Since emerging from Chicago in the late ‘60s as one of the most innovative thinkers, composers and reedists in jazz, Anthony Braxton has pursued a career that's rejected limitations. He's created experimental works, but that hasn't stopped him from steadfastly embracing his diverse influences. He's saluted march pioneer John Philip Sousa with his ebullient “22-M (Opus 58)” and tackled the music of Charlie Parker with “Ornithology”, albeit playing the unwieldy contrabass clarinet rather than alto sax. Even as he's toyed with silence and abstract interplay, as on “Composition 6, Pt. 1”, he's never surrendered the sense of propulsion in his work.