  |
|
|
 |
| L-R-G / The Maize/ S II Examples |
| Roscoe Mitchell |
első megjelenés éve: 1978
75 perc |
|
| (2008)
|
|
CD |
| 5.638 Ft
|
|
| 1. | L-R-G, Trio for Woodwinds, High Brass and Low Brass
|
| 2. | The Maze, For Eight Percussionists
|
| 3. | S II Examples
|
Jazz / Avant-Garde, Free Jazz
Roscoe Mitchell - Sax (Baritone), Gong, Percussion, Main Performer, Sax (Soprano), Oboe, Conga, Wood Block, Triangle, Sax (Alto), Glockenspiel, Flute, Temple Blocks, Balafon, Sax (Bass), Horn, Chimes, Cowbell, Sax (Tenor), Piccolo, Cymbals, Clarinet, Finger Cymbals, Bugle
Anthony Braxton Xylophone, Percussion, Washtub Bass, Drums (Bass), Orchestra Bells, Marimba, Drums (Snare), Cymbals, Machines, Glockenspiel
Chuck Nessa Producer
Don Moye Cowbell, Gong, Handbells, Marimba, Percussion, Balafon, Drums, Wood Block, Horn, Temple Gongs, Triangle, Conga
Don Puluse Engineer
Douglas Ewart Bamboo Drum Set, Marimba, Percussion, Bells, Cymbals, Cowbell, Gong, Xylophone, Chimes, Drums (Snare), Glockenspiel
Famoudou Don Moye Temple Gongs, Triangle, Cymbals, Cowbell, Gong, Handbells, Marimba, Conga, Balafon, Drums, Wood Block, Horn, Percussion
George Lewis Sousaphone, Trombone (Tenor), Tuba, Trombone (Alto)
Henry Threadgill Drums, Rhythmstick, Sax (Alto), Percussion, Bells, Cymbals, Finger Cymbals, Gong, Handbells, Stick, Chimes, Brass
John B. Litweiler Liner Notes
Joseph Jarman Percussion, Conch Shell, Marimba, Conga, Chinese Cymbals, Bells, Drums, Vibraphone, Horn, Chimes, Handbells, Tom-Tom, Cymbals, Temple Gongs, Balafon, Gong
Leo Smith Flugelhorn, Trumpet, Pocket Trumpet
Malachi Favors Balafon, Percussion, Handbells, Horn, Temple Gongs, Zither, Shaker, Gong, Log Drums, Tambourine
Mark Rubenstein Engineer
Rudy Van Gelder Engineer, Production Master Preparation, Digital Transfers
Thurman Barker Triangle, Conga, Bells, Glockenspiel, Slapstick, Marimba, Percussion, Whistle (Human), Drums, Cowbell, Gong
Like Sound and Nonaah, the three compositions that make up this double LP/single CD on Chuck Nessa's home label offer a picture of Roscoe Mitchell not only as a composer and instrumentalist, but as a sound sculptor. Unlike his contemporary Anthony Braxton, Mitchell's compositions always have a deep concern with the very nature of sound. On "L-R-G," which stands for Leo Smith, Roscoe Mitchell and George Lewis, the nature of sound in all its registers is the concern. From the extreme low end of the sousaphone played by Lewis, through the various members of the trombone family to Mitchell on the reeds and woodwinds in the middle, and all of its shapes and colors through to Smith, whose expertise on the trumpet and cornet family moves to the upper register of the piccolo trumpet, Mitchell explores the various interactions -- in improvised context -- of the relationships between single and grouped sounds. "The Maze" is a piece for percussion and sound octet. Among those included are Anthony Braxton, Henry Threadgill, Thurman Barker, Douglas Ewart, and fellow Art Ensembles members Don Moye, Joseph Jarman, and Malachi Favors. This is a long strangely intervallic piece, with doors opening onto one set of textured improvisations while another closes, all of them within the context of sonic relationship. Finally there is the mammoth soprano saxophone meditation "S II Examples." This work is perhaps the most sustained tonal meditation on the soprano saxophone on record. Far being a recording of "improvisations," what "S II Examples" proposes and accomplishes is the evocation and elocution of the sonic palette of the soprano horn as it mingles with breath control, and its own microtonal reverberations. This is a very slow, controlled, and gradually unfolding work that is one of Mitchell's masterpieces in terms of giving himself and the listener a total view of how numerous the sonic and spatial possibilities are on the straight horn. Taken together, these three works mark the turn in Mitchell's work from the early years into his more mature period, which continues into this 21st century along a continuum: the preoccupation of the composer with the mystery of sound and its various incarnations in ensembles or in relationship to itself. ~ 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
