Anthony Braxton / Joe Morris
Four Improvisations (Duo) 2007
2008 - Clean Feed Records: CF100 
http://www.cleanfeed-records.com/clean-feed-reaches-100/

* Anthony Braxton: Eb sopranino saxophone, Bb soprano saxophone,
                   alto saxophone, C melody saxophone, baritone saxophone,
                   bass saxophone, contrabass saxophone
* Joe Morris     : guitar
 
http://www.tricentricfoundation.org/ 
http://www.joe-morris.com/

Recorded at Wesleyan University in Crowell Auditorium
by Jon Rosenberg on July 30 and 31st, 2007. 
http://www.wesleyan.edu/ 
http://www.wesleyan.edu/cfa/about/crowellconcerthall-venueinformation.html


Reviews
~~~~~~~

By Stuart Broomer 
http://www.pointofdeparture.org/PoD18/PoD18MoreMoments2.html

[...]

While Braxton achieves a multiplicity of voices in part through the sheer
number of his seven saxophones and a host of attendant techniques, Morris does
an extraordinary job of finding different sounds and relationships within a
lightly amplified archtop guitar, spinning out lightning runs of resonant
harmonics or muffled boppish or serial-sounding lines, all finding certain
accord in Braxton’s own developing parts. Form is both given and taken, but
it’s established spontaneously.  There’s mercurial musical intelligence almost
always evident here and it consists not in an epic of mimesis but in the
assured sense of each musician working a shared ground in which concordances
might arise both inevitably as well as deliberately. It hardly matters if it’s
the rapid bass sax sputter midway through “Improvisation III” against what
sounds like a small orchestra of mbiras (there’s a lot of Africa in Morris’s
guitar vocabulary), or the host of Indian and Japanese sonorities that Morris
seems to command from his guitar. Braxton long ago codified the languages of
his music and the saxophone (from wide intervals to pointillism and long
tones), and he’s a master of creating large scale contrast between transient
harmonic systems, and contrasting emphases between linear and sonic/timbral
approaches. He can circular breathe and talk through a saxophone at the same
time, while Morris finds a percussion instrument to bounce across his
strings. Braxton can also use his bass horns to create layers of texture over
which Morris’s guitar lines can dance. The result and maybe the surprise is the
extent to which the two create continuously listenable music because they’re
continuously listening to the larger patterns and not just the simultaneous
instants of one another’s craft. It’s music for the long haul (the hour glass)
just as it’s music for the instant. It’s also wonderful to hear how Morris can
develop a texture out of the remains of a duo passage, gradually arching it
into a new terrain before Braxton joins in, in another range, again.

[...]

--

by Stef 
http://www.freejazzblog.org/2008/05/anthony-braxton-joe-morris-four.html

By Jason Bivins 
http://www.dustedmagazine.com/reviews/4517

By Martin Longley 
http://www.allaboutjazz.com/four-improvisations-duo-2007-anthony-braxton-clean-feed-records-review-by-martin-longley.php

Par Julien Héraud (fr)

Por José Francisco “Pachi” Tapiz (es) 
http://www.tomajazz.com/discos/breves.php?d=2008-07-01#ab_jm_fi