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Mitchell, Roscoe / Montreal-Toronto Art Orchestra: Ride The Wind (NESSA)

Reedist and composer Roscoe Mitchell in a collaboration with the Montreal - Toronto Art Orchestra, an extraordinary group of improvising musicians comprised of 6 woodwinds, piano, vibraphone, tuba, 2 each of trumpet, trombone, viola, string bass and drums plus Mitchell on sopranino saxophone, a profoundly elaborate and absorbing work for a large improvising ensemble.
 

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product information:


UPC: 827020004029

Label: NESSA
Catalog ID: NES 40
Squidco Product Code: 25268

Format: CD
Condition: New
Released: 2018
Country: USA
Packaging: Jewel Case
Recorded at Canterbury Music Company, in Toronto, Canada, in October 7th, 2016, by Jean Martin.


Personnel:

Roscoe Mitchell-sopranino saxophone

Marilyn Lerner-piano

Lori Freedman-clarinets

Jean Drome-piccolo, flute, bass flute

Yves Charuest-alto saxophone

Kyle Brenders-clarinet, tenro saxophone

Jason Sharp-baritone saxophone, bass saxophone

Peter Lutek-bassoon, soprano saxophone

Nicole Rampersaud-trumpet

Craig Pedersen-trumpet

Tom Richards-trombone

Scott Thompson-trombone

Julie Clutton-double bass

Nicolas Caloia-double bass

Michael Davidson-vibraphone

Isaiah Ceccarelli-drums

Nick Fraser-drums

Gregory Oh-conductor

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track listing:


1. They Rode For Them - Part One 12:51

2. Splatter 4:34

3. Ride The Wind 7:12

4. They Rode For Them - Part Two 6:02

5. RUB 7:06

6. Shards And Lemons 12:34

7. Nonaah 5:27
Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
Large Ensembles
West Coast/Pacific US Jazz
Toronto Area Improvisation
Musique Actuelle
Staff Picks & Recommended Items
New in Improvised Music
Recent Releases and Best Sellers
Canadian Composition & Improvisation

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descriptions, reviews, &c.

"Acclaimed musician/composer Roscoe Mitchell continues his textural elaborations of the Conversations recordings with Craig Taborn and Kikanju Baku. Ride the Wind is a collaboration with the Montreal - Toronto Art Orchestra, an extraordinary group of improvising musicians. The ensemble consists of 6 woodwind, piano, vibraphone, tuba, 2 each of trumpet, trombone, viola, string bass and drums. Mitchell joins the orchestra on sopranino saxophone for 'They Rode For Them - part 2'. The ensemble had 4 days of rehearsal and concerts in Montreal and Toronto before venturing into the recording studio"-Nessa



"Steve Lacy once posited that the difference between an improviser and a composer is that the latter has abundant time to decide what to communicate musically with ten seconds whereas the former simply has ten seconds. It remains a pithy rejoinder to a strawman conundrum that's dogged the intersection between the two idioms for decades. But what of the scenarios where improvisation actually serves as the basis for composition? Roscoe Mitchell explores that compelling overlap on Ride the Wind, a second document of investigations following last year's at once similar and yet wholly separate Discussions on the Wide Hive label.

For the previous project Mitchell balanced orchestral transcriptions of earlier improvisations with new collective improvisations for the assembled large ensemble. The results revealed a captivating merger of the forms, although his own incendiary playing was limited to just several of the contexts leaving flautist Wilfrido Terrazas the welcome latitude to almost steal the show. Here, he exercises even more restraint on the playing end, appearing only in an extended, frenzied sopranino salvo on "They Rode for Them - Part Two" and leaving the disc's remaining six pieces to the nineteen-piece Montreal-Toronto Art Orchestra. The deference is another indication of how seriously he takes the ensemble focus of the work.

