▄▄▄▄▄▄▄ ░ ▄▄▄▄▄▄▄ ▄
▄ ▄ ▄ ▄▄ ░ ▄▄███▓▓▀ ▄▄▓██▓▓▀ ░ ▄ ▄▄ ▄ ▄ ▄
▄ ▓▀ ░ ▄▄▄▄ ▀█▓▄████▓▀▀ ░▄███▓██▀ ▄▓▄▄▓▄ ░ ▀▄▀ ▄▄▄▄ ▀▓ ▄
▀ ▄▄▄██▓██▓▓██ ▓█████▓▄▄ ░ ▄████▓▀ ▄█████████▒▓▄ ▓▌ ██▓▓██▓██▄▄▄ ▀
▀ ▄▄███████▓▓██▓▓▓▌▐▓███▀▀▀ ▀▓█████▓▀ ▄████████████▓▓▄▐▀▐▓▓▓██▓▓███████▄▄ ▀
▄▓████████▓█████▓▓█ ▓▀ ▄▓▄ ▐▓███▓▄ ▄▓██████▓▓██████▓▓▌ █▓▓█████▓████████▓▄
▄▓██████████████▀▀█▓█ ▄█▓███▄▒ █▀▀ ▄▄▓██████▓▀▀ ▓█████▓▓█ █▓█▀▀██████████████▓▄
▐▓████████████▓█▌▒▒▐█▓▌ ▀███▓▄ ▒▒ ▄▓████▀▀ ▒▐█████▓▓▌▐▓█▌▒ ▐█▓████████████▓▌
▓▓▓██████████▓▓█ ▄▓ ▐▒▌▓█▄▄ ███▓▄ ▒ ▀█▓▓██▄ ▒ ░▄▄ ███▓▓█▀▄▐▒▌ ▒ █▓▓██████████▓▓▓
▐▓██████████████ ▀██ ░▌███▓▌▐██▓█ ▒▒ ▀█████▄▄███▓▌▐█▓▓█▀ ▐░ ▒▒ ██████████████▓▌
▀▓██████▓▀▀█▓█▓█ ▐██ ▌███▓ ███▓▌ ▒▒▒ ▀▓█████▓████▐▓█ ▄▄█▓▐ ▒▒ █▓█▓█▀▀▓██████▓▀
▀▓██▓▀▀ ░ ▐███▓█ ▀▓▀▐██▓▌▒ ███▓█ ▒ ▀▀▀▀▓▓▀▓█▌▒▌████▓▄█ ▒ █▓▓██▌ ░ ▀▀▓██▓▀
▐▓█▌▒▒ ███▓▓▌ ▒ ███▓▌▒ ███▒▓▌ ▒█▄▄▓▄▄▄▄ ▀▓ ▒▒ ▒▌ ▀███▓▓▌ ▐▓▓███ ▒▒▐█▓▌
█▓▌▒ ▓███▓▓ ░ ███▓ ▒ ▐▓██▓▓▄ ░▐▓██▓▓▓█ ░ ▒ ░ ▐██▓▓█ ▓▓███▓ ▒▐▓█
▐▒▌ ▐████▓▌ ▐█▓▌ ▒▒ ▓████▓▄ █▓███▓▓▓▄ ░ ███▓▓▌ ▐▓████▌ ▐▒▌
░▌▒ ▐████▓▓ ▓██▓▄ ▄█▓███▓▓▓▄▐██████▓▓▓▄ ░ ▐██▓█▀ ▓▓████▌ ▒▐░
▐▓ ▐█▓███▓▌▐▓███▓█▓███████▓▓▌▓████████▓▓▌░▒▄█▓▀▀ ▒ ▐▓█████▌ ▓▌
▀▓▄ ▄███▓██▓▌ █▓███▓▓█████▓▓▓█ ▀▓██████▓▓▓▓▒▓█▀ ▒▒▒▒ ▓█▓█▓██▓▄ ▄▓▀
▄▄███████▓▓ ▀▀▀▀▓▀ ▀▀░▀▀▒ ▀▀▀▀▀▀▀▀▀▀ ▒ ▀▓▓████▓▌
▄█▓████████▓▓▀ ▀▀▀▓▀ ▀▓▀ ▀▀▓▀ ▀▀▀ ▀▓▀ ▀ ▀▀▀▓▀ ▀░▀▀ ▀▓██▓█▓█▓▄
▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ [ J U S T F U N . P R E S E N T S ] ██▓▓█▀▀
░ ▓████▓▌ ░ ▐▓▀▀
▓ ▐█████▓█ ▀ ░
▀█▄▓████▓▓▄█▀ Artist.......: Anthony Braxton ░▓ ▌
▄▀██▓██▓▓▀ Album.Title..: Willisau (Quartet) 1991 Pt2 ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: hatART ░▓░ █▓▌
▐█▓▓ ▀▓ Genre........: Jazz ░▓▓▓ ▐█▓▓
▓█▓▌ ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
░ ░ █▓▌▄▄▄ ▄▓ ░▓▓▓░ ░▓▓▓▓▓▓░ ▀▓█████▓▓▓
░▓▓░ ▐█▓▓ ░ ░▓▓░ rip.date....: Jun-06-2003 ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ str.date....: 000-00-1991 ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ ripper......: JustFun ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ quality.....: 192 kbps ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ size........: 177,6 MB ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ playtime....: 129:17 min ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ Catnr.......: n/a ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ URL.........: n/a ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ ░ ▒
