CD 輸入盤

Flow Of Things

Roscoe Mitchell (ロスコー ミッチェル)

基本情報

ジャンル
:
カタログNo
:
120090
組み枚数
:
1
レーベル
:
:
Italy
オリジナル盤発売年
:
1987
フォーマット
:
CD
クレジット
:

Jodie Christian(Piano),  Malachi Favors(Bass),  Roscoe Mitchell(Sax (Alto)),  Roscoe Mitchell(Sax (Soprano)),  Steve Mccall(Drums),  Gennaro Carone(Engineer),  Giovanni Bonandrini(Producer),  Giuliano Crivelli(Art Direction),  Lauren Deutsch(Photography),  Leo Krumpholz(Liner Notes)

商品説明

Sounding like a sour piece of gauzy metal set aflame, Roscoe Mitchell's soprano saxophone endlessly snakes its way through the three sections of The Flow of Things on this 1987 album of the same name. The piece forms the meat of this solo effort by the Art Ensemble of Chicago soloist, demonstrating Mitchell's knack for circular breathing as well as a longstanding love of full-throttle, free-wheeling group improvisation. It's not about swinging, but if you fancy being pinned to the wall by a barrage of high-end repartee by some of the best in the avant-garde jazz business, then this one's for you. Joining the fray are fellow AACM members pianist Jodie Christian and drummer Steve McCall, as well as Art Ensemble bassist Malachi Favors. Providing a break from the intensity, Mitchell offers up one of his engaging, mystically minimal sound sculptures, Card for Quartet. The piece definitely gives one an idea of how the music of avant-garde classical composers like Varese, Cage, and Stockhausen can fit into a jazz context. The Flow of Things is probably not the best entree into Mitchell's work, but after a few Art Ensemble of Chicago records and one of his earlier efforts, make sure to come back for a listen. ~ Stephen Cook, Rovi

収録曲   

  • 01. Flow of Things, No. 1 (10:29)
  • 02. Flow of Things, No. 1 (10:11)
  • 03. Cards for Quartet (09:14)
  • 04. Flow of Things, No. 3 [Live] (13:18)

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Roscoe Mitchell

Roscoe Mitchell is the rare jazz musician who also moves comfortably within the realm of contemporary classical music. It might even be said that Mitchell is a more convincing artist when working with European-influenced forms. When relying on structural and formal jazz conventions, Mitchell can often come off as stilted and unswinging. On the other hand, his forays into free-time, non-tonal impro

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