GRAND SOIR FREE STYLE - ENSEMBLE INTERCONTEMPORAIN - ILAN VOLKOV - LEWIS, MITCHELL, SOREY, BOROWSKI

Here we have a donation by another anonymous with some compositions by Geroge Lewis, Roscoe Mitchell, Tyshawn Sorey and the German composer Johannes Borowski.


Vendredi 18 janvier 2019 — 20h30
Salle des concerts - Cité de la Musique, Paris

PROGRAMME

George E. Lewis
Track 1 - Emergent, pour flûte et dispositif électronique (création française) 13:22
Track 2 - The Will to Adorn, (création française) 17:45

ENTRACTE

Tyshawn Sorey
Track 3 - Sentimental Shards, (création française) 10:41

Roscoe Mitchell
Track 4 - Useful News (commande de l'Ensemble intercontemporain, création) 21:06

ENTRACTE

Johannes Boris Borowski
Track 5 – Mappe (création de la nouvelle version) 24:52

Emmanuelle Ophèle, flute
Damon Holzborn, electronics (software programming)
Ilan Volkov, conductor

Art Ensemble Of Chicago - Live In Warsaw 1982

I have no particular details about this live show, exact date and exact location. Due to the fact that it lasts only 37 mn we can suppose that it is only a part of the concert but that’s all I own.

It is the regular crew: Roscoe, Joseph, Lester, Malachi, Famoudou.

Lester Bowie, Malachi Favor, Roscoe Mitchell - Live March 31, 1979 Verrona Italy.

Here is a live recording by three totally unknown musicians.

One long improvisation with appearances of some tracks that may be familiar for some of us. Played in the fall of the seventies this music is in fact more close to the early spirit of those musicians at the time when Lester was recording number 1 & 2, at the time when the band’s name was the Roscoe Mitchell Art Ensemble.

March 31, 1979 location unknown to me except Vienna Austria.

Jack DeJohnette Roscoe Mitchell Matthew Garrison Jazzfestival Frankfurt 2015 mp2

Jack DeJohnette | dr, p
Roscoe Mitchell | reeds
Matthew Garrison | el-b

Notes in German included

Roscoe Mitchell trio live in NY 1976

I was gratified to see that Roscoe Mitchell was on the cover of the May edition of the fine UK magazine The Wire. The mag was marking the occasion of the 50th anniversary of the Association for the Advancement of Creative Musicians (AACM) with a feature article on Mitchell who spends most of his time outside Chicago now, teaching at Mills College in California. Inside there was a long interview with Mitchell on his current plans and activities.

The AACM is still very much active, both in Chcago and in New York. Info can be found here: http://aacmchicago.org/ and here: http://aacm-newyork.com/.

So why not have some live Roscoe Mitchell from exactly 39 years ago? This was recorded at La Mama in New York, a place given to theatre and music in the late 70s and a spot for off-mainstream jazzers to ply their trade.

This was one of a series of recordings by "orchiddoctor" from the latter part of the 70s, inside and outside NY. I have posted a little bit before, but there will be more AACM-related material in the time to come, drawing on these recordings from the period.

This was upload to the Dime torrent site by "carville", so thanks to both for making it available to members, and we shall do our bit here to keep it available to all interested.

Basic facts:

Roscoe Mithcell Trio
May 23 1976
LaMama NY, NY

total time 54:04

1 31:03
2 2:31
3 20:30

Roscoe Mitchell - reeds
Oliver Lake - reeds
Phillip Wilson - drums

Finally, some keen observations from "orchiddoctor":

What can I say about Roscoe Mitchell? In my opinion, he is the king of them all. Certainly in the late 70s, he was the most sought out musician in the bunch. Besides seeing him with the AEC some 30 times, I saw him at the Wildflowers festival, with Muhal (and Air), in a septet, in a trio with Oliver Lake and Philip Wilson, and solo. All but the Wildflowers (available commercially) is going up on Dime.

I have many memories of Roscoe. Sometimes he would just show up to hear someone else play and then hang out. Often, we would catch a set at the Palace and then walk over to the West Side to catch a set of someone else. I walked with Muhal several times and once with "Scowie. We talked about his disdain for the fact that his music (and others') was drawing a predominately white audience with few blacks in attendance, We agreed that the white audience heard things in a more cerebral manner while black folks heard the ancestral rhythms. At any rate, he was pleased that so many people were opening up their ears, minds and hearts to listen to this music. If you're reading this, you already have. Enjoy!

