Description
The Anthony Braxton Ninetet's 1997 two-CD set documents Braxton's six-night residency at Yoshi's. The first CD, composed of two 55-minute pieces, is the strongest of the two, while the second CD, composed of three shorter pieces, is slightly less impressive. The most immediate difference between the first and second pieces is Kevin Norton's role; in 211, he sticks exclusively to marimba and vibraphone, while in 212 he is mostly behind the drum kit. The first piece is the strongest of the two. Braxton, Brandon Evans, and J.D. Parran form a flute trio at one point which, coupled with Norton's vibes, takes listeners into unusually velvety pastures. The pulse is marvelously sustained, producing a strong hypnotic effect, and the music attains a level of complexity and confidence -- ease too, probably -- the previous evenings only hinted at.
Released 15 months after Vol. 2, this two-CD set continues to
document the Anthony Braxton Ninetet's six-night residency at
Yoshi's. Composition No. 211 and Composition No. 212 (each 55
minutes long) were both performed on August 21, 1997. Because of
the range of arrangements it offers in a format relatively easy to
keep together, the Ninetet is turning into Braxton's ultimate Ghost
Trance Music-era group, in the light of these recordings. The
(shifting) triple-trio configuration, the quality of the
musicianship, and the creativity developed from Composition No.
207 through Composition No. 218 will make this series one of the
essential documents of GTM. As on the previous night, the most
immediate difference between the first and the second pieces is
Kevin Norton's role. In 211, he sticks exclusively to marimba and
vibraphone, while in 212 he is mostly behind the drum kit. The
first piece is the strongest one of the two. Braxton, Brandon
Evans, and J.D. Parran form a flute trio at one point which,
coupled with Norton's vibes, takes listeners into unusually velvety
pastures. The pulse is marvelously sustained, producing a strong
hypnotic effect, and the music attains a level of complexity and
confidence -- ease too, probably -- the previous evenings only
hinted at. 212 is slightly less impressive, mostly because the
wind section lacks a bit of togetherness in key places. But it also
features a fine bass sax solo from Parran, some of the series' most
audacious departures from the main score, and a gentle finale (a
nice change from the more standard GTM practice, which consists of
abruptly stopping in the middle of a staccato tutti). The quality
and entertainment value of Steve Day's listening diary -- an
excellent no-nonsense contextualization of Braxton's music -- is
also worth noting. ~ Franaois Couture
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