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Creative Orchestra (Guelph) 2007
Anthony Braxton & the AIMToronto Orchestra
Anthony Braxton, conductor & soprano sax; Christine Duncan, voice; Parmela Attariwala, violin; Tilman Lewis, cello; Ken Aldcroft, guitar; Justin Haynes, guitar & harmonica; Nicole Rampersaud, trumpet; Scott Thomson, trombone; Rob Piilonen, flute; Ronda Rindone, Eb & bass clarinet; Kyle Brenders, soprano sax; Evan Shaw, alto sax; Colin Fisher, tenor sax; Tania Gill, piano; Victor Bateman, bass; Rob Clutton, bass; Brandon Valdivia, xylophone;Nick Fraser, drums; Joe Sorbara, drums.
Works: Compositions No. 306, No. 307 & No. 91 with three Language Improvisations.
Recorded September 7, 2007 in Guelph, Canada.
What the critics are saying:
"Braxton went to Ontario to realize the operatically inclined vocal music on Creative Orchestra (Guelph) 2007 (Spool 30; 88:46) ***. The AIMToronto Orchestra was formed specially for this performance but there's no beginner hesitation in the dense woodwind textures, arrhythmic percussive figures and clanking electric guitar punctuation they bring to this jagged and forbidding music."
--Bill Meyer Downbeat December 2009 p. 68
The arc and flow of the track list feels consciously shaped; whether done so at the live performance itself or for the CD, it adds to the overall feel of creative orchestration. Compositions 306, 307, and 91, in that order, are woven in with three “language improvisations,” a weave that showcases the powers and talents of the players (and one singer) independently of the pieces in mirror-like balance with the same genius in bringing each piece’s concept and inner workings to the grandest sonic spectacle of self-evidence via focused intention. The “friendly listener” is kept comfortably on the edge of his/her seat, pondering images such as world tennis championships being played by four-armed deities, each arm wielding a racket in a four-ball volley that ends only voluntarily; or a troupe of ancient hominids conversing with great panache in a language that clearly has complex rules and syntax, but is still a year or so shy of connecting the first semantic meaning to its sounds; or some priceless Rube Goldberg contraption engineered by the makers of gleaming Lamborghinis out of pure precious stones and metals mined and forged not by slave labor for slavish commerce, but byartisan-workers teasing and seizing them out of the earth to process, shape, and own and drive themselves.