It is taking longer than expected to fetch the next song to play. The music should be playing soon. If you get tired of waiting, you can try reloading your browser.


Please check our Help page for information about troubleshooting Pandora on your browser.

Please ensure you are using the latest Flash Player.


If you are unable or do not wish to upgrade your Flash Player,
please try a different browser.


Please check our Help page for information about troubleshooting Pandora on your browser.
Your Pandora One subscription will expire shortly.
close
Your Pandora One trial subscription will expire shortly. Upgrade to continue unlimited, ad-free listening.
You've listened to hours of Pandora this month. Consider upgrading to Pandora One.
Close
Hi . Pandora is using Facebook to personalize your experience. Learn MoreNo Thanks
-0:00
0:00
Change Skin

We created Pandora to put the Music Genome Project directly in your hands

It’s a new kind of radio –
stations that play only music you like

 
Create an account for free. Register
Now Playing
Music Feed
My Profile
Create a Station
People who also like this

Anthony Braxton

Genius is a rare commodity in any art form, but at the end of the 20th century it seemed all but non-existent in jazz, a music that had ceased looking ahead and begun swallowing its tail. If it seemed like the music had run out of ideas, it might be because Anthony Braxton covered just about every conceivable area of creativity during the course of his extraordinary career. The multi-reedist/composer might very well be jazz's last bona fide genius. Braxton began with jazz's essential rhythmic and textural elements, combining them with all manner of experimental compositional techniques, from graphic and non-specific notation to serialism and multimedia. Even at the peak of his renown in the mid- to late '70s, Braxton was a controversial figure amongst musicians and critics. His self-invented (yet heavily theoretical) approach to playing and composing jazz seemed to have as much in common with late 20th century classical music as it did jazz, and therefore alienated those who considered jazz at a full remove from European idioms. Although Braxton exhibited a genuine -- if highly idiosyncratic -- ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen. Many of the mainstream's most popular musicians (Wynton Marsalis among them) insisted that Braxton's music was not jazz at all. Whatever one calls it, however, there is no questioning the originality of his vision; Anthony Braxton created music of enormous sophistication and passion that was unlike anything else that had come before it. Braxton was able to fuse jazz's visceral components with contemporary classical music's formal and harmonic methods in an utterly unselfconscious -- and therefore convincing -- way. The best of his work is on a level with any art music of the late 20th century, jazz or classical.

Braxton began playing music as a teenager in Chicago, developing an early interest in both jazz and classical musics. He attended the Chicago School of Music from 1959-1963, then Roosevelt University, where he studied philosophy and composition. During this time, he became acquainted with many of his future collaborators, including saxophonists Joseph Jarman and Roscoe Mitchell. Braxton entered the service and played saxophone in an Army band; for a time he was stationed in Korea. Upon his discharge in 1966, he returned to Chicago where he joined the nascent Association for the Advancement of Creative Musicians (AACM). The next year, he formed an influential free jazz trio, the Creative Construction Company, with violinist Leroy Jenkins and trumpeter Leo Smith. In 1968, he recorded For Alto, the first-ever recording for solo saxophone. Braxton lived in Paris for a short while beginning in 1969, where he played with a rhythm section comprised of bassist Dave Holland, pianist Chick Corea, and drummer Barry Altschul. Called Circle, the group stayed together for about a year before disbanding (Holland and Altschul would continue to play in Braxton-led groups for the next several years). Braxton moved to New York in 1970. The '70s saw his star rise (in a manner of speaking); he recorded a number of ambitious albums for the major label Arista and performing in various contexts. Braxton maintained a quartet with Altschul, Holland, and a brass player (either trumpeter Kenny Wheeler or trombonist George Lewis) for most of the '70s. During the decade, he also performed with the Italian free improvisation group Musica Elettronica Viva, and guitarist Derek Bailey, as well as his colleagues in AACM. The '80s saw Braxton lose his major-label deal, yet he continued to record and issue albums on independent labels at a dizzying pace. He recorded a memorable series of duets with bop pioneer Max Roach, and made records of standards with pianists Tete Montoliu and Hank Jones. Braxton's steadiest vehicle in the '80s and '90s -- and what is often considered his best group -- was his quartet with pianist Marilyn Crispell, bassist Mark Dresser, and drummer Gerry Hemingway. In 1985, he began teaching at Mills College in California; he subsequently joined the music faculty at Wesleyan University in Connecticut, where he taught through the '90s. During that decade, he received a large grant from the MacArthur Foundation that allowed him to finance some large-scale projects he'd long envisioned, including an opera. At the beginning of the 21st century, Braxton was still a vital presence on the creative music scene. ~ Chris Kelsey, Rovi
full bio

