▄▄▄▄▄▄▄ ░ ▄▄▄▄▄▄▄ ▄
▄ ▄ ▄ ▄▄ ░ ▄▄███▓▓▀ ▄▄▓██▓▓▀ ░ ▄ ▄▄ ▄ ▄ ▄
▄ ▓▀ ░ ▄▄▄▄ ▀█▓▄████▓▀▀ ░▄███▓██▀ ▄▓▄▄▓▄ ░ ▀▄▀ ▄▄▄▄ ▀▓ ▄
▀ ▄▄▄██▓██▓▓██ ▓█████▓▄▄ ░ ▄████▓▀ ▄█████████▒▓▄ ▓▌ ██▓▓██▓██▄▄▄ ▀
▀ ▄▄███████▓▓██▓▓▓▌▐▓███▀▀▀ ▀▓█████▓▀ ▄████████████▓▓▄▐▀▐▓▓▓██▓▓███████▄▄ ▀
▄▓████████▓█████▓▓█ ▓▀ ▄▓▄ ▐▓███▓▄ ▄▓██████▓▓██████▓▓▌ █▓▓█████▓████████▓▄
▄▓██████████████▀▀█▓█ ▄█▓███▄▒ █▀▀ ▄▄▓██████▓▀▀ ▓█████▓▓█ █▓█▀▀██████████████▓▄
▐▓████████████▓█▌▒▒▐█▓▌ ▀███▓▄ ▒▒ ▄▓████▀▀ ▒▐█████▓▓▌▐▓█▌▒ ▐█▓████████████▓▌
▓▓▓██████████▓▓█ ▄▓ ▐▒▌▓█▄▄ ███▓▄ ▒ ▀█▓▓██▄ ▒ ░▄▄ ███▓▓█▀▄▐▒▌ ▒ █▓▓██████████▓▓▓
▐▓██████████████ ▀██ ░▌███▓▌▐██▓█ ▒▒ ▀█████▄▄███▓▌▐█▓▓█▀ ▐░ ▒▒ ██████████████▓▌
▀▓██████▓▀▀█▓█▓█ ▐██ ▌███▓ ███▓▌ ▒▒▒ ▀▓█████▓████▐▓█ ▄▄█▓▐ ▒▒ █▓█▓█▀▀▓██████▓▀
▀▓██▓▀▀ ░ ▐███▓█ ▀▓▀▐██▓▌▒ ███▓█ ▒ ▀▀▀▀▓▓▀▓█▌▒▌████▓▄█ ▒ █▓▓██▌ ░ ▀▀▓██▓▀
▐▓█▌▒▒ ███▓▓▌ ▒ ███▓▌▒ ███▒▓▌ ▒█▄▄▓▄▄▄▄ ▀▓ ▒▒ ▒▌ ▀███▓▓▌ ▐▓▓███ ▒▒▐█▓▌
█▓▌▒ ▓███▓▓ ░ ███▓ ▒ ▐▓██▓▓▄ ░▐▓██▓▓▓█ ░ ▒ ░ ▐██▓▓█ ▓▓███▓ ▒▐▓█
▐▒▌ ▐████▓▌ ▐█▓▌ ▒▒ ▓████▓▄ █▓███▓▓▓▄ ░ ███▓▓▌ ▐▓████▌ ▐▒▌
░▌▒ ▐████▓▓ ▓██▓▄ ▄█▓███▓▓▓▄▐██████▓▓▓▄ ░ ▐██▓█▀ ▓▓████▌ ▒▐░
▐▓ ▐█▓███▓▌▐▓███▓█▓███████▓▓▌▓████████▓▓▌░▒▄█▓▀▀ ▒ ▐▓█████▌ ▓▌
▀▓▄ ▄███▓██▓▌ █▓███▓▓█████▓▓▓█ ▀▓██████▓▓▓▓▒▓█▀ ▒▒▒▒ ▓█▓█▓██▓▄ ▄▓▀
▄▄███████▓▓ ▀▀▀▀▓▀ ▀▀░▀▀▒ ▀▀▀▀▀▀▀▀▀▀ ▒ ▀▓▓████▓▌
▄█▓████████▓▓▀ ▀▀▀▓▀ ▀▓▀ ▀▀▓▀ ▀▀▀ ▀▓▀ ▀ ▀▀▀▓▀ ▀░▀▀ ▀▓██▓█▓█▓▄
▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ [ J U S T F U N . P R E S E N T S ] ██▓▓█▀▀
░ ▓████▓▌ ░ ▐▓▀▀
▓ ▐█████▓█ ▀ ░
▀█▄▓████▓▓▄█▀ Artist.......: Anthony Braxton ░▓ ▌
▄▀██▓██▓▓▀ Album.Title..: Willisau (Quartet) 1991 ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: hatART ░▓░ █▓▌
▐█▓▓ ▀▓ Genre........: Jazz ░▓▓▓ ▐█▓▓
▓█▓▌ ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
░ ░ █▓▌▄▄▄ ▄▓ ░▓▓▓░ ░▓▓▓▓▓▓░ ▀▓█████▓▓▓
░▓▓░ ▐█▓▓ ░ ░▓▓░ rip.date....: Dec-24-2003 ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ str.date....: 000-00-1991 ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ ripper......: JustFun ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ quality.....: 192 kbps ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ size........: 355,2 MB ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ playtime....: 258:31 min ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ Catnr.......: n/a ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ URL.........: n/a ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ ░ ▒
█▀ ░▓▓▓▓░ ▀▓ ░ ░ ░
▀░ ▓▄▄▓▓▓▓▄▄█▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█▓█▄▄▄
░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ CD 1 Studio ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. composition 160 (& 5) & 40j__ 11:27 ▓▌
▓████▓▌ 02. composition 23m (& 10)__ 15:03 ▓▌
▓████▓▌ 03. composition 158 (& 96) & 40l__ 17:03 ▓▌
▓████▓▌ 04. composition 40a__ 08:24 ▓▌
▓████▓▌ 05. composition 40b__ 12:16 ▓▌
▓████▓▌ ▓▌
▓████▓▌ CD 2 Studio ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. composition 161__ 05:56 ▓▌
▓████▓▌ 02. composition 159__ 12:47 ▓▌
▓████▓▌ 03. compositions 23c & 32 & 105b (& 30)__ 23:48 ▓▌
