Briggan Krauss' 300 was a trio with Briggan Krauss on alto Saxophone (with towell) and clairbone,
Wayne Horvitz on keyboards and Kenny Wollesen on drums and percussion.
Recorded in 1998 this CD was Briggan's second recording for Knitting Factory Records
and featured a mixture of improvised music and original compositions by both Briggan Krauss and Wayne Horvitz.
300 performed in Europe, Canada and the United States.
This self-titled record was met with great critical acclaim, making the Jazziz Magazine Critic's Top-Ten recordings of 1998 list twice.
300 has recorded a second album called Life To Burn at Litho Studios in Seattle, WA. which remains unreleased.
Press writing about 300
"I heard many phenomenal artists during the Texaco New York Jazz Festival in June ('98). However, no group amazed me as much as (Briggan Krauss') 300."
-Parry Gettelman, The Orlando Sentinel
"Briggan Krauss is the kid who brings in the electronics kit, the kind of toy they made in the '70s that makes mechanical beeps and squawks, except he makes these noises on an alto saxophone, not an erector set."
-John Janowiak, Downbeat. Dec. 1998
"The first time witnessing a Briggan Krauss solo is nothing less than extraordinary. Krauss has one of the most recognizable voices in creative music, and his solos employ a massive arsenal of sounds : the percussive punctuation marks, the exaggerated vibrato and supersonic range, and...that occasional flurry of notes that eerily alludes to a very embedded, yet revolutionary technique."
-Brian Carpenter. Ink19, November 1998
"The way he creeps along with trance-like mysticism in and out of Horvitz's trippy keys on "First Grain" or blasts toward the cosmos on the outstanding "Toy Boat" -- his meteoric flight bounding off Horvitz's power chords like a Fender Strat overdriven through a Marshall double stack -- sounds like little else in modern jazz. It's as if he's channeling the ferocious energy of a Seattle grunge storm and halloing it with an uncanny lyrical shimmer."
-Sam Prestianni, Jazziz, March 1999.
“When it comes to experimental out-jazz, the music is fervent enough, obscure enough, and far enough ahead of it’s time that religious metaphors are in order. And if Seattle’s standard out-jazz musicians are minor prophets (the musical equivalent of Billy Graham), than the OK Hotel’s Krauss-Horvitz-Wollesen lineup is like Jesus playing with Mohammed, backed by Buddha on the drums and Moses on the keys. It’s that deep.”
-Nathan Thornburgh, The Stranger, Sept. 7-13, 2000.
"Altoist (Briggan) Krauss is a model of post-modern playing; screeching, squawking, droning, fixating, the musical equivalent of an obsessive-compulsive disorder."
-Marcela Breton. Jazz Times, July/Aug. 1995.
"Briggan Krauss on alto sax just amazes. His filigree mutterings, nail splitting pronouncements and tortuously convoluted arabesques continuously surprise and entice."
-Ernie Saylor. Earshot Jazz, Dec. 1994.
"...Krauss emerges as a voice to watch, manifesting mature technique without ever straining to impress."
-Miles Boisen. CD Review, April.1994
"Briggan is a fierce player and puts on a great show."
-Adam Mazaanian. New York Press, June 24-30. 1998
“Young heavyweight modern jazz saxophonist/improviser/free-thinker Briggan Krauss offers the willing listener a maniacal digital scan or electronic portrait of a creative mind on the loose with this new release…For the uninitiated, Krauss possesses one of the astute intellects modern music as he often propels his technical and artistic abilities to the limits of perception. Descending To End transcends even the most outlandishly surreal electronic outings this writer has heard in recent years.”
-Glenn Astarita, All About Jazz, April 2000.
"...Waldo the Boy Alligator Wrestler (Briggan Krauss) is a sick puke!"
-Ink 19, Gainesville Florida. May. 1998