Anthony Braxton Project
This is a collaborative attempt to document all Anthony Braxton
appearances, whether recorded or not. Comments, additions, corrections
via email to braxtonproject at yahoo.com
Please visit the official Anthony Braxton website
is widely and
critically acclaimed as a seminal figure in the music of the late 20th
and early 21st century. His work, both as saxophonist and composer, has
broken new conceptual and technical ground in the trans-African and
trans-European (a.k.a. "jazz" and "American Experimental") musical
traditions in North America; traditions defined by master improvisers
such as Warne Marsh, John Coltrane, Paul Desmond, Ornette Coleman,
Albert Ayler, and Braxton and his own peers in the historic Association
for the Advancement of Creative Musicians; and by American composers
such as Charles Ives, Harry Partch, and John Cage. Braxton has
developed a unique and personal musical language through a synthesis of
those American traditions with 20th-century European art music as
defined by Schoenberg, Stockhausen, Xenakis, Varese and others.
Braxton’s extensions of instrumental technique, timbre, meter and
rhythm, voicing and ensemble make-up, harmony and melody, and
improvisation and notation have revolutionized modern American music.
five decades worth of recorded output is kaleidoscopic and prolific,
with well over 150 recordings to his credit. He has won and continues
to win prestigious awards and critical praise, including the MacArthur
“genius grant” Fellowship. Books, anthology chapters, scholarly
studies, reviews and interviews and other media and academic attention
to him and his work have also accumulated steadily and increasingly
throughout the years. His own self-published writings about the musical
traditions from which he works and their historical and cultural
contexts (Tri-Axium Writings 1-3
) and his five-volume Composition Notes
are unparalleled by artists from the oral and unmatched by those in
the literate tradition.
Braxton is a tenured professor at
Wesleyan University, one of the world's centers of world music. His
teaching career began at Mills College in Oakland, California, and has
become as much a part of his creative life as his own work. It includes
training and leading performance ensembles and private tutorials in his
own music, computer and electronic music, and history courses in the
music of his major musical influences, from the Western Medieval
composer Hildegard von Bingen to contemporary masters like Cage and
Braxton's name continues to stand for the broadest
integration of oft-conflicting poles in the current cultural debates
about the nature and place of the Western and African-American musical
traditions in America, poles such as “creative freedom” and
“responsibility”, discipline and energy, and vision of the future and
respect for tradition. The music of his newest ensembles brings to that
debate a voice that is fresh and strong, still as creative as ever even
as it takes on the authority of a seasoned master. 2005 was a watershed
year, as Braxton celebrated his 60th birthday and the AACM celebrated
its 40th anniversary, and in performances throughout the world, Braxton
was again recognized as one of the preeminent figures in contemporary
While this is the most comprehensive and accurate chronology of
Anthony Braxton ever produced, there still may be omissions and errors.
Please help if you can.
This project results from the collective efforts of the Anthony Braxton Project, coordinated by Jonathan Piper.
Photo courtesy Jason Guthartz.
Thanks to contributors:
David Beardsley, Kirby Bell, Bart Borgmans, Tom Bowden, Frank
Büchmann-Møller, Jean-Philippe Burg, Jan Carlsson,
Bhreandain Clugston, Marilyn Crispell, Andrew Raffo Dewar, Andreas
Dietz, William Fielder, Michael Fitzgerald, Kevin Frenette, Franz
Fuchs, Jason Guthartz, Patrick Herwarth, Timo Hoyer, Larry Kart, Bob
Lambert, Dirk de Leeuw, George Lewis, John Litweiler, Alberto Lofoco,
Rick Lopez, Ronald Lyles, Terry Martin, Francesco Martinelli, Martin
Milgrim, Chuck Nessa, Agustín Pérez, Patrick Pohlmann,
Michael Rosenstein, Henning Schenck, John Sharpe, Damon Short, Leo
Smith, Jens Tilsner, Jeroen de Valk, Uwe Weiler, David Wight, Nils Winther,
and Anthony Braxton.
Walter Bruyninckx: 85 Years of Recorded Jazz
Safford Chamberlain: An Unsung Cat, Lanham, MD, Scarecrow Press, 2001.
Michael Cuscuna & Michel Ruppli: The Blue Note Label, Westport, CT, Greenwood Press, 2001.
John Gray: Fire Music: A Bibliography of the New Jazz, 1959-1990, Westport, CT, Greenwood Press, 1991.
Graham Lock: Forces In Motion, New York, Da Capo Press, 1988. (GL)
Tom Lord: The Jazz Discography, v. 5.0 2004, v. 6.0 2005, Lord Music (Lord CDROM)
Francesco Martinelli: Anthony Braxton - A Discography, Bandecchi e Vivaldi, Pontedera, Italy, 2000. (FM)
Erik Raben: Jazz Records, 1942-1980,
Ronald M. Radano: New Musical Figurations: Anthony Braxton's Cultural
Critique, Chicago, University of Chicago Press, 1993.
Michel Ruppli: The Atlantic Label, Westport, CT, Greenwood Press, .
Hans Wachtmeister: A Discography & Bibliography Of Anthony Braxton, Stocksund, Sweden, Blue Anchor, 1982. (HW)
Peter Niklas Wilson: Anthony Braxton
The Chicago Defender
The Chicago Tribune (CT)
Down Beat (db)
Jazz & Pop (J&P)
Jazz Journal (JJ)
The Los Angeles Times (LAT)
The New York Times (NYT)
The Washington Post (WP)
Anthony Braxton Discography by Jason Guthartz
The Chicago Jazz Archive at the University of Chicago
Rutgers Institute of Jazz Studies
U.S. Library of Congress
This chronology was produced using BRIAN, a computer discography database program created by Steve Albin.
BRIAN is a significant step in the field of jazz research and holds
much potential. I encourage discographers to investigate this program.
Steve has been incredibly helpful in terms of technical support and in
custom-tailoring this program.
Back to www.JazzDiscography.com