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2 x CD |
| 5.281 Ft
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| 1. CD tartalma: |
| 1. | Warm Up
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| 2. | Number 2
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| 3. | Number 1
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| 2. CD tartalma: |
| 1. | Number 2: Take 4 (Interrupted)
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| 2. | Number 2- Take 6
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| 3. | Number 2 -Take 7
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Jazz
Lester Bowie - Flugelhorn, Horn, Improvisation, Kelphorn, Trumpet
Joseph Jarman - Alto, Bassoon, Clarinet, Improvisation, Sopranino
Malachi Favors - Bass, Improvisation, Kazoo
Roscoe Mitchell - Alto, Clarinet, Cover Painting, Flute, Gourd, Improvisation, Recorder, Soprano
These first recordings under Lester Bowie's name were made in 1967 with his compatriots from the Roscoe Mitchell Art Ensemble. Originally issued in edited form as Numbers 1 2 on a single lp, these two discs contain all the material recorded over two days in the studio. The first session was a trio date with Malachi Favors (bass, etc) and Roscoe Mitchell (saxophones, etc). A week later reed virtuoso Joseph Jarman was added to the group. These recordings were the first documentation of the quartet soon recognized as the Art Ensemble of Chicago. While repeated takes of the same thematic material can be a boring exercise, in this instance the performances all develop very differently and give insight to the workings of this well known group.
Chuck Nessa - Producer
Stu Black - Engineer
Terry Martin - Liner Notes
Lester Bowie
Active Decades: '60s, '70s, '80s and '90s
Born: Oct 11, 1941 in Frederick, MD
Died: Nov 08, 1999 in New York, NY
Genre: Jazz
Styles: Jazz-Funk, Avant-Garde, Progressive Big Band, Post-Bop, Jazz-Pop, Free Jazz, Free Funk, Progressive Jazz, Avant-Garde Jazz
From the 1970s until his death in 1999, Lester Bowie was the preeminent trumpeter of the jazz avant-garde -- one of the few trumpet players of his generation to successfully and completely adopt the techniques of free jazz. Indeed, Bowie was the most successful in translating the expressive demands of the music -- so well-suited to the tonally pliant saxophone -- to the more difficult-to-manipulate brass instrument. Like a saxophonist such as David Murray or Eric Dolphy, Bowie invested his sound with a variety of timbral effects; his work has a more vocal quality, compared with that of most contemporary trumpeters. In a sense, he was a throwback to the pre-modern jazz of Cootie Williams or Bubber Miley, though Bowie was by no means a revivalist. Though he was certainly not afraid to appropriate the growls, whinnies, slurs, and slides of the early jazzers, it was always in the service of a thoroughly modern sensibility. And Bowie had chops; his style was quirky, to be sure, but grounded in fundamental jazz concepts of melody, harmony, and rhythm.
Bowie grew up in St. Louis, playing in local jazz and rhythm & blues bands, including those led by Little Milton and Albert King. Bowie moved to Chicago in 1965, where he became musical director for singer Fontella Bass. There Bowie met most of the musicians with whom he would go on to make his name -- saxophonists Joseph Jarman and Roscoe Mitchell and drummer Jack DeJohnette among them. He was a founding member of the Association for the Advancement of Creative Musicians and (in 1969) the Art Ensemble of Chicago. Bowie's various bands have included From the Root to the Source -- a sort of gospel/jazz/rock fusion group -- and Brass Fantasy, an all-brass, post-modern big band that's become his most popular vehicle. Bowie's catholic tastes are evidenced by the band's repertoire; on albums, they have covered a nutty assortment of tunes, ranging from Jimmy Lunceford's "Siesta for the Fiesta" to Michael Jackson's "Black and White." Besides his work as a leader and with the Art Ensemble, Bowie recorded as a sideman with DeJohnette, percussionist Kahil El'zabar, composer Kip Hanrahan, and saxophonist David Murray. He was also a member of the mid-'80s all-star cooperative the Leaders. Bowie's music occasionally leaned too heavily on parody and aural slapstick to be truly affecting, but at its best, a Bowie-led ensemble could open the mind and move the feet in equal measure.
---Chris Kelsey, All Music Guide |
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