jasonguthartz

Lightly-revised print editions of all three volumes of the Tri-Axium Writings are now available: https://bookshop.org/contributors/anthony-braxton Last I heard, there should be a pay-what-you-can digital edition to come. Ask your local library to acquire the books if you're interested in reading the print version without purchasing it.

The latest information I have about the unreleased solo material comes from Graham Lock, who told me this via e-mail in 2005: ---------- Actually, it's an arrangement Google has worked out with these paywalled news sites:

Does anyone have any information about the sound quality of this 3-CD "Complete Savoy Sessions" box? Googling around, I see references to the 5-LP version, but I can't find anything whatsoever about the CDs.

Have you tried here? Does anyone here have the full three volumes of the TAW? It seems like the thing I need to have, but it would probably sit on the shelf. I've done a similar thing collecting what has been translated of the Gramsci Prison Notebooks (3 Volumes, 8 Notebooks worth so far). They are definitely collecting dust, but I still want em. FYI: There are tentative plans to make a full electronic edition of TAW available online (along with the 5 volumes of Composition Notes) -- though I can't give you a timeline of when it might be realized.

There is only one piece on For Four Orchestras, Comp. 82. Do they sequence the music as it was laid out on lp or do they recreate it as originally intended? If you're asking whether the half-hour of material that was removed for the LPs has been restored, it doesn't appear so: the total duration of the two CDs (113' 30") is within the margin of error of the six LP sides (114' 30"). Not that. I was talking about the sequence of the lp sides. There was an error in manufacturing the records. I've been told that the sequencing error was corrected. I haven't done an A/B comparison to verify. Listening to Comp. 82 now -- the sound quality is amazing -- almost like a completely different piece than the one I remember hearing on the LPs (though this may be partly due to it being the first time I've listened to it via headphones).

Haven't gotten the box so I haven't read the notes. If he doesn't mention Cooper, who I'm sure is credited for his performance in the discographical information, perhaps he's not familiar with his work. In order to write the booklet, he should have been. Maybe he's just young. Much to do about nothing: The notes say "Altschul" twice instead of "Cooper". There's no extensive analysis of the percussion work on that session. (A quick look in his book confirms that he knows it's Cooper on that session.) And, fyi, Heffley is three years younger than Braxton. I'll let you determine the proper age-to-typos ratio for music scholars.

Ouch... I don't want to give the impression that not restoring the excised material is a bad thing. In the Composition Notes, Anthony says Those "other adjustments" refer to the limited rehearsal time (3 hours) and inability to setup or reproduce the spatial elements (given the limitations of the recording space and of the recording apparatus). So the version we have seems to be the "composer's cut" of an imperfect session. I don't have an answer to Chuck's question re: sequencing. I just got the box today, but it may be a while before I can make time to give "82" a listen.

There is only one piece on For Four Orchestras, Comp. 82. Do they sequence the music as it was laid out on lp or do they recreate it as originally intended? If you're asking whether the half-hour of material that was removed for the LPs has been restored, it doesn't appear so: the total duration of the two CDs (113' 30") is within the margin of error of the six LP sides (114' 30").

There is only one piece on For Four Orchestras, Comp. 82.

Yes.

I thought they were originally graphic titles and they became compositions when Forces in Motion was published. I noticed they became opus when the Mosaic box was announced. They're still compositions here. Per AB, "every composition that I have written has a graphic title, has a coded title... and an opus number title." Per Lock, opus numbers were assigned starting in the early '80s. Why did Mosaic use "Opus No. XX" instead of "Composition No. XX" or (as I use) "Composition XX"? No idea. But since the opus number is just a verbal convenience (rather than *the* title), I don't think it matters much. (Scores typically say simply "No. XX", e.g. "No. 364h".)

fyi:

That's what I thought, but how'd they get to 14? Couple of beads get stuck together on their abacus? Mosaic has corrected their description of the Braxton box - not 14 LPs, but 13: And DMG is reporting that no unreleased material will be included.

Bruyninckx says Arista AL1037 = Freedom/Intercord (G)147304 = Freedom (Jap)PA-6079 Thanks, Chuck!