Anthony Braxton's reeds are matched here by some wonderful piano here from Marilyn Crispell – who certainly brings lots of her own voice into play with the Braxton compositions on the set! Crispell's piano gives the album a slightly different feel than some of Anthony's other work of the period – almost more fragile in some passages, but more forceful in others – still sharply modern throughout, but a bit less cerebral too. Other quartet members include John Lindberg on bass and Gerry Hemmingway on percussion – and Braxton plays flute, clarinet, alto, soprano, and C melody sax. Titles are all those weird drawings done to illustrate Braxton's music – with tracks that include "Composition No 110D", "Composition No 116", "Composition No 115", "Composition No 114 (+108A)", and "Composition No 110C". CD

One of Anthony Braxton's first great recordings with a larger group – a really impressive array of sounds and tones that takes his compositional experiments to the next level! Tunes here are all those complicated Braxton formulas from the 70s – carried out by a host of equally-imaginative players who include Dwight Andrews, Vinny Golia, JD Parran, Marty Erlich, and Ned Rothenberg on saxes and reeds; Kenny Wheeler, Leo Smith, and Michael Mossman on trumpets; Ray Anderson, George Lewis, and James King Roosa on trombones; Marilyn Crispell on piano, Bobby Naughton on vibes, James Emery on guitar, Bob Ostertag on synthesizer, Thurman Barker on percussion and marimba, and Braxton himself at the head of the ensemble! The electronics come across with some great tones that really link the freer reed moments – and the sound of the whole album is plenty powerful throughout. CD