▓████▓▌ 04. compositions 23m (&10)__ 10:25 ▓▌
▓████▓▌ 05. composition 40m__ 12:05 ▓▌
▓████▓▌ ▓▌
▓████▓▌ CD 3 Live ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. composition no. 67__ 13:22 ▓▌
▓████▓▌ 02. composition no. 140__ 16:02 ▓▌
▓████▓▌ 03. composition no. 34a__ 17:28 ▓▌
▓████▓▌ 04. composition no. 20 & 86__ 13:29 ▓▌
▓████▓▌ 05. composition no. 23g__ 11:34 ▓▌
▓████▓▌ ▓▌
▓████▓▌ CD 4 Live ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. composition no. 69 (0) & 135__ 17:22 ▓▌
▓████▓▌ 02. composition no. 69b__ 17:04 ▓▌
▓████▓▌ 03. composition no. 107b (+96) no. 101__ 09:10 ▓▌
▓████▓▌ 04. composition no. 23n__ 13:46 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ This mammoth document of the final year of the ▓▌
▓████▓▌ famous Anthony Braxton Quartet shows exactly why ▓▌
▓████▓▌ that group finally split: They had reached a ▓▌
▓████▓▌ creative apex as a group that ù arguably ù could ▓▌
▓████▓▌ not be furthered. The music on this collection ▓▌
▓████▓▌ features two live CDs and two studio CDs, and gives ▓▌
▓████▓▌ a completely different picture of the same band who ▓▌
▓████▓▌ recorded for Black Saint on the Six Compositions ▓▌
▓████▓▌ (Quartet) 1984 record. ▓▌
▓████▓▌ The concert reveals the quartet able to execute any ▓▌
▓████▓▌ notion from Braxton's theoretical yet soulful ▓▌
▓████▓▌ music, almost instinctually. As the compositions ▓▌
▓████▓▌ get stacked up, such as "No. 67+147+96," it means ▓▌
▓████▓▌ that some element of each of those compositions ▓▌
▓████▓▌ enters into the playing of this piece, whether it ▓▌
▓████▓▌ be in Marilyn Crispell's piano solo or line, Mark ▓▌
▓████▓▌ Dresser's bass line or changes, or a particular ▓▌
▓████▓▌ shift in rhythm from drummer Gerry Hemingway. The ▓▌
▓████▓▌ empathy of the players saturates Braxton's music, ▓▌
▓████▓▌ and he appears, giant that he is, not so much as a ▓▌
▓████▓▌ soloist on his many saxophones and clarinets, but ▓▌
▓████▓▌ as another player in a band that spoke with ▓▌
▓████▓▌ multi-lingual possibilities, but with one voice. ▓▌
▓████▓▌ The interplay between Braxton and Crispell has ▓▌
▓████▓▌ reached a point in their relationship where, ▓▌
▓████▓▌ technically speaking, he is well aware that she is ▓▌
▓████▓▌ his equal as a technician of the sacred that is ▓▌
▓████▓▌ sound. His solos on "No. 34A," "No. 23G (+147+30)," ▓▌
▓████▓▌ and "107B (+96)" are evidence. Crispell's momentum ▓▌
▓████▓▌ to strike at the space inside the group ▓▌
▓████▓▌ improvisation is also to turn it ever inward to ▓▌
▓████▓▌ focus on how these micro and polytonal shifts, when ▓▌
▓████▓▌ combined with the overdriven yet ultimately ▓▌
▓████▓▌ sympathetic washes of percussion from Hemingway and ▓▌
▓████▓▌ Dresser's constant pulse as it sifts through ▓▌
▓████▓▌ changes, are, in effect, realizing the ▓▌
▓████▓▌ chameleon-like place of harmony better than Braxton ▓▌
▓████▓▌ himself could ever articulate. This group is all ▓▌
▓████▓▌ lightning and fire; there is no hesitation, nor is ▓▌
