Bells for the South Side Roscoe Mitchell
Album info
Album-Release:
2017
HRA-Release:
16.06.2017
Album including Album cover Booklet (PDF)
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- 1Spatial Aspects of the Sound12:14
- 2Panoply07:36
- 3Prelude to a Rose12:44
- 4Dancing in the Canyon10:23
- 5EP 784908:13
- 6Bells for the South Side12:35
- 7Prelude to the Card Game, Cards for Drums, and the Final Hand16:03
- 8The Last Chord12:26
- 9Six Gongs and Two Woodblocks07:50
- 10R509A Twenty B01:34
- 11Red Moon in the Sky / Odwalla25:49
Info for Bells for the South Side
Roscoe Mitchell stellt auf diesem in Chicagos Museum of Contemporary Art aufgenommenen Doppelalbum die Klänge und unterschiedlichen Charaktere seiner vier Trios einander gegenüber – und kombiniert sie erstmals auch. Der Multiinstrumentalist und Komponist Mitchell war eingeladen worden, dort neue musik vorzustellen – im Kontext der Ausstellung The Freedom Principle, die durch den AACM in der Southside von Chicago ausgelöste Entwicklungen in Musik und Kunst würdigte. Was er hier präsentiert, summiert sich zu einem Komponisten-Selbstporträt in sich ständig ändernden Farben und Texturen, mit dem er sowohl seine persönliche Geschichte reflektiert als auch in die Zukunft blickt.
Zwei Stücke – darunter die Titel-Komposition – nutzen das gesamte Perkussionsinstrumentarium des Art Ensemble of Chicago – ein Panorama aus Gongs, Glocken, Rasseln, Sirenen, Handtrommeln und dergleichen mehr.
Im Verlauf des Albums gibt es bemerkenswerte Beiträge aller Beteiligten, darunter eine lyrische Bassgitarren-Passage von Jaribu Shahid in „EP 7849“, ein herzzerreißendes Solo von Tani Tabbai in „Cards for Drums“, ein ausgedehntes Trompeten-Feature für Hugh Ragin im Titelstück, atmosphärische Elektronik von Craig Taborn und James Fei in „Red Moon in the Sky“, und durchgängig kraftvolles Saxophonspiel von Mitchell, vom Sopranino bis zum mächtigen Bass-Saxophon. Das Programm schließt mit „Odwalla“, der von Mitchell komponierten Erkennnungsmelodie des Art Ensemble.
Roscoe Mitchell, sopranino, soprano, alto and bass saxophones, flute, piccolo, bass recorder, percussion
James Fei, sopranino and alto saxophones, contra-alto clarinet, electronicsHugh Ragin: trumpet, piccolo trumpet
Tyshawn Sorey, trombone, piano, drums, percussion
Craig Taborn, piano, organ, electronics
Jaribu Shahid, double bass, bass guitar, percussion
Tani Tabbal, drums, percussion
Kikanju Baku, drums, percussion
William Winant, percussion, tubular bells, glockenspiel, vibraphone, marimba, roto toms, cymbals, bass drum, woodblocks, timpani
Roscoe Mitchell
born 1940 in Chicago, has been a restless explorer of forms, ideas and concepts for more than 50 years and, as player, composer and thinker, has been an inspiration for successive generations of musicians. In 1966 his album Sound brought a new dynamic into improvised music with emphases on texture and silences and group creativity and set some directions for the shape of new jazz to come - directions further crystallized in the pioneering work of the Art Ensemble of Chicago, whose ECM albums include Nice Guys, Full Force, Urban Bushmen, and Tribute to Lester. In 2004, Roscoe Mitchell co-led the Transatlantic Art Ensemble with Evan Parker (albums: Composition/ Improvisation Nos. 1, 2 and 3 and Boustrophedon). Recordings with Mitchell’s Note Factory band on ECM are Nine To Get Ready and Far Side.
2017 has seen Roscoe Mitchell working across a characteristically broad range of idioms, beginning the year with a series of tributes to John Coltrane, followed by a London residency with the Art Ensemble, and premieres of new orchestral music with the BBC Scottish Symphony Orchestra and the Orchestra Del Teatro Comunale Di Bologna. Activities in the coming months include solo performances and trio work.