Gino Robair
'There was everything: graphic scores, scores with noteheads but no rhythms, scores with complex dense rhythmic stuff. Every day something different: a new piece every day. 9am. It would kick your ass. He'd [Braxton] come in with these scores, there'd be like three saxophones, a woman on steel pan and me on snare drum, and he'd say, Gino you play the flute part. So I played the flute part on snare drum. That's how you play his scores. At first you think it's insane, but then you realise that for him it's not about purity of orchestration, it's about density and movement. If he gives a piccolo part to a bass player it's because he doesn't want those pitches, he wants something in that time frame that's rhythmically similar, with the same kinds of shapes. The whole thing about layering, the collage aspect turned me on.'
Gino Robair: Interview with Paristransatlantic.com
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