Essayist Stuart Broomer drafts an edifying accounting of the session details in the accompanying notes and it's immediately apparent that Mitchell's canvas is different even though it pulls primarily from the same provenance as its predecessor, the series of recorded improvisations he engaged in with pianist Craig Taborn and percussionist Kikanju Baku from 2013 and later transcribed by a cadre of close colleagues. Mitchell handles the majority of orchestrations himself starting with swelling fugue-like waves of "They Rode for Them" that give way to an feathery improvisation by altoist Yves Charuest over shimmer color field conjured by the orchestra in sections.

"Splatter" builds from forceful collisions between percussion, strings, reeds and brass, which roil and swirl together in a textured centripetal spin. The title piece erupts with fanfare expansiveness before receding and dispersing into a succession of individual voices. Flimsy idiomatic descriptors like jazz, classical and the like are irrelevant to the proceedings, replaced by the umbrella adjectival phrase of organized and energized sound. The arboreal murmurings of "RUB" recall the Art Ensemble's expeditions with "little instruments" while "Shards and Lemons" brings a delightful measure of dry humor in the timbre juxtaposition of disparate orchestral constituencies.

The disc caps with a quartet arrangement of the pivotal "Nonaah", a piece Mitchell first performed nearly forty-five years ago. It's one of the anchors of his oeuvre and the assembled team of three reedists and single bassist makes the rondo theme at the piece's center both sing and shout before switching tacks to layered legato drones and icy overtones. As is the Nessa label hallmark, accompanying packaging and content is top-notch with copious session photos and the aforementioned deep dive annotations. Temporal considerations both immediate and indefinite converge to make this set another memorable entry in Mitchell's copious catalog of momentous achievements."-Derek Taylor, Dusted Magazine


Get additional information at Dusted Magazine

Artist Biographies:

"Roscoe Mitchell (born August 3, 1940) is an American composer, jazz instrumentalist, and educator, known for being "a technically superb - if idiosyncratic - saxophonist." The Penguin Guide to Jazz described him as "one of the key figures" in avant-garde jazz; All About Jazz states that he has been "at the forefront of modern music" for the past 35 years. Critic Jon Pareles in The New York Times has mentioned that Mitchell "qualifies as an iconoclast." In addition to his own work as a bandleader, Mitchell is known for cofounding the Art Ensemble of Chicago and the Association for the Advancement of Creative Musicians (AACM).

Mitchell was born in Chicago, Illinois. He also grew up in the Chicago area, where he played saxophone and clarinet at around age twelve. His family was always involved in music with many different styles playing in the house when he was a child as well as having a secular music background. His brother, Norman, in particular was the one who introduced Mitchell to jazz. While attending Englewood High School in Chicago, he furthered his study of the clarinet. In the 1950s, he joined the United States Army, during which time he was stationed in Heidelberg, Germany and played in a band with fellow saxophonists Albert Ayler and Rubin Cooper, the latter of which Mitchell commented "took me under his wing and taught me a lot of stuff." He also studied under the first clarinetist of the Heidelberg Symphony while in Germany. Mitchell returned to the United States in the early 1960s, relocated to the Chicago area, and performed in a band with Wilson Junior College undergraduates Malachi Favors (bass), Joseph Jarman, Henry Threadgill, and Anthony Braxton (all saxophonists). Mitchell also studied with Muhal Richard Abrams and played in his band, the Muhal Richard Abrams' Experimental Band, starting in 1961.

In 1965, Mitchell was one of the first members of the non-profit organization Association for the Advancement of Creative Musicians (AACM) along with Jodie Christian (piano), Steve McCall (drums), and Phil Cohran (composer). The following year Mitchell, Lester Bowie (trumpet), Kalaparusha Maurice McIntyre (tenor saxophone), Favors, Lester Lashley (trombone), and Alvin Fielder (drums), recorded their first studio album, Sound. The album was "a departure from the more extroverted work of the New York-based free jazz players" due in part to the band recording with "unorthodox devices" such as toys and bicycle horns.