▓████▓▌ there any room for it. They challenge each other ▓▌
▓████▓▌ and their leader to the breaking point, and somehow ▓▌
▓████▓▌ ride the wave into yet another new territory, where ▓▌
▓████▓▌ the process begins again. The studio discs in this ▓▌
▓████▓▌ collection show another side of the band. Here, ▓▌
▓████▓▌ dynamic and harmonic possibility are the concern of ▓▌
▓████▓▌ Braxton ù each note is played, at least in the ▓▌
▓████▓▌ opening lines, and is carefully nuanced as if it ▓▌
▓████▓▌ were finding its own place in space. There is a ▓▌
▓████▓▌ freedom for the composer to seek out color and ▓▌
▓████▓▌ dexterity, texture and surface, as the band is all ▓▌
▓████▓▌ about making it anyway. They know what's needed in ▓▌
▓████▓▌ a composition such as "No. 160 (+5) 40J," where ▓▌
▓████▓▌ Crispell adds a piano solo that quotes the harmonic ▓▌
▓████▓▌ structure of "No. 5," and, along with Dresser, ▓▌
▓████▓▌ flows through his gorgeous bowed cello solo from ▓▌
▓████▓▌ "No. 40J" through the middle section, where Braxton ▓▌
▓████▓▌ and Crispell bring the proceedings back. In each ▓▌
▓████▓▌ new Braxton composition, the players are welcome to ▓▌
▓████▓▌ quote from earlier material in the catalog, find ▓▌
▓████▓▌ the interval it best fits, and explore it in this ▓▌
▓████▓▌ new context, thereby making a rich intertextuality ▓▌
▓████▓▌ whereby the current composition is extended ▓▌
▓████▓▌ dynamically and musically. Also on this studio ▓▌
▓████▓▌ session, which was recorded over two days, Braxton ▓▌
▓████▓▌ himself is looser, picking compositions that seldom ▓▌
▓████▓▌ are touched live in order to be finessed in the ▓▌
▓████▓▌ studio ù usually it's the other way around, but his ▓▌
▓████▓▌ exploration of shape, polytonality, and rhythmic ▓▌
▓████▓▌ architecture is relentless. Listen to "No. 67" ▓▌
▓████▓▌ (dedicated to the actress Bette Davis) to hear one ▓▌
▓████▓▌ of Braxton's "sound environment spirals." Here, ▓▌
▓████▓▌ material ù created by all four members of the ▓▌
▓████▓▌ quartet and variants thereof ù explore repetition ▓▌
▓████▓▌ as a "physical" material and a vibrational factor ▓▌
▓████▓▌ in the creation of further sonorous material. First ▓▌
▓████▓▌ they play repeated phrases until near exhaustion ▓▌
▓████▓▌ sets in (Philip Glass has nothing on this band), ▓▌
▓████▓▌ and then are offered numerous options for changing ▓▌
▓████▓▌ tempo and shape (Hemingway has a real party with ▓▌
▓████▓▌ this, trying to dodge his bandmates, but never ▓▌
▓████▓▌ quite succeeding). The result? What does it mean? ▓▌
▓████▓▌ Simple: No person can play the same phrase over and ▓▌
▓████▓▌ over and the same way without that eventual ▓▌
▓████▓▌ variation. Eventually, variation becomes the sole ▓▌
▓████▓▌ M.O., and each player drifts further apart from the ▓▌
▓████▓▌ rest until they become unstuck completely. Once in ▓▌
▓████▓▌ free space, the swirling flutes, cascading piano ▓▌
▓████▓▌ lines, and dense thick intervallic chords humming ▓▌
▓████▓▌ bass harmonics, as well as flutes, call the entire ▓▌
