Source: LondonJazz, another detailed review by pianist Hawkins.
There are also macro-level parallels between the Tristano and Braxton senses of time. Simultaneity of musical events – a central element of Braxton’s language – is certainly a cousin of the extreme polyrhythmic approach deployed by Tristano in his seminal Turkish Mambo. Tristano also made use of multi-tracking himself (e.g. Descent into the Maelstrom), as Braxton did on a January 2nd 1971 recording of Composition No. 16. And Tristano’s ‘after the event’ manipulation of the sound source – such as in the speeding up of the basic tracks of Line Up, or in his collaged Requiem – has parallels in the Supercollider algorithms Braxton has derived for the processing of live audio in his Diamond Curtain Wall Music.