THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE is a monographic box-set collection aimed at recounting the most beautiful chapters that revolutionised the history of jazz. A deep philological work, beginning with the original recordings on original master tapes, patiently integrally remastered paying strict attention to sound quality.
Recorded live in Burghausen, Germany in 2007, Far Side features journeyman avant-garde saxophonist Roscoe Mitchell and his ensemble the Note Factory performing in a concert. Joining Mitchell here are trumpeter Corey Wilkes, pianists Craig Taborn and Vijay Iyer, bassists Jaribu Shahid and Harrison Bankhead, and drummers Tani Tabbal and Vincent Davis. Beginning with the epic three-part 30-minute suite "Far Side/Cards/Far Side," the concert is an atmospheric and cinematic mix of Mitchell's longstanding musical touchstones including free jazz, European classical music, and modern creative group improvisation. Tracks such as the fragmented and atonal "Quintet 2007 A for Eight" and the similarly inclined "Trio Four for Eight" have the feel of composed classical music while evincing a more freely improvised aesthetic. This is often achieved by juxtaposing bowed cello and bass parts against improvised piano and sections where each musician seems to interject a melodic idea into an overall harmonic theme. There are moments of layered percussion, expansive atonal soundscapes, and fiery and combative moments between Mitchell and Wilkes as well as windy, drawn-out passages that tilt upon silence. If you're a hardcore Mitchell aficionado and/or fan of ECM's cerebral jazz catalog, Far Side would be a stellar addition to your library.
our original improvisations, taken from legendary AACM composer, improviser and saxophonist Roscoe Mitchell's "Conversations" album transcribed and performed by a twenty piece Bay Area orchestra, along with two orchestral improvisations and two duets with Roscoe Mitchell and flutist Wilfredo Terrazas.
Roscoe Mitchell and Evan Parker handpicked the personnel of this ‘Transatlantic Art Ensemble’, a fascinating and, indeed, historic coming together of players from the US and UK, amongst them members of Mitchell’s Note Factory group and Parker’s Electro-Acoustic Ensemble. Here they premiere new pieces by Roscoe, recorded live in concert at Munich’s Muffathalle. An epic journey through music of many changing – and surprising - moods, from lyrical episodes to plateaux of intensity.
In this recording, Roscoe Mitchell offers what amounts to a composer self-portrait in continually changing colours and textures, reflecting on his own history while looking toward the future. Two pieces including the title composition draw upon the full percussion instrumentarium of the Art Ensemble of Chicago a panorama of gongs, bells, rattles, sirens, hand drums and more. Recorded in 2015 on the occasion of the AACM’s 50th anniversary, Bells for the South Side is released half a century after the founding of the Art Ensemble - the Roscoe Mitchell Art Ensemble, as it was originally called.
This features Lewis in a collaborative affair with Art Ensemble of Chicago saxophonist and composer Roscoe Mitchell, an integral part of Lewis' eight-part composition "Voyager," which encompasses all but the disc's final selection. The piece features computerized, synthesized backing designed to replicate that of an orchestra or ensemble. Lewis has programmed the computers to respond instantaneously to Mitchell's lines and solos, creating a variety of musical responses that Mitchell then reacts to on alto or soprano.
Internationally renowned musician and composer Roscoe Mitchell, since his debut with Sound in 1966, has defined his style through an innovative approach towards composition in what is traditionally an improvised music genre, pre-empting the development of jazz and its relationship with contemporary music in the following decades. Splatter, drawn from two concerts held at the AngelicA festival in Bologna in 2017, presents the most recent developments of this research, with two examples from his cycle Conversations for large orchestra.
Roscoe Mitchell and George Lewis first met in the summer of 1971 on Chicago’s South Side, where both musicians were born and raised. Mitchell and the Art Ensemble of Chicago, had just returned to the South Side after a two-year sojourn in Europe, and Lewis was back home too, taking a break from his undergraduate studies at Yale. Since then, they collaborated very regularly, pushing each time the limits of the possible in music. This album, the latest chapter of a creative partnership spanning five decades, is a major step in their collaboration and is thus much more than just the sum of the immense talent of each of them. Recorded live … at CTM Festival on February 2nd 2018 at HAU Hebbel am Ufer, Berlin, Germany.
Fifty years after Sound was first released on Delmark Records (Delmark 408), not only has music changed, our ear has changed. Music is not a universal language, as well intended but poorly informed authors like to say. The musical ear is a historical and social construct that belongs to a specific society and a specific time. A 21st century listener would be more amazed than surprised or shocked by this music; amazed by its maturity, its balance, and its sense of structure. Instead of the cataract of adjectives and superlatives this music provoked in its initial reviews, one now can justly appreciate how much of its language has become integrated into the current “historical ear”. Re-issued from the original Stu Black analog mix for the first time!