▓████▓▌ thing further out on a star until Braxton re-enters ▓▌
▓████▓▌ with the alto to call the exploration to order. He ▓▌
▓████▓▌ locks horns with Crispell, and then launches into ▓▌
▓████▓▌ "No. 140 (+147+139+135)." And so it goes. Braxton's ▓▌
▓████▓▌ quartet was easily the most creative band he played ▓▌
▓████▓▌ with, and his longest running. Since that time, in ▓▌
▓████▓▌ duet and solo performance, he has found the fire he ▓▌
▓████▓▌ needs to continue exploring the musical ground his ▓▌
▓████▓▌ mind conjures up on composition paper. But he has ▓▌
▓████▓▌ been lost in band settings. Since 1994 he has not ▓▌
▓████▓▌ found a group that has, member for member, this ▓▌
▓████▓▌ much musical talent or empathetic dexterity. With ▓▌
▓████▓▌ this band, he never had to assert himself as a ▓▌
▓████▓▌ leader because they could instinctively follow his ▓▌
▓████▓▌ cues. Since that time, he has had to assert himself ▓▌
▓████▓▌ more and more. And while the music he's writing has ▓▌
▓████▓▌ every bit of the wonder, awe, and irritation of his ▓▌
▓████▓▌ earlier work, it has never been played with this ▓▌
▓████▓▌ virtuosity. This set is a worthy companion to the ▓▌
▓████▓▌ Leo Records "Coventry Concerts" series. What a swan ▓▌
▓████▓▌ song ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music ▓▌
▀▓ like indie rock, trip-hop, ethnic, jazz, french, ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▓▌
░ ground scene. If you have, like us, a passion for ▄ ▓▌
░ music, don't hesitate to contact us ! ▄▄█▌ ▓▌
░ ▄████▓▌ ▓▌
░ GREETinGs : Nuhs . Hit2000 . DGN . Ksi . RAC . CHR █████▀▀▀▀ ▓▌
░ Om . rH . Fuffens . Remix . CMG . SB . Amok ░███ ▓▌
░ Kw . LOGOS . iTS . i . APC . Aaf . Diss . ESC ██▌ ▓▌
SEVcD . RNS . pyt ... ▓██ ▓▌
░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌
▐▓ ▐░▓▓▓▓▌ ░ ░▌
▀■░▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▐▓░░░▓▌▄▄█▓█▄▄■▀
▄█▒████████▓▓▀ ▀▀▀▀▀ ▀▓██▓███▓▄
▄▓██▓██████▓▓█▀ [ C O N T A C T ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
▓████▓▌ ░ - music enthusiast ppl buying cds on a regular basis. ▐▓▀▀
▓████▓▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓████▓▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐█████▓█ 100gb+ for our archive. ▄ ▓▌
▀█▄▓████▓▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀██▓██▓▓▀ ... and everyone who wants to help in a ▄████▓▌ ▓▌
▀█▓▓▓▀ pleasant atmosphere our Just family. █████▀▀▀▀ ▓▌
▀▓ ░███ ▓▌
░ Share your forces with us ! ██▌ ▓▌
░ ▐▓ ▄▄▄██▌ ▐▓ ▓▌
▐▓ █▓▌ ▐░▓▓▓▓▌ █▓▌ ░▌
▀■▄▐█▓▓ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▐▓░░░▓▌▄▐█▓▓ ▄■▀
░ ███▓▓ ▀▀▀▀▀ ███▓▓
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ ▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄
▀▓█████████████▓▓▓▀ ▀▓█████████████▓▓▓▀
░ ▀▓██████▓██▓▓▀ NFO and Layout proudly made in Quebec ░ ▀▓██████▓██▓▓▀
▀▓█████▓▓▓ by z0oy0rk ▀▓█████▓▓▓
▐███████▓▓▌ ▐███████▓▓▌
▓███▀ ▀▓█▓▓ [ J U S T F U N born in Apr. 2 0 0 0 ] ▓███▀ ▀▓█▓▓
▐█▓▀ ░▀█▓▌ ▐█▓▀ ░▀█▓▌
█▀ ▀▓ █▀ ▀▓
▀░ ░ ░▀ ▀░ z!░▀