28–30 May 2018
Ever since Cafe OTO first opened its doors in 2008, Anthony Braxton has been up at the top of the list of people we wanted to host here. One of the fundamental figures in the music of the late 20th century, his work as a saxophonist and composer has set trailblazing precedents by tapping into and expanding new conceptual and instrumental possibilities. To this day, Braxton remains a towering force in new music and we're over the moon to welcome him to OTO for a very rare three night residency with his ZIM Sextet as we celebrate our 10th year.
Anthony Braxton / saxophones, compositions
Taylor Ho Bynum / cornet, brass
Adam Matlock / accordion
Dan Peck / tuba
Jacqueline Kerrod & Miriam Overlach / harps
“A scientist and an artist, Braxton seems content developing of his own musical galaxy. There's nobody quite like him, and if his music is the diametric opposite of easy listening, it has acted as an antidote to creative conservatism throughout his lifetime.” – The Guardian
The Chicago-born composer and multi-instrumentalist Anthony Braxton is recognized as one of the most important musicians, educators, and creative thinkers of the past 50 years. He is highly esteemed in the experimental music community for the revolutionary quality of his work and for the mentorship and inspiration he has provided to generations of younger musicians. His work, both as a saxophonist and a 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 as defined by master improvisers such as Warne Marsh, John Coltrane, Paul Desmond, Ornette Coleman, Albert Ayler, and he and his own peers in the historic Association for the Advancement of Creative Musicians (AACM, founded in Chicago in the late '60s); and by composers such as Charles Ives, Harry Partch, and John Cage. He has further worked his own extensions of instrumental technique, timbre, meter and rhythm, voicing and ensemble make-up, harmony and melody, and improvisation and notation into a personal synthesis of those traditions with 20th-century European art music as defined by Schoenberg, Stockhausen, Xenakis, Varese and others.