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Mitchell, Roscoe Sextet: Sound (Delmark)

A much-need reissue of saxophone, reed & wind player Roscoe Mitchell's landmark 1966 free jazz album, advancing the concepts of the AACM through improvisation that incorporates texture, space, and interaction in free playing that doesnt't rely on cathartic playing, but instead uses collective exploration of "sound", opening doors to new and still-modern approaches to jazz.
 

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product information:


UPC: 038153440824

Label: Delmark
Catalog ID: DMK 4408
Squidco Product Code: 26218

Format: CD
Condition: New
Released: 2018
Country: USA
Packaging: Jewel Case
Recorded at Sound Studios, Inc., in Chicago, Illinois, on August 10th, 1966, and August 26th, 1966, by Stu Black. Originally released in 1966 on vinyl LP on the Delmark Records label as DL-408.


Personnel:

Roscoe Mitchell-alto saxophone, clarinet, recorder

Malachi Favors-bass

Alvin Fielder-drums

Kalaparusha Maurice McIntyre-tenor saxophone

Lester Lashley-trombone, vello

Lester Bowie-trumpet, flugelhorn, harmonica

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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)
12/8/2018

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

"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)
12/8/2018

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

"Alvin Leroy Fielder, Jr. Born: November 23, 1935, Meridian, Mississippi. Drums, Percussion, Composer. Father, Alvin Fielder Sr., studied coronet. Mother played piano and violin; grandmother played piano; mother's brother played clarinet. Brother, William, is Director of Jazz Studies, trumpeter, and trumpet instructor at Rutgers University.

At 13, Alvin Fielder began musical studies by joining Harris Senior High Band in Meridian, Mississippi, under leadership of Carlia "Duke" Otis. Alvin continued studies with Ed Blackwell while in New Orleans studying pharmacy at Xavier U. in 1952-53. After transferring to Texas Southern U. in Houston, TX, he continued course of study with Herb Brockstein as well as private lessons with George "Dude" Brown, Gene Ammons, drummer from Washington, DC, and Clarence Johnston, James Moody's drummer, from Boston, MA, whenever they came through Houston working. Alvin also had informal lessons with Jual Curtis and G.T. Hogan.

From 1954-56, Alvin worked with the "Pluma" Davis sextet, which included Don Wilkerson, Richard "Dicky Boy" Lillie, John Browning, Carl Lott, Cr., and many other Houston jazz luminaries. He backed such artists as Lowell Fulsom, Amos Milburn and other R&B artists with extended engagements in Houston. Alvin also made several studio dates for Duke records. He was also active on Houston jazz scene with Jimmy Harrison Quintet, John Browning quintet, and Eddie "Cleanhead" Vinson sextet.

From 1959 to 1968, Alvin was active in Chicago with: Sun Ra Arkestra 1960-61, Muhal Richard Abrams 1962-63, Roscoe Mitchell 1963-66, Eddie Harris and Kalaparusha 1965, co-op trio with Fred Anderson and Lester Lashley 1967-69. In between, he worked with John Stubblefield, Jack DeJohnette, "Scotty" Holt, Joseph Jarman, and other Chicago jazz musicians. Alvin is a charter member of AACM with Muhal Abrams, Roscoe Mitchell, Fred Anderson, Malachi Favors, Jodie Christian, Steve McCall, Phil Cohran, Thurman Barker, Ajaramu, Charles Clark, Christopher Gaddy, Freddy Berry, etc.

While in NY in 1962, Alvin played and rehearsed with Ernie Farrow, Bernard McKinney, Ray McKinney, Wilbur Ware, Vincent Pitts, Pat Patrick, George Scott and musicians associated with this era.

Alvin moved back to Mississippi in late 1968 to take over family pharmacy due to father's illness. With John Reese and Black Arts Music Society, Alvin was active in obtaining grants from NEA and Mississippi Arts Commission to bring musicians such as Roscoe Mitchell, John Stubblefield, Malachi Favors, Muhal Richard Abrams, Clifford Jordan and others to Mississippi.

Alvin worked extensively in early 1970s with Joe Jennings, alto saxophonist now in Atlanta, and Edward "Kidd" Jordan, multi-saxophonist from New Orleans, with whom he co-leads the Improvisational Arts quintet. One of the most important new music groups in the South, IAQ has included at various times Clyde Kerr, trumpet; Alvin Thomas, tenor saxophone; London Branch, Elton Herron, basses; Darryl Levine, piano; Kent Jordan, flute. Also worked with Dennis Gonzalez, trumpeter and multi-instrumentalist from Dallas, another leader on the new music scene in Dallas and TX.

Alvin also had a founding role in the nationally-acclaimed Louis "Satchmo" Armstrong Jazz Camp in New Orleans, LA. Alvin has been involved with this growing program since it began in 1995.