█▀ ░▓▓▓▓░ ▀▓ ░ ░ ░
▀░ ▓▄▄▓▓▓▓▄▄█▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█▓█▄▄▄
░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ CD 1 ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. composition no. 67 13:22 ▓▌
▓████▓▌ 02. composition no. 140 16:02 ▓▌
▓████▓▌ 03. composition no. 34a 17:28 ▓▌
▓████▓▌ 04. composition no. 20 and 86 13:29 ▓▌
▓████▓▌ 05. composition no. 23g 11:34 ▓▌
▓████▓▌ ▓▌
▓████▓▌ CD 2 ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. composition no. 69 (0) and 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 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 for 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 that ▓▌
▓████▓▌ technically, he is well aware 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 any. 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 ▓▌
▓████▓▌ (Phillip 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 . SEQ . CHR ░███ ▓▌
░ Om . Rh . Fuffens . Remix . FMF . SB ██▌ ▓▌
Kw . LOGOS . iTs . i . ATM . Aaf ... ▓██ ▓▌
░ 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 ▓▌
▓ ▐█████▓█ 50gb++ 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 ! ██▌ ▓▌
▌ IRC : #justfun ▓██ ▌ ▓▌
░ ▐▓ Email : jfun@hushmail.com ▄▄▄██▌ ▐▓ ▓▌
▐▓ █▓▌ Webpage : .secret. ▐░▓▓▓▓▌ █▓▌ ░▌
▀■▄▐█▓▓ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▐▓░░░▓▌▄▐█▓▓ ▄■▀
░ ███▓▓ ▀▀▀▀▀ ███▓▓
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ ▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄
▀▓█████████████▓▓▓▀ ▀▓█████████████▓▓▓▀
░ ▀▓██████▓██▓▓▀ NFO and Layout proudly made in Quebec ░ ▀▓██████▓██▓▓▀
▀▓█████▓▓▓ by z0oy0rk ▀▓█████▓▓▓
▐███████▓▓▌ ▐███████▓▓▌
▓███▀ ▀▓█▓▓ [ J U S T F U N born in Apr. 2 0 0 0 ] ▓███▀ ▀▓█▓▓
▐█▓▀ ░▀█▓▌ ▐█▓▀ ░▀█▓▌
█▀ ▀▓ █▀ ▀▓
▀░ ░ ░▀ ▀░ z!░▀