{"title":"Anthony Braxton","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAnthony Braxton came out of Chicago's AACM in the mid-1960s with a musical approach that placed him outside almost every available category: his alto saxophone playing drew on Charlie Parker and Lee Konitz, on John Cage's chance-based compositions, and on the extended techniques of post-war European new music, and he combined all of it under a compositional system that titled pieces with graphic diagrams rather than words. \"For Alto\" (Delmark, 1971), recorded in a Chicago community centre basement in 1969, was the first full-length unaccompanied saxophone album in recorded music and remains the record collectors encounter first. He moved to Paris in 1969 with fellow AACM members Leroy Jenkins and Wadada Leo Smith, recorded for the BYG Actuel label, and on returning to New York formed the Circle quartet with Chick Corea, Dave Holland, and Barry Altschul. A 1974 deal with Arista gave him access to larger recording budgets and a wider audience, producing a run of albums that ranged from small group improvisation to full orchestral works. Later recordings for hat ART, Black Saint, and Leo Records documented his working quartets through the 1980s and 1990s. The Delmark, BYG Actuel, and Arista catalogue represent the most collectible vinyl of his output.\u003c\/p\u003e","products":[{"product_id":"anthony-braxton-for-alto-1972-japanese-delmark-trio-records-gatefold-2lp","title":"Anthony Braxton - For Alto (1972 Japanese Delmark \/ Trio Records Gatefold 2LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\/EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eVG+\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eAnthony Braxton - \u003cem\u003eFor Alto\u003c\/em\u003e | 2 x Vinyl LP - 1972 Japanese Delmark \/ Trio Records (PA-7021~2, Trio Electronics, Inc.)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAnthony Braxton recorded \"For Alto\" in the summer of 1969 in the basement of the Parkway Community Center on Chicago's South Side, playing entirely alone with no other musicians, no overdubs, and no fixed compositional framework in the conventional sense. He was twenty-three and had been a member of the AACM (Association for the Advancement of Creative Musicians) for several years alongside Muhal Richard Abrams, Roscoe Mitchell, Leroy Jenkins, and Wadada Leo Smith. The eight pieces on the double LP are each dedicated to a figure from Braxton's personal and artistic world: composer John Cage, pianist Cecil Taylor, multi-instrumentalist Leroy Jenkins, and several friends and colleagues who were part of the Chicago creative music scene. The music that Braxton makes across the record is genuinely difficult to characterise. It draws on Charlie Parker's bebop fluency, on the extended techniques and extended structures of Cage and the post-war European avant-garde, and on the free improvisation approaches that Ornette Coleman and Albert Ayler had developed in the preceding decade. The piece dedicated to John Cage, which occupies all of side B on disc one, is the most extreme: a sustained, shifting exploration of the saxophone's tonal range that uses breath control, multiphonics, and extreme register shifts as structural devices. Coleman Hawkins had recorded an unaccompanied saxophone piece, \"Picasso\", in 1948, but nothing of this duration and ambition had been attempted before. Delmark released the album in 1971; the critical response was divided, and some established jazz musicians, including bebop alto saxophonist Phil Woods, were dismissive. The subsequent history of solo saxophone recording, from Joe McPhee and Evan Parker onward, is a direct continuation of what Braxton opened here.\u003c\/p\u003e\n\u003cp\u003eDelmark Records, Chicago's independent jazz and blues label founded by Robert G. Koester, licensed the album to Trio Electronics in Japan for the 1972 pressing that forms part of their dedicated Chicago A.A.C.M. Series. Trio Records had been systematically documenting the Chicago avant-garde for Japanese audiences who had shown a consistent appetite for the more demanding end of American jazz, and this pressing was issued the year after the original US edition appeared. The cover photography is by Peter Blue, the cover design by Zbigniew Jastrzebski (who also worked on the original US release), and the pressing includes Japanese liner notes not present in the Delmark original. The album was produced by Koester and recorded by Braxton himself.\u003c\/p\u003e","brand":"Delmark","offers":[{"title":"Default Title","offer_id":43559031144507,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7176.jpg?v=1780294096"}],"url":"https:\/\/lushliferecords.com.au\/collections\/anthony-braxton.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}