Released 15 months after
Vol. 2, this two-CD set continues to document
the Anthony Braxton Ninetet's six-night residency at Yoshi's. "Composition No. 211" and "Composition No. 212" (each 55 minutes long) were both performed on August 21, 1997. Because of the range of arrangements it offers in a format relatively easy to keep together,
the Ninetet is turning into
Braxton's ultimate Ghost Trance Music-era group, in the light of these recordings. The (shifting) triple-trio configuration, the quality of the musicianship, and the creativity developed from "Composition No. 207" through "Composition No. 218" will make this series one of the essential documents of GTM. As on the previous night, the most immediate difference between the first and the second pieces is
Kevin Norton's role. In "211," he sticks exclusively to marimba and vibraphone, while in "212" he is mostly behind the drum kit. The first piece is the strongest one of the two.
Braxton,
Brandon Evans, and
J.D. Parran form a flute trio at one point which, coupled with
Norton's vibes, takes listeners into unusually velvety pastures. The pulse is marvelously sustained, producing a strong hypnotic effect, and the music attains a level of complexity and confidence -- ease too, probably -- the previous evenings only hinted at. "212" is slightly less impressive, mostly because the wind section lacks a bit of togetherness in key places. But it also features a fine bass sax solo from
Parran, some of the series' most audacious "departures" from the main score, and a gentle finale (a nice change from the more standard GTM practice, which consists of abruptly stopping in the middle of a staccato tutti). The quality and entertainment value of
Steve Day's listening diary -- an excellent no-nonsense contextualization of
Braxton's music -- is also worth noting.