Recordings include Sound (1967) with Roscoe Mitchell Sextet, No Compromise (1983) with IAQ, The New New Orleans Music (1985) with New Music Jazz for Rounder, and Liquid Magic, Bannar, Namesake (all 1987) and Debenge-Debenge (1988) for Silkheart, (2006) Live at The Blue Monk, and (2004) Resolving Doors, The Joel Futterman, Alvin Fielder, Ike Levin Trio.

Appearances include Lincoln Center, Chicago; NO Jazz & Heritage Festival; Jazz Marathon '82 Festival, Holland; Moers Intl. New Jazz Festival, Germany 1982; Jazz Danes LA Drones Festival, France 1984; Northsea Jazz Festival, Netherlands 1984; Heinekin Jazz Festival, Netherlands 1988; Atlanta and Texas jazz festivals 1989; Festival Intl. de Louisiane 1991."

-Alvin Fielder Website (http://www.alvinfielder.com/)
12/8/2018

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

"Kalaparusha Maurice McIntyre (March 24, 1936 November 9, 2013) was an American free jazz tenor saxophonist.

McIntyre, who was born in Clarksville, Arkansas but raised in Chicago, studied at the Chicago College of Music, and during the 1960s began playing with musicians such as Malachi Favors, Muhal Richard Abrams, and Roscoe Mitchell. Along with them he became a member of the ensemble Association for the Advancement of Creative Musicians in the mid-1960s. His first solo record appeared in 1969. During this time he also recorded as a session musician for Delmark Records, playing with George Freeman, J.B. Hutto, and Little Milton, among others.

McIntyre moved to New York City in the 1970s, playing at Sam Rivers's Rivbea Studios and teaching at Karl Berger's Creative Studio. He and Muhal Richard Abrams toured Europe several times. After his 1981 live album, McIntyre recorded very little, playing on the streets and in the subways of New York. His next major appearance on record wasn't until 1998, with Pheeroan akLaff and Michael Logan; the following year, he played with many AACM ensemble members on the album Bright Moments. He continued to release as a leader into the 2000s."

-Wikipedia (https://en.wikipedia.org/wiki/Kalaparusha_Maurice_McIntyre)
12/8/2018

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

Lester Lashley is a Chicago trombonist known for his work with the Roscoe Mitchell Sextet and the AACM. He also recorded with George Freeman, Muhal Richard Abrams, and Joseph Jarman.

-Squidco 12/8/2018

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

"Lester Bowie was one of the most adventurous and proficient manipulators of the trumpet, having made use of everything from strict melodic lines to abstracted explosions of sound. He became a member of the newly- established Association for the Advancement of Creative Musicians, and it was through this he met the musicians with whom he went on to form the radical Art Ensemble of Chicago.

Lester Bowie was born in Frederick, Maryland in 1941, but he was raised in St. Louis, Missouri. His trumpet- playing dad was a high school band director who owned a master's degree, then, not an easy feat for a black man. By age five Lester was taking lessons from a proud father and by 14 he was under the wing of St. Louis trumpeter, Bobby Danzie, who was instrumental in tuning the young Bowie's jazz ears. A year later he was broadcasting and directing his own band. Later he joined the Air Force at 17, and played in 'after hours' R&B clubs in Texas.

It was while in the service that Lester began to incorporate elements of his early idol, Louis Armstrong, into his own style of playing. By the time his stint with Uncle Sam's regulars ended, those ears had absorbed Kenny Dorham and Freddie Hubbard , as well. An across-the-river (East St. Louis, Illinois) local kid had further tickled Lester's lobes as Miles Davis ' smoothness crept into Lester's playing.

If you're getting the idea that Lester Bowie is a hybrid, with roots and branches of varying hues, well, you're getting the right idea. But His eclecticism does not stop there. He went on the road with Blues, R&B, circus bands and carnival tent shows, settling back in St. Louis to form a hard-bop group with drummer Phillip Wilson, which included John Chapman on piano. His association with the likes of Oliver Lake, Julius Hemphill, and Floyd LaFlore, led to the formation of the Black Artist Guild (BAG).

Lester landed in Chicago in 1965 with his entire band in his horn and embarked on the obvious next exploration, the so-called "free-jazz" movement. He joined the Association for the Advancement of Creative Musicians (AACM) the following year. As he walked into the room for his first meeting, he was startled to see a passel of musicians the world was not yet ready to take to its bosom: Malachi Favors, Kalaparush Maurice McIntyre, Roscoe Mitchell, and many others. From that not quite chance meeting sprang the Art Ensemble of Chicago, among the most influential and creative groups in modern music: Lester Bowie, (trumpet) Roscoe Mitchell, Joseph Jarman, (woodwinds) Malachi Favors Maghostut, (bass) and eventually, Famoudou Don Moye (percussion).