ART ENSEMBLE OF CHICAGO with the SUN PERCUSSION SUMMIT. London 1995

Lester Bowie
Roscoe Mitchell
Malachi Favors
Don Moye

Mamame Samake
Enoch Williamson
Babu Atiba
Selah Allen
Mesach Silas

1. 38:25
2. 9:21
3. 5:11

Queen Elizabeth Hall, London. November 1995.

BBC Radio 3 b'cast.

JAZZGALERIE NICKELSDORF "THE 20th ANNIVERSARY ALBUM"

One of the most important Festivals in Europe? - I say it's true!

Go there - have a listen there - meet someone(s) there - > http://www.konfrontationen.at/







JAZZGALERIE NICKELSDORF "THE 20th ANNIVERSARY ALBUM"



1. Athanor
Harun Ghulum Barabbas, alto saxophone
Walter Muhammed Malli, drums, soprano saxophone
Richard Ahmad Pechoc, piano
Josef Traindl, trombone

Atlantis (03.12); recorded on 22 April 1978


2. Frank Wright Quartet
Reverend Frank Wright, tenor saxophone
Bobby Few, piano
Jack Gregg, bass
Muhammed Ali, drums

Cowboys & indians (07.57); recorded on 14 March 1981


3. Rova Saxophone Quartet
John Raskin, alto, baritone, soprano saxophones, clarinet
Larry Ochs, alto, tenor and soprano saxophones
Andrew Voigt, alto and soprano saxophones, flute
Bruce Ackley, alto and soprano saxophones, clarinet

74 882 (07.48); recorded on 23 October 1982


4. Schlippenbach Trio

Alexander von Schlippenbach, piano
Evan Parker, tenor saxophone
Paul Lovens, drumset

Option Abdullah (10.13); recorded on 16 April 1983


5. Anthony Braxton Quartet
Anthony Braxton, saxophone
Marilyn Crispell, piano
John Lindberg, bass
Gerry Hemingway, drums

Composition 23M (11.11); recorded on 27 October 1984


6. Roscoe Mitchell, saxophone

Solo (08.46); recorded on 27 September 1986


7. Trio Clusone
Michael Moore, saxophone
Ernst Reijseger, cello
Han Bennink, drums, percussion

Wie beim Falb die Kuckucksuhr tickt, so tickt sie nirgendwo (10.52);
recorded on 3 September 1993


8. Frisque Concordance
Georg Graewe, piano
John Butcher, saxophone
Hans Schneider, bass
Martin Blume, drums

Spellings (09.01); recorded on 19 November 1994


9. Gerry Hemingway Quintet
Michael Moore, saxophone
Wolter Wierbos, trombone
Ernst Reijseger, cello
Mark Dresser, bass
Gerry Hemingway, drums, percussion

Beef (07.51); recorded on 26 October 1996


10.(applause for ten seconds)


This CD was originally produced for the 20th Anniversary of the Festival "Konfrontationen" in Nickelsdorf, Austria (1997).

.

PAULINE OLIVEROS - WADADA LEO SMITH - ROSCOE MITCHELL - JOHN TILBURY "LIVE AT ANGELICA, 2011"

...upon request.
I got it from Dime - thanks to the original uploader survivor69.











ANGELICA 21 Festival internazionale di musica - LIVING IT UP!

Pauline Oliveros, accordion and electronics
Roscoe Mitchell, saxophones, flutes
John Tilbury, piano
Wadada Leo Smith, trumpet


improv1 pt1 12.27
improv1 pt2 17.39
improv2 pt1 17.40
improv2 pt2 22.13
improv3 (encore) 4.24

Live FM radio broadcast from Teatro San Leonardo, Bologna (ITALY) by "Il Cartellone - Radio Tre Suite", Radio 3 RAI [third channel of Italian national radio], on sunday 8 May 2011, 21:42 hours.

.

LEO SMITH CREATIVE ORCHESTRA "BUDDING OF A ROSE" (MOERS MUSIC, 1979)

LEO SMITH CREATIVE ORCHESTRA "BUDDING OF A ROSE"


Roscoe Mitchell, altosax
Anthony Braxton, reeds
Douglas Ewart, reeds
Wallace McMillian, reeds
Dwight Andrews, reeds
Marty Ehrlich, reeds
Leo Smith, trumpet
Kenny Wheeler, trumpet
Hugh Ragin, trumpet
Mike Mossmann, trumpet
Rob Howard, trumpet
George Lewis, trombone
Ray Anderson, trombone
Alfred Patterson, trombone
Pinguin Moschner, tuba
Wes Brown, bass
Pheeroan ak Laff, drums, percussion
Marilyn Crispell, piano
Bobby Naughton, vibes

1. Harmonium 17:18
2. Mutumishi 05:43
3. Budding of a Rose 21:42

Recorded at Palm Studio, Paris, France - June 1979.
Produced by Jef Gilson.

