Maestro George Braith
The Great African-American Classiical Art-form
During the 1980's Jazz flourished outdoors. I had a little to do with that. This spot, located on 42nd St and 6th Ave, was very good for promotion and imbursement. Today, I still run into many folks who talk about those days when we were jammin' hard outside. Here is a day when some very good dedicated Jazz players were at it. From left to right, Larry Smith on alto, Artie Simms on trombone, Haji Ahkba on flugal horn, Billy (William O. Johnson Sr.) on bass, Braith on Braithophone and Mark Johnson on drums. History is going to be made this Monday at Fat Cat (75 Christopher St, NYC) 9-midnight. Clear your ear drums and get them ready to check out real bob, not school bop. — With Larry Smith, Mark Johnson, Haji Ahkba and Haji Ahkba.
Recording Date September 4, 1963 - March 27, 1964 The use of multiphonics in jazz has been mastered by very few players, and while at times shrill and thin, can be enlivening and exciting. Rahsaan Roland Kirk and Albert Mangelsdorff set the gold standard, while several trumpeters like Rayse Biggs and Corey Wilkes have tried it with two brass instruments, and contemporary saxophonist Jeff Coffin gives it ago. George Braith holds a singularly unique place in the pantheon of these stylistas, following the path of Kirk in playing two saxophones while combining bop
