Johan Budi
The release of Anthony Braxton’s In The Tradition Volume 2 on the SteepleChase label represents a pivotal moment in the discography of one of the most polarizing and intellectually rigorous figures in modern jazz. Recorded in Copenhagen on May 29, 1974, these sessions serve as a profound exploration of the jazz canon by a musician who, at the time, was primarily associated with the radical avant-garde movements of the Association for the Advancement of Creative Musicians (AACM). By revisiting the standards of the bebop and cool jazz eras, Braxton effectively challenged the binary distinction between traditionalism and experimentalism, asserting that the avant-garde is not a rejection of the past but an extension of its internal logic.
The 1974 Copenhagen Sessions: A Chronological Context
The recording of In The Tradition Volume 2 was part of a singular, highly productive day at the SteepleChase studios in Denmark. Under the direction of producer Nils Winther, Braxton assembled a quartet that bridged the gap between American experimentalism and European technical mastery. The session was so prolific that it was eventually split into two volumes, with Volume 1 (SCS-1015) and Volume 2 (SCS-1045) together providing a comprehensive look at Braxton’s interpretive capabilities.
In 1974, the jazz world was undergoing a period of intense fragmentation. Fusion was dominating the commercial market, while the "loft jazz" scene in New York was pushing the boundaries of free improvisation. Braxton, having already released landmark solo saxophone recordings like For Alto (1969), was viewed by many as a cerebral outsider. The decision to record a set of standards including works by Miles Davis, Charlie Parker, and Richard Rodgers was a calculated move to demonstrate his fluency in the "foundational" language of jazz—a move that predated the "neoclassical" revival of the 1980s by nearly a decade.
Personnel and Collaborative Dynamics
The success of the session is inextricably linked to the high-caliber rhythm section Braxton employed. The quartet featured Catalan pianist Tete Montoliu, Danish bassist Niels-Henning Ørsted Pedersen (NHØP), and American drummer Albert Heath.
Tete Montoliu, known for his prodigious technique and deep roots in hard bop, provides a harmonically rich foundation that occasionally clashes—productively—with Braxton’s more angular melodic lines. Niels-Henning Ørsted Pedersen, often cited as one of the most technically proficient bassists in the history of the instrument, acts as the session’s "vein of gold." His propulsive, walking bass lines provide a sense of forward motion that anchors Braxton’s more ethereal improvisations. Albert Heath, a veteran of the bebop era who had played with John Coltrane and J.J. Johnson, offers a disciplined yet flexible rhythmic framework, ensuring that the music retains its "swing" even when the melodic content becomes abstract.
Analytical Overview of the Performances
The album is characterized by a stark contrast between Braxton’s work on the alto saxophone and his more experimental forays on the contrabass clarinet. The alto performances, particularly on "What’s New?" and "Body and Soul," reveal a musician deeply indebted to the "Tristano School." This school of thought, pioneered by pianist Lennie Tristano and saxophonists Lee Konitz and Warne Marsh, emphasized long, winding melodic lines, displaced rhythms, and a cool, vibrato-less tone.
The Alto Saxophone Tracks: A Study in Accessibility
On "What’s New?", Braxton’s alto is "sharply-etched," delivering a performance that is both respectful of the melody and daring in its rhythmic subdivisions. "Body and Soul," perhaps the most recorded ballad in jazz history, is approached with a "tumbling" energy. Braxton avoids the lush romanticism of Coleman Hawkins, instead opting for a series of sharply contrasted rhythmic contours that sew together a new melodic narrative.
"My Funny Valentine" showcases Braxton’s most direct link to Lee Konitz. The performance is described as "wispy," focusing on the upper registers of the instrument and employing a light, almost translucent tone. In these tracks, Braxton demonstrates that "accessibility" does not require a sacrifice of complexity. The improvisations fly with an "intoxicating confidence," suggesting that for Braxton, the tradition is a springboard rather than a cage.