MOERS MUSIC 02026

Anthony Braxton & Roscoe Mitchell - Live in Pisa '78

In the comments at the previous post (the blindfold test) the names
of A.Braxton and R.Mitchell are often recurred, so here is one of their
rare live duo performance.
You can find the "Duets Album" here.
The picture above is, obviously, from a more recent concert (Rome 2006).

Rec. live at "Giardini Scotto", Pisa, Italy, on July 12,
1978 (mics recording)

Anthony Braxton,reeds
Roscoe Mitchell,reeds,piccolo

1. Comp 40Q (10:10)
2. Unknown (20:26)
3. Unknown (09:35)
4. Unknown (07:09)
5. Unknown (05:58)

Total Time 53:19

Roscoe Mitchell Quartet - Live in Tivoli '09

Old Bottle, Good Wine...

Rec. live at "Chiostro di Villa d'Este", Tivoli (Rome),
Italy, on June 28, 2009 (radio broadscast)

Roscoe Mitchell,alto & soprano sax,flute
Hugh Ragin,trumpet,flugelhorn,cornet
Harrison Bankhead,bass
Tani Tabbal,drums

1. Track #1 (1:08:12)

The Trio - Live in S.Anna Arresi '09

Silence : three Masters at work !

Rec. Live in S.Anna Arresi, Italy, on August 29, 2009
(radio broadcast)

Muhal Richard Abrams,piano
Roscoe Mitchell,reeds
George Lewis,trombone,lap-top

1. Track #1 (1:01:09)

Roscoe Mitchell's Cards For Orchestra Project - Live in S.Anna Arresi '09

I admit that about R.Mitchell i'm very impartial : any of his
compositions/performances deserve a careful listening, even
this kind of "chamber music".

Rec. live at Piazza del Nuraghe, Sant'Anna Arresi, Italy,
on August 30, 2009 (radio broadcast)

Roscoe Mitchell,composer/conductor
David Boykin,tenor saxophone
Greg Ward,alto saxophone
Robert Griffin,trumpet
Nicole Mitchell,flute,vocal
Mankwe Ndosi,vocal
Tomeka Reid,cello
Renee Baker,violin
Maia,harp
Myra Melford,piano
Josh Abrams,bass
Marcus Evans,drums

1. Quintet N°1 For Eleven (26:069
2. Cards For Orchestra (14:17)
3. Quintet N°9 For Eleven

Total Time 59:37

Yusef Lateef with Roscoe Mitchell, Douglas Ewart and Adam Rudolph - live in Minneapolis 2008

YUSEF LATEEF
ROSCOE MITCHELL
DOUGLAS EWART
ADAM RUDOLPH

Walker Art Center
McGuire Theater
Minneapolis, MN
6 December 2008

Some more Yusef Lateef coming up, but 47 years removed from the previous posting with the Mingus Jazz Workshop at Birdland and in a totally different setting. This is Lateef with percussionist Adam Rudolph, a collaborator over many years. Added is Roscoe Mitchell, saxophonist with the Art Ensemble of Chicago and Douglas Ewart, Minneapolis-based multi-instrumentalist and instrument maker, the latter two long-time members of Chicago's famed AACM.

The meeting-up was instigated by Ewart who saw a connection between the AACM's explorations of sound beyond the jazz idiom and Lateef's musical studies of the cultures of Africa, Asia and the Middle East, his fascination for home-made instruments and found objects and his combination of music with poetry and recitations.

For Lateef, jazz is an odious word. "Jazz is defined as doggerel, skullduggery, poppycock, coquetry, sexual intercourse. It has nothing to do with what I do. After I graduated from the Manhattan School of Music I was asked to teach a course in the theory department and I had to name the course, so I called it autophysiopsychic music. It comes from a state of introspection. It means music from the physical, mental, and spiritual self." (from an article by Rick Mason in Minneapolis' City Pages).

Further: The material "will be created at the time," Lateef said. But don't call it improvisation. "That's another term that's used improperly," he said. "When you look at the definition of improvisation, it is to do something without previous preparation. But your whole life is preparation."

As for the AACM, "I hear they're comparable to what I do," Lateef said. According to Rudolph, "Yusef's vision and aesthetic have had an impact on a lot of AACM musicians."

So what we have here is close to two hours of intense autophysiopsychic music from the group of four. Lateef is basically on tenor sax, but also doubles on flute and piano, recites his own poetry and contributes vocals. Mitchell is certainly on alto sax and Rudolph on percussion. Ewart is on soprano, bass clarinet, flute, didgeridoo and all add percussion and small instruments. There is an amazing sax solo section emplying what sounds like circular breathing which might be Ewart, but only listening to the audio, one cannot know for sure.

