Neuguitars 2025 #9: Four Improvisations (Duo) 2007 – A Sonic Dialogue in Experimental Music and Creative Improvisation
Clean Feed, 2007
Jorge Luis Borges, speaking about Dante, wrote that, according to Walter Pater, "all art constantly aspires towards the condition of music. For while in all other kinds of art it is possible to distinguish the matter from the form, and the understanding can always make this distinction, yet it is the constant effort of art to obliterate it."
One can narrate the plot of a story or a novel, but not the plot of a melody, no matter how simple it is.
Walter Pater, in his book The Renaissance: Studies in Art and Poetry (1873), also wrote:
"Again, painting, music, and poetry, with their endless power of complexity, are the special arts of the romantic and modern ages. Into these, with the utmost attenuation of detail, may be translated every delicacy of thought and feeling, incidental to a consciousness brooding with delight over itself."
And further: "If music be the ideal of all art whatever, precisely because in music it is impossible to distinguish the form from the substance or matter, the subject from the expression, then, literature, by finding its specific excellence in the absolute correspondence of the term to its import, will be but fulfilling the condition of all artistic quality in things everywhere, of all good art."
Form and content have always been two of the main obsessions of musical criticism and aesthetics. People have long debated these aspects and the very definition of music itself, often taking for granted that music is the result of a precise and carefully crafted composition by a skilled specialist: the composer.
In the twentieth century, one of these composers, the Italian Luciano Berio, provided a much broader and more semantic definition of music: "Music is everything that one listens to with the intention of listening to music." This radical statement not only allows the boundary between music and noise to shift over time as the conventions of musical interpretation evolve within a culture, but also cautiously opens the door to different forms of musical construction and aesthetics, varying across cultures at any given moment and from person to person based on individual experiences and inclinations.
This brings us directly to the attentive listening of this CD box set: Four Improvisations (Duo) 2007, a work by Anthony Braxton and Joe Morris.
Four Improvisations (Duo) 2007 | Anthony Braxton & Joe Morris | Joe Morris / Riti / Glacial Erratic
Anthony Braxton and Joe Morris are two prominent figures in the realm of experimental music and creative improvisation, each with a unique artistic language and a musical philosophy that challenges traditional conventions. Though their careers have followed distinct paths, they share a deep dedication to sonic exploration and the redefinition of music’s expressive boundaries.
Anthony Braxton is an American composer, multi-instrumentalist, and musical theorist, renowned for his radical approach to music. Born in 1945, Braxton has devoted his career to exploring the possibilities of improvisation and composition. Among his primary instruments are the saxophone, clarinet, and flute, but he is also known for his interest in less conventional instruments, such as various-sized saxophones. Braxton’s music is characterized by structural complexity and a vast range of influences, spanning from traditional jazz to contemporary classical music and electronic music. His compositions, often identified by numerical titles and graphic diagrams, defy traditional musical notation. This approach reflects his vision of sound as a universal language, capable of transcending cultural and stylistic barriers.
Joe Morris, a guitarist and double bassist born in 1955, is another key figure in experimental music. Morris is known for his unique approach to the guitar, which combines unconventional techniques with a deep melodic and rhythmic sensitivity. His music is distinguished by its fluidity and ability to create complex textures, often without relying on electronic effects, instead favoring a pure timbral quality achieved through direct contact with the instrument. Morris has developed a musical language that blends elements of jazz, blues, contemporary classical music, and global musical traditions. As an improviser, he stands out for his keen listening ability and dynamic interaction with other musicians. His musical philosophy is based on the importance of intuition and creative freedom, qualities that make him an ideal collaborator in ensemble settings.
Over the years, Morris has worked with many prominent musicians, including Anthony Braxton himself, forging deep connections between their respective aesthetics. Although Braxton and Morris come from different musical backgrounds, they share a vision of music as an open field of exploration. Both reject rigid categorizations and strive to create a sonic language that reflects the complexity of human experience. However, their aesthetics also present significant differences: while Braxton is often associated with conceptual works and intricate compositional structures, Morris emphasizes the immediacy of improvisation and the spontaneity of musical interactions.
In 2007, their collaboration resulted in Four Improvisations (Duo) 2007, an extraordinary meeting point between their artistic visions. This four-disc set captures the essence of the musical dialogue between Braxton and Morris. Recorded during a series of intense and spontaneous sessions, the work consists of four extended improvisations that explore a vast sonic territory. Each track is a fluid and dynamic conversation in which the two musicians push beyond the boundaries of their usual practices. Braxton, with his arsenal of wind instruments, crafts intricate, layered soundscapes, using extended techniques and motifs that intertwine unpredictably. Morris, on guitar, responds with a singular sensitivity, weaving intricate melodic lines and harmonic textures that both complement and contrast with Braxton’s explorations. The absence of a predetermined structure allows the two musicians to navigate freely between moments of tension and release, creating a deeply immersive listening experience.
Four Improvisations (Duo) 2007 is a quintessential example of the musical philosophy shared by Braxton and Morris. Both believe in the importance of improvisation as a means to achieve authentic and immediate communication. Yet, their approaches remain distinct: while Braxton brings a highly conceptual perspective and profound theoretical knowledge, Morris focuses on intuition and the spontaneity of sonic interactions. The improvisations on this album are marked by a constant exploration of timbral and dynamic possibilities. For instance, in some sections, Braxton uses the saxophone to create textures rich in overtones, while Morris responds with rhythmic and melodic counterpoint that amplifies the emotional impact of their dialogue. In other moments, the two seem to merge into a single voice, demonstrating a rare and profound synergy.
This work is a significant contribution to the free improvisation repertoire, showcasing how two top-tier musicians can create something truly unique through deep listening and expressive freedom. Four Improvisations (Duo) 2007 is not just an album but an experience that challenges conventions and invites the listener to reflect on the nature of music itself. Ultimately, this collaboration between Anthony Braxton and Joe Morris is a shining example of how improvisation can serve as a universal language, capable of uniting diverse artistic visions into an organic and powerful whole. Braxton and Morris represent two sides of the same coin—artists who, through their unique perspectives, encourage us to rethink the role of music in our lives and society. For anyone interested in experimental music and improvisation, Four Improvisations (Duo) 2007 is an essential listen.