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| 4.001 Ft
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| 1. | Rapid Transmission
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| 2. | Silver Shadows
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| 3. | Purple Landscapes
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| 4. | The Sunday Driver
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| 5. | This Dance Is for Steve McCall
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| 6. | Roses for Roseanne
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| 7. | Sunlight on Ice
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| 8. | Songs in the Wind, Pt. 1
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| 9. | Hopscotch
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| 10. | Songs in the Wind, Pt. 2
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| 11. | Reflections
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| 12. | With Bells On
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| 13. | Objects on the Expressway
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Jazz
Roscoe Mitchell - Bells, Percussion, Sax (Alto), Sax (Soprano), Sax (Tenor), Whistle (Human), Woodwind
Richard Anthony Davis - Bass
Richard Davis - Bass, Performer
Steve Sylvester - Bullroar, Performer
Vartan Manoogian - Performer, Violin
Vincent Davis - Drums
* Joseph Blough - Photography
* Marv Nonn - Engineer
* Michel Levasseur - Executive Producer
One of the greatest records to come out of Victo's (the record label of the Victoriaville Festival in Quebec) catalog is this 13-selection set by the Art Ensemble of Chicago multi-instrumentalist Roscoe Mitchell. Issued ion 1991, it covers two separate recording dates from studios in Madison, WI. The reason for its quality is that it appeared during a period in which the Art Ensemble were inactive, and Mitchell himself hadn't recorded in two years. With his Sound Ensemble, Mitchell was a force, always exploring the edges of expression in a group setting. But here, playing solo, duos, and trios, Mitchell reached deep inside himself in a way he hadn't since recording for Chuck Nessa's Nessa label in the late '70s. His solo pieces on soprano saxophone were re-examining the various textures and atmospheres the horn was capable of revealing for its limited tonal range. In duos with both Vincent Davis and Steve Sylvester, Mitchell brought out the majority of the woodwind family to hold their own against "Bull Roarers and Wind Wands." In trios with either Richard Davis on bass or Vartan Manoogian on violin, Mitchell added percussion to his arsenal. And the point of it all was simple: He was restless for a kind of musical contact that would examine his chosen instruments in settings where sonic possibility and tonal architecture were one and the same. Through overtones, and micro and polytonalities, Mitchell was seeking, looking relentlessly through the framework of spatial relationship and a stretched notion of time to find something he knew he was looking for, but couldn't put his finger on. These are mostly minimal pieces -- lots of empty space between phrases and single notes, scratched surfaces, and ungodly sounds at times, but assembled, these 13 tracks are a work of great beauty, true virtuoso invention, and yes, heart, great heart.
---Thom Jurek, All Music Guide
Roscoe Mitchell
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Aug 03, 1940 in Chicago, IL
Genre: Jazz
Styles: Modern Creative, Avant-Garde, Early Creative, Free Jazz, Progressive Jazz, Avant-Garde Jazz, Free Improvisation
Roscoe Mitchell is the rare jazz musician who also moves comfortably within the realm of contemporary classical music. It might even be said that Mitchell is a more convincing artist when working in European-influenced forms. When relying on structural and formal jazz conventions, Mitchell can often come off as stilted and unswinging. On the other hand, his forays into free-time, nontonal improvisation (both structured and unstructured) are as spontaneous and as emotionally satisfying as the best jazz. Mitchell's improvisations exercise extraordinary discipline and intellectual rigor. He's at once a patient and impulsive improviser, prone to alternating episodes of order and chaos, clarity and complexity. Mitchell is a technically superb -- if idiosyncratic -- saxophonist. His tone on alto and soprano tends to be edgy and brittle. At his most lyrical, Mitchell's saxophone lines exploit the instrument's strength as an interval-making machine; his improvised melodies often bear similarity to works by the classical composer Morton Feldman, though Mitchell's music is more overtly emotional. At his most energetic, Mitchell takes advantage of the saxophone's timbral flexibility and the horn's natural tendencies, which allow a player to play fast, scalar lines. Whether playing soft or loud, slow or fast, Mitchell's playing is invariably suffused with passion and intensity.
Mitchell played saxophone and clarinet as a teenager. While stationed in Germany as a member of the Army, Mitchell played in a band with tenor saxophone innovator Albert Ayler. Upon returning to the U.S. in 1961, Mitchell played bop with a group of Wilson Junior College students which included bassist Malachi Favors and saxophonists Joseph Jarman, Henry Threadgill, and Anthony Braxton. Mitchell began listening to the recordings of Ornette Coleman and John Coltrane. He studied with pianist/composer Muhal Richard Abrams. In 1962, he began playing in Abrams' newly organized Experimental Band, a rehearsal group which explored many of the contemporary alternatives to conventional jazz improvisation and composition. In 1965, he became one of the first members of the Association for the Advancement of Creative Musicians (AACM), a nonprofit organization established by Abrams, pianist Jodie Christian, drummer Steve McCall, and composer Phil Cohran. The AACM were devoted to the same principles as the Experimental Band. In 1966, Mitchell's sextet (with trumpeter Lester Bowie, tenor saxophonist Kalaparusha Maurice McIntyre, bassist Favors, trombonist Lester Lashley, and drummer Alvin Fiedler) became the first AACM group to record. Abstract in concept and execution, the album, Sound (Delmark), was an in-depth examination of the interaction between sound and silence, utilizing such unorthodox devices as spontaneous collective improvisation, toy instruments, and non-musical noise. A departure from the more extroverted work of the New York-based free jazz players, Sound pointed the way to a new manner of playing jazz-based music. Around this time, Mitchell also performed and recorded as a solo saxophonist. By 1967, the Roscoe Mitchell Art Ensemble consisted of the leader, Favors, trumpeter Lester Bowie, and drummer Phillip Wilson. That combination did not record; Wilson was replaced by Jarman, and in 1969 the group traveled to Europe. The sojourn was very successful. The band -- renamed the Art Ensemble of Chicago -- recorded extensively, particularly in France. The resulting albums formed the initial basis of their reputation.
Mitchell played briefly in St. Louis upon returning to the United States in 1971. He then resettled in Chicago. Around 1974 he established the Creative Arts Collective. Based in East Lansing, MI, the group was similar in purpose to the AACM. The '70s found Mitchell expanding on his solo saxophone concept, working with his AACM cohorts in various combinations and performing with the Art Ensemble. The latter group became possibly the most highly acclaimed jazz band of the next two decades, winning critics' polls with regularity. In the '80s and '90s, Mitchell also led the Sound Ensemble, who included members of his Creative Arts Collective. In the '90s, Mitchell branched out even more, collaborating more frequently with such classical composer/performers as Pauline Oliveros and Thomas Buckner. A trio with Buckner and the virtuoso pianist Borah Bergman was an ongoing and effective unit. Since 2000, Mitchell has remained active, releasing a handful of recordings including Song for My Sister in 2002, Solo 3 in 2004, and Composition/Improvisation Nos. 1, 2 & 3 in 2007.
---Chris Kelsey, All Music Guide |
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