Anthony Braxton tropes 23C + 40N

Composition 23C

·         provides group consciousness

·         is an additive repetitive structure for extended interpretation that was composed in 1973

·         is an isolated thematic generating structure that utilizes additive repetition as the basis for exploration dynamics

·         is designed to interrupt the normal continuum of the music…and re-establish its own conceptual focus

·         is designed as an extended phrase that is progressively revealed in a series of twenty-one repeats

·         offers an operational criterion that is stated and inflexible

·         is constructed in one movement

·         is to be executed as designed without elaboration

·         is to be performed without any breaks or stops from beginning to end

·         is one long extended line that is executed in unison by the total ensemble with the exception of percussion, which may be openly improvised

·         is designed to continually surprise and enrich its instrumentalist and listener

·         is dedicated to the great athlete Willie Mays

Composition 40N

·         is a drone platform for extended improvisation that was composed in the Black Forest of Western Germany in the spring of 1975

·         is an attempt to continually reconnect with the vibrational dynamics and focus of world creativity

·         is not separate from the functional dictates of both Indian and African creativity

·         is a drone structure that functions in the same sense as Indian Raga music

·         establishes a layered sound space that becomes a sound curtain that defines its own moment dynamics

·         is conceived as a platform to reinvestigate primary sounds

·         is a slow pulse structure that floats in the space of the music into the ‘open’ space

·         is a sensitive music universe that contains smooth phrase exchanges and continuances

·         like a Raga, achieves peace and understanding as a basis to expand from

·         is a sound world that stretches the moment by emphasizing both long sound connections and long silences in between moments

·         is a spiritual and real space in its ultimate sense as well as an isolated and unfeeling space in its non-ultimate sense

·         is a slow pulse structure for extended improvisation that establishes terms for moment creativity

·         is a linear constructed platform consisting of eleven phrase groupings in nine basic sections or components

·         is designed to be as flexible as possible depending on the needs of the moment

·         is a direct statement about serious matters

·         is a response to the music of John Coltrane, Joseph Jarman and Kalaparusha Difta

·         reflects the composer’s awareness of modalism and the power of one note

self portrait as a set of notes lovingly harvested from anthony braxton’s compositions notes

arwulf arwulf September 2012

in case you're trying to figure this out, these people are my role models more or less

charles mingus


james moody


yusef lateef


jeanne lee


rahsaan roland kirk

guillaume dufay


emile zola


maria callas


jennifer larmore


angelika kirschlager


mary lou williams



pearl bailey


lovie austin


esther bigeou


ma rainey

 

bessie smith

duke ellington

more role models


ondine


allan kaprow





dr. john



ed sanders & tuli kupferberg

andre breton

robert desnos

marcel duchamp

fats waller

muhal richard abrams

anthony braxton

ishmael wadada leo smith

erik satie

These  are some of the people who have inspired me in this life, many of them during my formative years.

 

george frideric handel

buster keaton

 

red skelton

 

harpo marx

 

Frank Gorshin

 

richard basehart

 

danny kaye

popeye the sailorman

 

little girl fleeing giant ants

 

shirley temple

Tomato Sauce Johannes Brahms {dedicated to my Solstis School mates}

{Brahms probably would have wanted meatballs but I haven’t eaten a meatball in over forty years}

{This has been modified to correct tomato paste amount which is 4 oz., not 20 oz. or more!}

one medium sized eggplant

½ cup olive oil

¾ cup dry sherry

1 tsp sea salt

1 tsp freshly ground pepper

1 modest handful of dried thyme – gently rubbed off of the stems without powdering too much

6 medium sized cloves of garlic

4 oz. of sun dried tomato paste

Remove eggplant’s purple exterior and dice into small cubes.

In a large deep pan, sautee the vegetable in olive oil at medium to high heat.

Chop and press garlic cloves, deposit into the hot oil and vegetable mixture.

While stirring add sherry, salt, pepper and thyme.

Still stirring, add sun dried tomato paste.

Here is where you have the option of using a regular sized jar of good quality Marinara sauce or adhering to a more stoic path by introducing your own prepared base made from freshly cut and stewed Roma tomatoes. Either way, stir in a good amount of tomatoes in order to expand the mixture into what will now become a sauce. Cover and simmer, stirring occasionally.

Music is always helpful while cooking. You probably know what to use in order to bring joy to your heart and through you into the food while it cooks. While putting this together I listened to Brahms’ Ein deutsches Requiem Op. 45 which I’ve been grooving on a lot just lately. (Double parental passage has finally given me visceral context for requiems in general). As the sauce neared completion I found myself playing the gentle seventh movement over and over again: blessed are the dead.

http://imslp.org/wiki/Ein_deutsches_Requiem,_Op.45_(Brahms,_Johannes)

But you’re alive, so serve this sauce over pasta which has been cooked just long enough.

It’s also really very nice with grated parmesan cheese over the top of it.

Again, maybe you’ll want and need to incorporate music that is richly meaningful to you as an individual. And you can use red wine instead of sherry. Your call.

arwulf arwulf /theodore grenier/august 2012