"Forces in Motion: Anthony Braxton and the Meta-reality of Creative Music"Graham Lock412 pgs.Dover Publications (2018) Chiunque ami il lavoro del sassofonista e compositore Anthony Braxton , 73 anni, sa che la sua carriera musicale è stata oggetto di numerosi libri. La più antica opera sul lavoro di Braxton, Forces in Motion , venne pubblicata la prima volta nel 1988. Ora riceve una nuova edizione riveduta e corretta nell'anniversario dei 30 anni dalla prima stampa. Questo libro è nato dal monitoraggio fatto nel 1985 dall'autore, Graham Lock, che ha seguito un tour di undici giorni in Gran Bretagna del quartetto di Braxton - all'epoca con Marilyn Crispell, Mark Dresser e Gerry Hemingway. Dietro le quinte, interviste, critiche e note di concerti costituiscono il nucleo del libro, dimostrando di essere un testamento interessante per un periodo chiave nella carriera di Braxton, oltre a rappresentare un'opportunità per conoscerlo in contesti e momenti più informali, dalla musica, agli scacchi all'astrologia. Questa nuova edizione è arricchita di un nuovo capitolo, frutto delle successive conversazioni di Lock con il musicista. Infine, il sottotitolo dell'edizione datata 1985, "The Music and Thoughts of Anthony Braxton" è diventato "Anthony Braxton and the Meta-reality of Creative Music".Ecco un passaggio estrapolato dal libro :Lock: "Let's finish today with Ornette Coleman."Braxton: "Mr Coleman... his work was a landmark for me. In grammar school I had two friends, Pierre and Tommy Evans, they lived about two blocks away, and one day - I had been well into my Desmond records in this period - one day I went with Tommy over to their house and. Mr Evans, he was like one of the guys in the neighbourhood who listened to jazz, not hip but maybe hip, a nice man, though, he knew about the music, he told me, look, take this record home, this is where the music's going, you listen to this. The record was The Shape of Jazz to Come. I put it on - G-o-o-o-o-d-d-dd-a-a-a-a-m-m-m-m!!! Thissaxophonist!!!... I mean, he doesn't sound like Desmond, this is not a Desmond sound, this isn't where the music's going! There must be some mistake! I took the record back - Mr Evans, please, that was the strangest shit I ever heard in my life. Then, over the next couple of weeks - Wow! That was a strange record! Let me borrow it again. I put it on - hmm, this is not music, it's just not music. I took it back. The next week I'd be listening again - hmm! His compositions Lonely Woman and Peace were on that record, so it was like - Wow, this is really beautiful, I've never heard compositions like this. And the solos Ornette took on that record were so special."