By my unofficial count, this marks Anthony Braxton’s one zillionth record release. On the one hand, it’s nice to have such an important artist so exhaustively documented. On the other, a certain indifference sets in on the part of at least one listener, as the number of Braxton albums—many of them these days featuring less than fully-formed student collaborators—seems to grow exponentially with each passing year. This double-CD set with the pianist Walter Frank is a case in point.

Frank is a classically-trained pianist who, at the time of this recording, was working toward his MA in composition and performance at Wesleyan University. He seems enamored of Debussy in particular; his nearly non-stop reliance on the sustain pedal reminds me of the French impressionist’s works for solo piano. While Debussy is an obvious touchstone, his work also draws on the breadth of non-tonal (and tonal, for that matter) 20th Century classical practices. He’s got nice chops and a fertile imagination, yet his playing lacks the authority that I expect from a world class improviser.

Of course, Braxton can—and seemingly will—play with anybody on their terms. Yet, as always, he’s Braxton being Braxton. Frank’s musical world doesn’t come anywhere near encompassing the jazz at Braxton’s core, so Braxton goes to Frank, eschewing most overt jazz tendencies without obscuring his personality. He engages Frank’s classical bent in typically fine fashion, worrying over motivs, exploring a wide range of timbres, and imbuing the music with characteristic intensity. Braxton largely defers to Frank when it comes to setting specific areas of exploration, but lends the music its sense of continuity and forward motion.

Given Braxton’s drive to stretch, it’s not surprising that he would take on a partner like Frank. I don’t recall ever hearing a free improviser for whom early 20th Century impressionism plays such a central part in his concept. With jazz-based free improvisers, overworking the piano’s damper pedal often evinces a paucity of melodic ideas. To Frank’s credit, that doesn’t seem to be the case here. He certainly has a clue. Ultimately, however, his work falls onto the category of many other of Braxton’s young associates. He’s talented, but has a ways to go.

If given a choice, I’d prefer fewer and better Braxton records (made with mature collaborators) to the surfeit of recordings with school-age apprentices we’ve been getting. This is better than many if not most of those, but hardly essential.