The Contrabass Clarinet and the Experimental Edge
The album takes a more controversial turn with the inclusion of the contrabass clarinet, an instrument rarely utilized in a traditional jazz context due to its unwieldy size and difficult intonation. On Charlie Parker’s "Donna Lee," Braxton uses the "heavy plumbing" of the instrument to explore the extreme lower frequencies.
Critics have noted that this performance is less about the bebop virtuosity typically associated with the tune and more about textural exploration. The resulting sound—likened to a "muttering, mumbling monotone"—represents a radical deconstruction of the Parker composition. While some listeners find this approach "shapeless," it serves as a crucial reminder of Braxton’s commitment to the purely experimental. By playing a lightning-fast bebop head on a massive, low-register woodwind, Braxton highlights the physical limitations of the instrument and the absurdity of stylistic boundaries.
Supporting Data and Technical Specifications
The album consists of six tracks, all of which were captured as "first takes." This lack of overdubbing or multiple attempts speaks to the high level of spontaneous communication between the four musicians.
Track Listing and Durations:
- What’s New? (Rodgers/Hart) – Alto Saxophone
- Duet (Braxton/Pedersen) – Contrabass Clarinet and Bass
- Body and Soul (Green/Sour/Heyman/Eyton) – Alto Saxophone
- Donna Lee (Parker) – Contrabass Clarinet
- My Funny Valentine (Rodgers/Hart) – Alto Saxophone
- Half Nelson (Davis) – Alto Saxophone (Incomplete)
The track "Half Nelson" is particularly notable for being an incomplete take, entering in the middle of a "freewheeling extemporisation." In the context of the mid-1970s recording industry, the decision to release an incomplete take was a hallmark of the "verité" approach favored by labels like SteepleChase, which prioritized the documentation of a creative moment over polished commercial perfection.
The Tristano School Influence
A significant portion of the critical analysis surrounding In The Tradition Volume 2 focuses on Braxton’s relationship with the Tristano School. Lennie Tristano’s approach to jazz was intellectual and rigorous, favoring linear improvisation over the "vertical" chord-based approach of many boppers.
Braxton’s music has often been described as "accessible contemporary," largely because he maintains the clear, logical development of ideas found in the work of Lee Konitz. However, Braxton enriches this foundation by incorporating the later, more spiritual and sonic discoveries of John Coltrane and Eric Dolphy. This synthesis allows him to strike a "fine balance between the purely experimental and the more conventional," a feat that few of his contemporaries in the avant-garde were able—or willing—to achieve.
Broader Impact and Implications for Jazz History
The In The Tradition series was a landmark for SteepleChase Records, a label that became a vital outlet for American jazz musicians who felt marginalized by the US recording industry. At £3.75 (the original retail price), the album was marketed to a European audience that was increasingly receptive to the idea of jazz as a serious, evolving art form.
The implications of this album extend to the "Jazz Wars" of the 1980s. When younger musicians like Wynton Marsalis began advocating for a return to traditional forms, they often did so by rejecting the avant-garde. Braxton’s 1974 sessions prove that such a rejection was unnecessary. He demonstrated that an artist could be a master of the tradition while simultaneously pushing the music into uncharted territory.
Furthermore, the album’s focus on "first takes" and live-in-studio energy preserved the "vigour" of the performance. The contribution of Niels-Henning Ørsted Pedersen, in particular, has been cited as a masterclass in modern bass playing, proving that the rhythm section could be both a supportive foundation and a "probing, propulsive" participant in the dialogue.
Conclusion
Anthony Braxton’s In The Tradition Volume 2 remains a vital document for understanding the fluidity of jazz genres. It serves as a bridge between the bebop of the 1940s, the cool jazz of the 1950s, and the experimentalism of the 1970s. While certain tracks like "Donna Lee" may challenge the listener’s expectations of form and melody, the overall session confirms Braxton’s status as a musician of profound depth and versatility. By honoring the achievements of the Tristano school and the bebop pioneers, Braxton did not look backward; instead, he used the tradition to provide the necessary momentum for his leap into the future of music.
