A nice, even natural idea, this. The innovative “collage logic” strategy developed by Braxton in the 80s, allowing his musicians to, at any time, interpolate any of his compositions into whatever piece they were ostensibly performing (an approach I’ve always regretted not having been taken up by other musicians working in areas that afford a mix of composition and improvisation) has here been extended to allow a group of performers to bring work from outside of Braxton’s oeuvre into one of his pieces. The very capable quartet of Roland Dahinden (trombone), Hildegard Kleeb (piano), Dimitris Polisoidis (violin) and Robert Holdrich (electronics) perform Braxton’s ‘Composition No. 257’, a 130 stave, single line notated work written in the manner of his Ghost Trance music. Not only do they inject portions of six other Braxton compositions (for those counting, #s 30, 31, 46, 69, 90 and 136) but they also include improvisations on extracts of some Ellington themes from the Second Sacred Concert. Though unfortunately I’m not familiar enough with the Ellington to definitely pick out the thematic material used, I think it’s safe to say that, especially to the extent to Braxton material itself doesn’t seem to much resemble other Ghost Trance pieces, a substantial portion of the music on this disc comes courtesy of the quartet’s free interpretations of their sources.
The disc is divided into seven tracks, the end markings for which appear to signal the transition from chiefly Braxton material to mainly Ellington, though I’d be curious to know how much overlapping occurred, whether or not individual members made the decisions on the spot, if some such nexuses were preordained, etc. As a generalization, one might say (unsurprisingly) the Braxton sections are spikier, the Ellington territories more tonal and lush, though any melodies in the latter are merely hinted at. (Is the theme from “Come Sunday” included as a part of that Sacred Concert? There are points where its basic tonality seems to be referenced.) If Kleeb’s playing is sometimes a bit too dry for my taste, well, so is Braxton’s on occasion; can’t really complain. Some of the more beautiful parts here are created in tandem by Dahinden and Holdrich (a name new to me), both tending, in the Ellingtonian sections, to stay in the lower regions of their instruments, batting around sub-aqueous tones and wallowing in some lovely, nether gurgling. But the group blends pretty well throughout, never more compellingly than in the final portion (a kinda Duke-ish one), where Kleeb initially lays gospelly chords over a chaotic but sonically distant welter of electronics and muted trombone before that faraway storm overwhelms her, leaving behind a harsh and guttural jetsam of violin sawings, deep brass moans and, ultimately, after the waters recede, the piano returning, agitated but unbowed.
“A Concept of Freedom” works quite well overall and employs a strategy I’d love to hear explored by others. Somehow I doubt I will, though.
.................................................. © 2003 - 2006 bagatellen ..................................................
