Jazz / Free Jazz, Avant-Garde Jazz
Brad Parker Engineer
Bradley Parker-Sparrow Engineer
Clarence Winbush, Jr. Photography
Dennis Tousana Assistant Engineer
Disk Union Executive Producer
Emilio Cruz Cover Painting, Illustrations
Famoudou Don Moye Drums, Percussion
Joanie Pallatto Engineer
Joseph Jarman Sax (Alto), Sax (Tenor), Flute, Saxophone, Sax (Soprano), Clarinet, Percussion
Karen Bell Photography
Lester Bowie Trumpet, Percussion
Malachi Favors Bass, Percussion
Roscoe Mitchell Percussion, Sax (Alto), Sax (Bass), Flute, Sax (Tenor), Saxophone, Sax (Baritone), Clarinet, Sax (Soprano)
The Art Ensemble of Chicago Producer
It may have been inevitable that, given their members' involvement in individual projects, the later albums by the Art Ensemble of Chicago had somewhat of a smorgasbord air about them. While the group always had a number of "song types" that made up their albums and live performances, earlier in their career the confluence of these types was more naturally flowing. In albums like The Alternate Express, a sense of "grab bag" makes itself felt somewhat uncomfortably. In this case you have a moody blues by Lester Bowie, a somber dirge by Roscoe Mitchell very reminiscent of some prior Anthony Braxton compositions in its soft darkness, and the obligatory collective improvisation featuring percussion and "little instruments." Not that these are bad or boring performances. The group plays with their usual ability, though only occasionally rising to the level of excitement and inspiration evinced on recordings from the late '60s and early '70s. This occurs most noticeably on the lengthy Don Moye/Malachi Favors piece, "Kush," introduced by driving percussive rhythms and carried forward by strong solos, especially by Mitchell. But the sense of an organic concept behind the album is lacking; one gets more of a sense of fulfilling a contractual commitment than of a strong desire to create a new work. ~ Brian Olewnick, All Music Guide |
