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While sounding in one respect like a largely improvised duo, Two Lines is more the brainchild of David Rosenboom with the inspiring collaboration of Anthony Braxton. The former apparently began his score with a drone and then greatly enhanced the minute imperfections, in the process getting rid of the original drone; these small variations became the nuts and bolts of the score. Rosenboom, known for his advanced formulations of interactive computer software, having set up the basic structures of the piece, wrote the loose set of rules that includes simple instructions such as:"There is no meter. We will slow down and speed up." The "melodies" that result often sound quite Braxtonian, and to the innocent listener what comes through is reminiscent of Braxton's previous duos with Richard Teitelbaum, albeit with Rosenboom's hyperactive, Nancarrow-esque MIDI-piano in place of Teitelbaum's synthesizers. Indeed, the piano parts are, on the first couple of tracks, sped up to near buzz-saw velocities, with Braxton gamely and quite ably attempting to keep pace. He's in fine form here, especially in his lovely flute work, which begins the long title piece. It's a fairly dense, uncompromising effort but ultimately quite rewarding for its participants' devotion to Rosenboom's idea as well as for Braxton's inherent creativity in almost any situation. Recommended for fans of Braxton's more outside work.


Nacido(a): 04 de junio de 1945 en Chicago, IL

Género: Jazz

Años de actividad: '60s, '70s, '80s, '90s, '00s, '10s

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...
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