Moving into the 70's and 80's, Lester's penchant for "serious fun" led him to albums under his own name with titles such as "Rope-A-Dope" (for Muhammad Ali), "Let the Good Times Roll," "The Great Pretender," "Its Howdy Doody Time," and "Miles Davis meets Donald Duck."

Bowie's various bands have included From the Root to the Source, a sort of gospel/jazz/rock fusion group, and Brass Fantasy, Lester's last band, boasted ten assorted trumpets, trombones, French Horns, tuba and drums. Nothing escaped their repertoire: the free, obscure, standards of decades past, funk, Latin, R&B. Brass Fantasy played them, poked fun at them, but always in good taste. Besides his work as a leader and with the Art Ensemble, Bowie has recorded as a sideman with drummer Jack DeJohnette, percussionist Kahil El'zabar, composer Kip Hanrahan, and saxophonist David Murray. He was also a member of the mid-'80s all-star cooperative the Leaders.

Lester believed in expanding his musical philosophies. In that endeavor, he was a Yale Fellow, and a Visiting professor at Harvard and Dartmouth, as well as a clinician and lecturer. Lester calls it all "avant pop". In fact, he named an album just that. His philosophy: "All's fair in love and war....and music is both.....so use anything, as long as it works"."

-All About Jazz (https://musicians.allaboutjazz.com/lesterbowie)
12/8/2018

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


1. Ornette 5:25

2. The Little Suite 10:22

3. Sound 22:01

4. Ornette (Alternate) 5:39

5. Sound (Take 1) 26:26
sample the album:








descriptions, reviews, &c.

"Fifty Years After Sound was first released on Delmark Records, 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 reviewers, one now can justly appreciate how much of its language has become integrated into the current "historical ear".

Sound - a landmark recording!

Sound - the first documentation of AACM music!

Sound - the state of the art of ensemble in 1966; a summary of the past and implications of things to come.

Sound - issued from the original Stu Black analog mix for the first time!"-Delmark Records



"Sound, Roscoe Mitchell's debut as a leader, was an early free jazz landmark and an enormously groundbreaking album in many respects. Historically, it marked the very first time that members of Chicago's seminal AACM community appeared on record; it also showcased the early chemistry between future Art Ensemble of Chicago members Mitchell, Lester Bowie, and Malachi Favors. Arrangement-wise, it employed a number of instruments largely foreign to avant-garde jazz -- not just cello and clarinet, but the AEC's notorious "little instruments," like recorder, whistle, harmonica, and assorted small percussion devices (gourds, maracas, bells, etc.), heard to best effect on the playful "Little Suite." Structurally, Sound heralded a whole new approach to free improvisation; where most previous free jazz prized an unrelenting fever pitch of emotion, Sound was full of wide-open spaces between instruments, an agreeably rambling pace in between the high-energy climaxes, and a more abstract quality to its solos. Steady rhythmic pulses were mostly discarded in favor of collective, spontaneous dialogues and novel textures (especially with the less orthodox instruments, which had tremendous potential for flat-out weird noises). Simply put, it's an exploration of pure sound. It didn't so much break the rules as ignore them and make up its own, allowing the musicians' imaginations to run wild (which is why it still sounds fresh today). Sound's concepts of texture, space, and interaction would shortly be expanded upon in classic recordings by Anthony Braxton, Muhal Richard Abrams, the Art Ensemble of Chicago, and others; the repercussions from its expansion of free jazz's tonal and emotional palettes are still being felt."-Steve Huey, All Music


Get additional information at All Music
Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
Chicago Jazz & Improvisation
Sextet Recordings
Jazz Reissues
New in Improvised Music
Recent Releases and Best Sellers
Staff Picks & Recommended Items


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Mitchell, Roscoe / Matthew Shipp
Accelerated Projection
(RogueArt)
Kamins / Smith / Fielder / Hertenstein
After Effects
(FMR)
Fielder, Alvin / Frode Gjerstad / Damon Smith
The Shape Finds Its Own Space
(FMR)
Fielder, Alvin / Damon Smith
Song For Chico
(Balance Point Acoustics)
Oliveros, Pauline / Roscoe Mitchell / John Tilbury / Wadada Leo Smith
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(Angelica)
Mitchell, Roscoe Trio
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(RogueArt)
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Mazurek, Rob Exploding Star Orchestra Featuring Roscoe Mitchell
Matter Anti-Matter, Sixty-Three Moons Of Jupiter & Electronic Works [2 CDs]
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Numbers1 & 2 - 50TH Anniversary Edition
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Gonzalez, Dennis New Dallasangeles
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