Esto lo estoy tocando mañana #5 - Composition 113 (1983)

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Chicago's saxophonist Anthony Braxton (1945) was the "creative" musician who displayed the most obvious affinity with western classical music, scoring chamber music (both for solo instrument and for small ensembles), as well as orchestral music, that seemed aimed at extending the vocabulary of European music rather than the vocabulary of jazz music. If his was jazz music, it was the most cerebral jazz ever. Better than any other jazz musician, Braxton represented the quantum leap forward that jazz music experienced after free jazz opened the doors of abstract composition. The music that was born as an evolution of blues and ragtime suddenly competed with the white avantgarde for radical redefinitions of the concept of harmony. Following in the footsteps of John Cage and Karlheinz Stockhausen, Braxton introduced new graphic notations to capture the subtleties of his scores, and even titled his pieces with diagrams instead of words. He invented new ways of composing and performing music. He also loved to write about his musical theory.
As a virtuoso of woodwind instruments (particularly of the alto saxophone), Braxton worked to extend the timbre and the technique. But, unlike his predecessors, Braxton was motivated by science rather than by emotion. Originally inspired by John Coltrane, he impersonated Coltrane's antithesis. 
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Composition 113 (December 1983) was a new solo album, but different from anything he had done before. First of all, Braxton played only soprano saxophone. Second, the album contained a six-movement suite that told a story. It was one of his most "humane" works.

(From http://www.scaruffi.com/jazz/braxton.html)

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