From 1967 Mitchell, Bowie, Favors and, on occasion, Jarman performed as the Roscoe Mitchell Art Ensemble, then the Art Ensemble, and finally in 1969 were billed as the Art Ensemble of Chicago. The group included Phillip Wilson on drums for short span before he joined Paul Butterfield's band. The group lived and performed in Europe from 1969 to 1971, though they arrived without any percussionist after Wilson left. To fill the void, Mitchell commented that they "evolved into doing percussion ourselves." The band did eventually get a percussionist, Don Moye, who Mitchell had played with before and was living in Europe at that time. For performances, the band often wore brilliant African costumes and painted their faces. The Art Ensemble of Chicago have been described as becoming "possibly the most highly acclaimed jazz band" in the 1970s and 1980s.

Mitchell and the others returned to the States in 1971. After having been back in Chicago for three years, Mitchell then established the Creative Arts Collective (CAC) in 1974 that had a similar musical aesthetic to the AACM. The group was based in East Lansing, Michigan and frequently performed in auditoriums at Michigan State University. Mitchell also formed the Sound Ensemble in the early 1970s, an "outgrowth of the CAC" in his words, that consisted mainly of Mitchell, Hugh Ragin, Jaribu Shahid, Tani Tabbal, and Spencer Barefield.

In the 1990s, Mitchell started to experiment in classical music with such composers/artists such as Pauline Oliveros, Thomas Buckner, and Borah Bergman, the latter two of which formed a trio with Mitchell called Trio Space. Buckner was also part of another group with Mitchell and Gerald Oshita called Space in the late 1990s. He then conceived the Note Factory in 1992 with various old and new collaborators as another evolution of the Sound Ensemble.

He lived in the area of Madison, Wisconsin and performed with a re-assembled Art Ensemble of Chicago. In 1999, the band was hit hard with the death of Bowie, but Mitchell fought off the urge to recast his position in the group, stating simply "You can't do that" in an interview with Allaboutjazz.com editor-in-chief Fred Jung. The band continued on despite the loss.

Mitchell has made a point of working with younger musicians in various ensembles and combinations, many of whom were not yet born when the first Art Ensemble recordings were made. Mainly from Chicago, these players include trumpeter Corey Wilkes, bassist Karl E. H. Seigfried, and drummer Isaiah Spencer.

In 2007, Mitchell was named Darius Milhaud Chair of Composition at Mills College in Oakland, California, where he currently lives. Mitchell was chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival in March 2012 in Minehead, England."

-Wikipedia (https://en.wikipedia.org/wiki/Roscoe_Mitchell)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Lori Freedman. Born Toronto, Ontario, Canada, 1958. Residence: Montréal, Québec. Composer, Performer (clarinet, bass clarinet)

Qualified as "a musical revolutionary in the front ranks of the avant-garde" by Alex Varty of the Georgia Straight (Vancouver), Lori Freedman (clarinets) is internationally recognized as one of the most creative and provocative performers. She is a member of a select group known as "renaissance musicians" as her artistic activities cover many fields: performer of written music (well over one hundred works have been written for or premiered by her), composer, improviser, teacher, and on occasion, writer. While managing a full performance schedule of more than 75 public appearances a year, Freedman has been receiving commissions to write music for ensembles such as Orkestra Futura, Arraymusic Ensemble, Ensemble Transmission, Continuum Contemporary Music Ensemble, Ensemble SuperMusique, Ensemble Paramirabo, Upstream Orchestra, Queen Mab Trio, Crowbar Trio, Lott Dance, Oberlander Films, Foresite Theatre, Cooke Productions and Autumn Leaf Productions. Her current discography comprises over 59 recordings, the most recent of which include Greffes (Empreintes digitales), On No (Mode Records), Bridge (Collection QB), Plumb (Barnyard Records), 3 and À un moment donné (Ambiances Magnétiques), Huskless! (Artifact), See Saw and Thin Air (Wig). Highlight collaborations include work with Rohan de Saram, Barre Phillips, Helmut Lachenmann, Frances-Marie Uitti, Monique Jean, Joëlle Léandre, Axel Dörner, George Lewis, the Jack Quartet and Richard Barrett."

