton, Ensemble Modern & Vimbayi Kaziboni:
🎵 Composition 136

#BBCRadio3 #AnthonyBraxton #EnsembleModern #VimbayiKaziboni

A few near mint vinyl rarities in. 1977 German Po Torch pressing of “Jahmarkt/Local Fair” by #GlobeUnityOrchestra . With #AnthonyBraxton #PeterBrotzmann #EnricoRava #PeterKowald & more. #FreeJazz #BaltimoreRecordstore

This photo features the album cover of "Afternoon of a Georgia Faun" by Marion Brown, released under the ECM label (catalog number ECM 1004 ST). The cover design is minimalist, with a black background and a series of beige circular shapes aligned vertically, resembling abstract sun or moon phases with horizontal lines giving them a textured, almost woodcut appearance. In the background, there's a rustic setting with a rough brick wall, a pair of traditional drums with decorative patterns on the left, and a green glass object on the right. There's also a small, green frog figurine sitting beside a handwritten note placed on a glass surface. The album is displayed upright on a wooden stand atop a wooden table, contributing to a cozy, eclectic ambiance.

Marion Brown
Afternoon of a Georgia Faun (1970)

Afternoon of a Georgia Faun
youtu.be/N_H2_GCeUuk

#NowPlaying #JazzSky #MarionBrown #AnthonyBraxton #ChickCorea #AndrewCyrille #JackGregg #JeanneLee #BennieMaupin #GaylePalmoré #ECMRecords

#tedcruz #ruckercarlson #anthonybraxton #iran #jazz #freejazz #fuckmaga

#AnthonyBraxton

#Quartet #England 1985
2025

Anthony Braxton's creative universe lovingly exceeds the boundaries of music.
You are all welcome.

anthonybraxton-bam.bandcamp.com/album/quarte...

#music #jazz #freejazz #vanguardia #avantgarde #improvisation #creativity #EstadosUnidos #USA

#AnthonyBraxton

#Quartet #England 1985
2025

El universo creativo de Anthony Braxton excede cariñosamente los límites de la música.
Son todos bienvenidos.

anthonybraxton-bam.bandcamp.com/album/quarte...

#música #jazz #freejazz #vanguardia #avantgarde #improvisación #creatividad #EstadosUnidos

Record of the Day:
Nothin’ left to do but smile, smile, smile
#MusicSky #DaveHolland #DavidHolland #VinylSky #AnthonyBraxton #FreeJazz #SamRivers #BarryAltschul #VinylRecords #Jazz #VinylCommunity #AvantGardeJazz #JazzSky #NotTheOmAlbumOfTheSameNameButThatRecordIsReallyGoodToo

Poster for Brooklyn Free Spirit Festival taking place on July 12th & 13th 2025 at IBEAM BROOKLYN 168 7th Street, Brooklyn, NY 11215 $20 Admission / day | cash or Venmo. Daily Admission includes access to all daytime and evening events. Light food and beverages provided. Saturday, July 12 5:00pm Improviser’s Workshop (open to all) Lifelong ecstatic improvising pianist & 40-year Qigong Practitioner Kazzrie Jaxen offers a qigong workshop for creative improvisers. Wuji Gong: Skill of Entering the Supreme Unknown (comfortable clothes suggested) 7:30pm Siren Xypher Melanie Dyer – Viola / Kyoko Kitamura – Voice / Mara Rosenbloom – Piano & Voice 8:30pm Kazzrie Jaxen SOLO Piano Sunday, July 13 3:00pm Improvisation Workshop (open to all) Anthony Braxton collaborators Kyoko Kitamura and Chris DiMeglio guide participants through Anthony Braxton’s Musical Systems and beyond. 90-minute workshop in two parts. For inquiries about this workshop, email contact at kyokokitamura.com Part I 3 PM to 3:45 PM: text and graphic scores by various composers including Anthony Braxton, open to all including non-musicians. Part II 3:45 PM to 4:30 PM: musical improvisation based on Anthony Braxton’s concepts including Ghost Trance Music, open to all. Ability to read music recommended for Part II but not required. Score excerpts provided. Instruments welcome but not required. 5:00pm Listening Session & In-Person Interview: AMINA CLAUDINE MYERS 90-minutes of immersion into the luminary pianist/composer’s multi-decade body of work. Conversation moderated by W.S. Tkweme, Pan-African Studies Professor at University of Louisville & 25 year radio programmer at stations across the US. Archival support from Ras Moshe Burnett. (Curated by Melanie Dyer) 7:30pm DoYeon Kim / Cooper-Moore / Satoshi Takeishi DoYeon Kim – Gayageum & Voice / Cooper-Moore – Homemade Instruments / Satoshi Takeishi – Drums & Percussion 8:30pm Mazz Swift & Ana Luisa Díaz de Cossío Violin + Violin

Two Anthony Braxton collaborators, Chris DiMeglio and I, will be offering an improvisation workshop covering Braxton music systems, July 13th as part of Brooklyn Free Spirit Festival at Ibeam Brooklyn. Score excerpts provided.
www.kyokokitamura.com/brooklyn-fre...
#music #AnthonyBraxton