 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
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  
Tracklist :
1. Ornette    5:44
Roscoe Mitchell
2. Sound 1    26:36
Roscoe Mitchell
3. The Little Suite    10:27 
Roscoe Mitchell
4. Ornette    5:29
Roscoe Mitchell
5. Sound 2    19:24
Roscoe Mitchell
Credits :
Alto Saxophone, Clarinet, Recorder – Roscoe Mitchell
Bass – Malachi Favors
Drums – Alvin Fielder
Tenor Saxophone – Maurice McIntyre
Trombone, Cello – Lester Lashley
Trumpet, Flugelhorn, Harmonica – Lester Bowie
Mostrando postagens com marcador Maurice McIntyre. Mostrar todas as postagens
Mostrando postagens com marcador Maurice McIntyre. Mostrar todas as postagens
27.4.25
ROSCOE MITCHELL SEXTET — Sound (1966-1996) Two Version | APE (image+.cue), lossless + FLAC (tracks+.cue), lossless
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JOHANN WILHELM HÄSSLER — Keyboard Sonatas (Michele Benuzzi) 4CD (2016) FLAC (image+.cue), lossless
As Michele Benuzzi himself explains in a booklet-essay, the idea for this comprehensive collection came about through the success of his sma...
 
 
 
 
 
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