-ActuelleCD (http://www.actuellecd.com/en/bio/freedman_lo/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Canadian saxophonist Yves Charuest began his professional musical activities in the 1980s, playing with several Canadian musicians such as Michel Ratté, Jean Beaudet, Lisle Ellis, Jean Derome and Pierre Cartier in various bands including I Like Jazz, Evidence, Duo Charuest -Rate, Trio Michel Ratté, Wreck's Progress.

Charuest was a member of the Peter Kowald Trio (with German bassist Peter Kowald and South African drummer Louis Moholo) with whom he performed in Canada, the United States and Europe. He has performed with internationally active musicians including William Parker, John Betsch and Mathias Schubert, and has also collaborated with Canadian electroacoustic composers Jean-François Denis, jef chippewa and Jean Piché.

Charuest works with various ensembles, including Charuest-Caloia, Still (with Nicolas Caloia and Peter Valsamis), Stir (with Caloia, Valsamis and Agustí Fernández), a quartet with Caloia, Lori Freedman and Josh Zubot, Murray Street Band and The Ratchet Orchestra. He regularly collaborates with Ellwood Epps, John Heward, Philippe Lauzier, Scott Thomson, choreographer Susanna Hood and dancer Alanna Kraaijeveld.

Charuest won the François-Marcaurelle Award at the 2015 Montreal Offspring of Jazz."

-Yves Charuest Website (translated by Google) (http://yvescharuest.net/?page_id=13)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Craig Pedersen is a trumpet player, composer, and educator based out of Montréal. He actively leads his own bands, the Craig Pedersen Quartet and the It's A Free Country duo (with Joel Kerr), and co-directs the Musique a La Poele series in Montreal. He also co-founded the Improvising Musicians of Ottawa/Outaouais Concert (IMOO) Series. Since its inception in 2010, IMOO has served as a hub of improvised music in Ottawa, presenting both local and international artists. Craig has released eight albums worth of material, ranging between composed material to improvisation, and has collaborated with Lori Freedman, Nicolas Caloia, Evan Tighe, Aaron Lumley, Ian Birse and Laura Kavanaugh (Instant Places), Joel Kerr, and Mark Molnar (Kingdom Shore), as well as recording on the soundtrack for Robert Lepage's Needles and Opium, and performances at L'Off Festival du Jazz, and FONT Canada. He has recently written a method book of extended techniques for the trumpet, to published by Berklee Press and Hal Leonard in November of 2014.

Mark Molnar plays strings and electronics with Kingdom Shore, 1/4 Tonne Spike Pitcher (Nick Keupfer and Eric Craven), Generator (John Higney and Jamie Gulliksen), Mice (Bennett Bedoukian and Dave Clark), and in duos and a variety of configurations with Eric Craven, Craig Pedersen, James Annett, David Broscoe, Jamie Gulliksen, Linsey Wellman, and Bennett Bedoukian. He also plays erhu and rebab in Gamelan Semara Winangun."

-Black Bough (http://www.blackbough.ca/PedersenMolnar.html)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Nicolas Caloia. Born Ottawa, Ontario, Canada, 1968. Residence: Montréal, Québec. Performer (double bass).

Since 1990 Nicolas Caloia has worked at creating a contemporary music generated by using accurately composed textures to channel collective improvisation. The goal is a music that erases the lines between improvised and composed, pop and avant-garde, good and bad. He hopes this music will satisfy the body, the mind and, above all, the heart. He has worked as a performer, composer, and organizer in Montréal and has toured in North America, Europe, and Asia. He has performed and recorded in a vast array of contexts with the most important members of Montréal's creative music community as well as with internationally renowned musicians like the ICP orchestra, Marshall Allen, John Butcher, Joe McPhee, Steve Lacy, William Parker, Hassan Hakmoun, Tristan Honsinger and Pandit Hariprasad Chaurasia. His concerts and numerous recordings have been critically acclaimed both at home and abroad. Currently, the majority of his work as a composer and improviser finds a voice in: The Ratchet Orchestra - a 30-piece big band; Tilting - the Nicolas Caloia Quartet, Ring - a sextet, Spell - a 10-piece marching band, Trephining - a quintet, Mercury - a duet Lori Freedman as well in solo performances."

