Mitchell's 1968 Nessa landmark recording of modern jazz with Lester Bowie, Malachi Favors and Robert Crowder, reissued with 4 additional tracks.
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Catalog ID: 2
Squidco Product Code: 11853
Packaging: Jewel Tray
Tracks 1-3 recorded March 4, 1968 at Ter-Mar (Chess) Studios by Stu Black and Ron Malo. Tracks 4-8 recorded March 11, 1968 at Ter-Mar Studios by Stu Black. Tracks 4, 5, 7 & 8 not included in the original issue, and first appeared in the Art Ensemble 1967/68 box set. Originally released in 1968 on Nessa Records
Roscoe Mitchell-flute, recorder, alto sax, bass sax, soprano sax, tenor sax, toy instruments Lester Bowie-trumpet, bass drums, flugelhorn, horn, toy instruments
Malachi Favors-bass, electric bass, toy instruments
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• Show Bio for Malachi Favors
"Malachi Favors (August 22, 1927, Lexington, Mississippi - January 30, 2004, Chicago, Illinois) was a noted American jazz bassist best known for his work with the Art Ensemble of Chicago.
Favors primarily played the double bass, but also played the electric bass guitar, banjo, zither, gong, and other instruments. He began playing double bass at the age of 15 and began performing professionally upon graduating high school. Early performances included work with Dizzy Gillespie and Freddie Hubbard. By 1965, he was a founder of the Association for the Advancement of Creative Musicians and a member of Muhal Richard Abrams' Experimental Band.
At some point he added the word "Maghostut" to his name and because of this he is commonly listed as "Malachi Favors Maghostut". Musically he is most associated with bebop, hard bop, and particularly free jazz.
Favors was a protégé of Chicago bassist Wilbur Ware. His first known recording was a 1953 session with tenor saxophonist Paul Bascomb. He made an LP with Chicago pianist Andrew Hill (1957). Favors began working with Roscoe Mitchell in 1966; this group eventually became the Art Ensemble of Chicago. Favors also worked outside the group, with artists including Sunny Murray, Archie Shepp, and Dewey Redman.
Prominent records include Natural and the Spiritual (solo bass, 1977) and Sightsong (duets with Muhal Richard Abrams, 1975). In 1994 he played with Roman Bunka (Oud) at Berlin Jazz Fest and recorded the German Critics Poll Winner album Color me Cairo.
Favors died of pancreatic cancer in 2004, aged 76. Since his death, there have been several recorded tributes by fellow musicians (and especially Chicagoans), including Big M, A Tribute to Malachi by Kahil El'Zabar and the "Malachi Favors Suite" for unaccompanied double bass, composed and recorded by fellow Chicago bassist Karl E. H. Seigfried."-Wikipedia (https://en.wikipedia.org/wiki/Malachi_Favors)
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1. Tutankhamen 6:41
2. TKHKE 7:36
3. Jazz Death? 7:23
4. Carefree-take 3 2:39
5. Tatas-Matoes 2:20
6. Congliptious/Old 19:38
7. Carefree-Take 1 3:09
8. Carefree-Take 2 3:06
sample the album:
"Congliptious is a landmark recording of modern jazz, an extraordinarily strong and creative album and one that, among other things, perfectly encapsulates the ideals of the AACM (Association for the Advancement of Creative Musicians). One of the graduation requirements of students in the AACM was to be able to pull off a solo recital on whatever their instrument happened to be. In the late '60s, the idea of an evening-length solo performance on saxophone or drums, for example, was unheard of.
The first three cuts on Congliptious are solos for bass, alto saxophone, and trumpet that not only stand on their own as powerful statements, but also mark out several of the conceptual territories near and dear to this organization's heart. In "Tutankhamen," bassist Malachi Favors pays homage to the deep past, his rich arco delving into a theme older than the blues, but always keeping the blues in mind. Roscoe Mitchell's "Tkhke" remains, more than three decades later, incredibly alive and corrosive, reaching the furthest limits of his instrument, harrowing yet tightly controlled. Only when it resolves into a placid near lullaby does the listener dare exhale.
Humor was another constant element in the work of these Chicagoans, rarely better expressed than by the late Lester Bowie in his historic soliloquy, "Jazz Death?" Posing as both unctuous interviewer and sly interviewee, Bowie wends his way through virtually the entire history of jazz trumpet with affection, soulful beauty, and a sardonic glance or two. The side-long "Congliptious/Old" is a masterpiece in breadth of conception and execution, an exemplar of the newly drawn lines distinguishing chaos from order. The trio is joined by drummer Robert Crowder, who leads things off in march tempo before dissembling into a maelstrom of percussion and the "little instruments" beloved by these musicians. The piece ebbs and flows, traveling from thunderous explosions to childlike songs to abstract vocal exhortations (including the timely phrase, "Sock it to me!"), but always retaining a sense of the blues. T
hat aura comes into sublime fruition in the closing section, "Old," where Mitchell has written a theme as timeless as its title, an utterly gorgeous tune with roots in New Orleans dirges and beyond, which the quartet takes out with gusto, aplomb, and -- again -- a devilish humor. [...] one of the single most vital recordings of the jazz avant-garde, and an album of unique beauty."-Brian Olewnick, All Music
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