Selected Discography

x

Track List: Composition N. 169 + (186 + 206 + 214) (feat. Slovenia Radio Orchestra)

x

Track List: Four Compositions (Gtm) 2000

x

Track List: Composition No. 94 For Three Instrumentalists (1980)

x

Track List: Ensemble (Victoriaville 1988) (Live)

x

Track List: Creative Orchestra Music (1976)

x

Track List: 3 Compositions Of New Jazz

Comments

Listen to Dave Hollands Conference of the Birds.Braxto n and Sam Rovers on reeds ! A classic
that's anthony braxton musically advanced, marvelous, misunderstoo d , a n d as maxwell smart says, and loving it..
Many of the mainstream's most popular musicians (Wynton Marsalis among them) insisted that Braxton's music was not jazz at all. (Chris Kelsey, Rovi) Ha ha ha! Being knocked by Wynton this way qualifies him as a genius in my book. WTF has Wynton done for jazz except pontificate ad nauseam. He makes a better teacher than musician. Wynton, that is.
Wassup with that 8 foot sax?

We're sorry, but a browser plugin or firewall may be preventing Pandora from loading.

In order to use Pandora internet radio, please upgrade to a more current browser.

Please check our Help page for more information.

In order to use Pandora internet radio, please upgrade to a more current browser
or install a newer version of Flash (v.10 or later).

In order to use Pandora internet radio, please install Adobe Flash (v.10 or later).

[93, 71, 72, 113, 101, 99, 82, 96, 87, 125, 108, 100, 68, 124, 77, 105, 75, 87, 114, 99, 101, 89, 123, 84, 88, 66, 117, 111, 102, 124, 89, 97, 87, 91, 99, 122, 95, 117, 119, 95, 73, 85, 115, 118, 124, 89, 113, 74, 100, 97, 86, 77, 120, 67, 112, 72, 89, 121, 90, 91, 68, 72, 121, 120, 119, 83, 113, 120, 102, 97, 88, 76, 92, 106, 95, 110, 87, 94, 90, 93, 118, 116, 117, 77, 74, 87, 113, 115, 98, 95, 114, 84, 108, 94, 72, 121, 88, 109, 94, 101, 99, 125, 82, 108, 90, 75, 114, 87, 119, 124, 75, 100, 112, 71, 70, 64, 72, 84, 109, 85, 123, 74, 73, 127, 97, 125, 70, 121, 65, 116, 82, 112, 111, 79, 110, 92, 117, 76, 105, 67, 94, 83, 127, 74, 122, 91, 112, 78, 75, 79, 104, 108, 122, 109, 70, 89, 126, 98, 118, 100, 112, 122, 104, 99, 99, 126, 123, 67, 75, 81, 89, 82, 89, 118, 117, 116, 124, 102, 68, 91, 89, 96, 77, 70, 126, 88, 105, 97, 87, 68, 69, 68, 125, 95, 103, 75, 84, 108, 100, 119, 116, 105, 78, 99, 91, 70, 69, 102, 83, 103, 115, 74, 107, 90, 78, 99, 99, 72, 74, 112, 95, 124, 73, 121, 92, 96, 67, 122, 101, 107, 93, 118, 76, 70, 64, 75, 120, 68, 74, 114, 116, 82, 104, 110, 74, 95, 104, 111, 97, 117, 83, 120, 114, 107, 109, 123, 105, 123, 92, 83, 124, 89, 74, 80, 71, 127, 77, 110, 77, 69, 88, 116, 110, 93, 111, 76, 110, 114, 113, 72, 98, 112, 123, 108, 111, 90, 110, 64, 107, 88, 76, 103, 83, 87, 126, 108, 123, 117, 69, 107, 67, 84, 76, 81, 98, 99, 117, 73, 125, 112, 79, 93, 72, 118, 117, 70, 104, 82, 71, 120, 79, 73, 107, 92, 103, 104, 110, 119, 126, 124, 123, 102, 73, 118, 92, 82, 95, 108, 84, 108, 64, 72, 117, 95, 100, 89, 99, 68, 105, 108, 114, 111, 92, 73, 100, 114, 71, 101, 65, 105, 111, 110, 112, 89, 94, 99, 73, 116, 107, 82, 65, 74, 68, 85, 77, 67, 105, 97, 126, 121, 90, 93, 80, 117, 106, 92, 69, 64, 65, 105, 87, 65, 95, 64, 115, 81, 94, 89, 83, 90, 111, 123, 124, 68, 107, 119, 98, 89, 124, 127, 67, 92, 107, 118, 108, 127, 69, 103, 92, 90, 105, 67, 104, 81, 90, 120, 107, 114, 84, 103, 70, 118, 92, 120, 107, 118, 102, 77, 121, 123, 83, 115, 82, 100, 105, 107, 104, 67, 91, 104, 76, 111, 72, 93, 92, 123, 82, 117, 78, 94, 81, 86, 82, 79, 106, 69, 110, 111, 101, 120, 114, 127, 106, 79, 85, 103, 83, 121, 120, 79, 82, 108, 121, 75, 91, 125, 121, 71, 115, 74, 67, 99, 81, 69, 122, 66, 80, 84, 99, 99, 110, 116, 79, 85, 64, 106, 87, 67, 89, 105, 86, 90]