-ActuelleCD (http://www.actuellecd.com/en/bio/caloia_ni/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Isaiah Ceccarelli. Born Chetwynd, British Columbia, Canada, 1978. Residence: Montréal, Québec. Composer, Performer (drum set, percussion).

Isaiah Ceccarelli is a drummer, improviser, and composer based in Montréal. His music has been qualified as "one of the most original approaches to come through our offices in recent times" (Marc Chénard, La Scena Musicale) and he has been described as possessing "a writing style with rare personality in this musical context" (Thierry Lepin, Jazzman Magazine). He participates in numerous creative music projects with Michel F Côté, Pierre-Yves Martel, Lori Freedman, Jean Derome, Bernard Falaise, Joshua Zubot and Philippe Lauzier, amongst others. He plays with Félix Stüssi and Ray Anderson, as well as with the Acadian singer Marie-Jo Thério. Proud ambassador of a new generation of creative musicians in Québec, his collaborations have led him on tour in Europe, North America, Asia and Australia. Isaiah has composed music for two of his own albums, Bréviaire d'épuisements and Lieux-dits (both on the Ambiances Magnétiques label), and for ensembles and musicians such as Quatuor Bozzini, Ensemble Allogène, the violist Jennifer Thiessen, and Ensemble Kô. He sings with the Schola Saint-Grégoire (Gregorian chant).

A seasoned musician and composer, Isaiah Ceccarelli is, in the words of Charles Collard from La Scena Musicale, "a jewel in the crown of the Montréal scene and his presence is felt on several fronts at the same time."

-ActuelleCD (http://www.actuellecd.com/en/bio/ceccarelli_is/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Nick Fraser has been an active and engaging presence in the Toronto new jazz and improvised music community since he moved there from Ottawa in 1995. He has worked with a veritable "who's who" of Canadian jazz and improvised music including Justin Haynes, Mike Murley, Rich Underhill, P.J. Perry, Phil Dwyer, Michael Snow, John Oswald, Andrew Downing, Jean Martin, Christine Duncan, Lina Allemano, Quinsin Nachoff, Dave Restivo, Jim Vivian, David Braid, Ryan Driver, David Occhipinti, William Carn, Nancy Walker, Kieran Overs, Kelly Jefferson, John Geggie, Scott Thomson, Marilyn Lerner, David Mott, Lori Freedman, Jean Derome, Ron Samworth and Kirk MacDonald.

In addition, he has had the opportunity to perform and/or record with such international artists as Tony Malaby, Michael Moore, Bobby Shew, Donny McCaslin, Marilyn Crispell, Anthony Braxton, Joe McPhee, William Parker, Jean-Luc Ponty, Bela Fleck, Dave Liebman, Joe Lovano, John Scofield, Wynton Marsalis, David Binney, Steve Turre, Matt Welch, Bill Carrothers and Bill Mays. Nick's recorded works as a leader include Owls in Daylight (1997), Nick Fraser and Justin Haynes are faking it (2004) and Towns and Villages (2013).

For 10 years, he co-led the co-operative group Drumheller with Brodie West, Rob Clutton, Eric Chenaux and Doug Tielli, who released four critically acclaimed CDs between 2005 and 2013. Other projects that occupy Nick regularly are Ugly Beauties (with Marilyn Lerner and Matt Brubeck), Peripheral Vision, the Lina Allemano Four and Titanium Riot.

Nick is a founding member of The Association of Improvising Musicians of Toronto, a non-profit organization dedicated to the Toronto improvising community."

-Nick Fraser Website (http://nickfraserthedrummer.com/bio.html)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

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