All in all, an amazing two hours of introspection. Best listened to on earphones and demanding your full attention.

Art Ensemble Of Chicago - Live in Nervi '79

The particularity of this recording is the absence of
Malachi Favors (severe absence), nevertheless the
performance conserves a sure interest.

Rec. live in Nervi, Italy, on July 22nd, 1979
(mix recording)

Joseph Jarman/Roscoe Mitchell,reeds
Lester Bowie,trumpet
Don Moyè,percussions
(absent Malachi Favors)

1. Track #1 (47:59)
2. Track #2 (14:12)

Total Time 62:11

Roscoe Mitchell - Live in Pisa '78

Perhaps the best concert for alto saxophone i've
never attended.

Rec. live at "Piazza dei Cavalieri", Pisa, Italy,
on July 10th, 1978 (mics recording)

Roscoe Mitchell,alto saxophone

1. Nonaah (16:48)
2. Unknown (12:45)
3. Unknown (06:37)
4. Unknown (12:21)

Total Time 48:31

Roscoe Mitchell's Note Factory - Radio Broadcast 1997

Roscoe Mitchell' s Note Factory
The Knitting Factory NYC
June 16 1997

Roscoe Mitchell reeds, flutes
George Lewis trombone
Hugh Ragin trumpet
Mathew Shipp piano
Craig Taborn Piano
William Parker Bass
Tani Tabal Drums
Gerard Cleaver Drums
Jaribu Shahid Bass

This was broadcast on radio WKCR concurrently with the live performance as part of the NYC jazz festival, so it's totally unedited. The first track consists of a lot of shuffling about and warming up before the band get to work on track 2.

The above photo is from a more recent version of the Note Factory, but should give some idea of what the band looked like.

After the end of the concert, the announcer mentions that the following concert is Noah Howard. That would be great to listen to if anyone has it.

The files I downloaded from dime are of SHN file extension, which I think is a lossless format used on MAC. I found some freeware to convert to mp3, but if anyone can tell me how to convert to flac, I could post them later.

Thanks to "abbcccus" for seeding.

Roscoe Mitchell - Solo Saxophone Concerts

Continuing with AACM-related material, this is a solo saxophone record by Roscoe Mitchell, basically composed of solo concert appearances in 1973-74. Nine pieces in all, some of which was known by the time of recording and others to be more fully developed in later Mitchell albums.

The album is bookended by two shortish versions of "Noonah" which was to be given much more extended treatments on the later Mitchell album by the same name. Here a version of the basic theme is stated and which to these ears would not be out of place in a Braxton repertoire with its staccato phrasing and knotty rhythmic tempo. The second piece is the only one not composed by Mitchell, a slower, sedate tune by Malachi Favors and a staple of the Art Ensemble of Chicago. It'll be interesting to go back to the AEoC album of the same name and check the Mitchell solo work-out against the full Ensemble treatment. The two following pieces are austere, almost minimalist, in which Mitchell seems to be working with sound elements in a very tentative, exploring way hinting at a melody yet to be found. "Eeltwo" sees Mitchell in a lyrical mood, slowly running through a somewhat elegiac melody repeating and varying it along the way. "Ooboma" is back to the austerity of "Enlorfe" and "Jibbina". "Ttum" sounds like a companion piece to "Noonah", again with certain characteristic Braxtonish features. Perhaps less of a pleasant listen than the Braxton-Lewis duo with less "playing to the audience" and more focus on introversion and contemplation of pure sound. More than a step removed from "jazz".

Titles:

01_Noonah
02_Tutankamen
03_Enlorfe
04_Jibbana
05_Eeltwo (Part One)
06_Eeltwo (Part Two)
07_Oobina (Little Big Horn)
08_Ttum
09_Noonah

All compositions by Roscoe Mitchell except "Tutankhamen" by Malachi Favors

Roscoe Mitchell plays soprano, alto, tenor and bass saxophones, recorded at Kalamazoo, Michigan October 22, 1973 (tracks 5,6), Montreal, Quebec, November 2, 1973 (tracks 1, 2, 3, 4, 7, 8) and Pori International Jazz Festival, Finland, July 12, 1974 (track 9)

Braxton up next ...

Roscoe Mitchell Creative Orchestra feat. Anthony Braxton

Another quick one, for Sotise this time. This is the Roscoe Mitchell Creative Orchestra, featuring Anthony Braxton and recorded live at the Konfrontationen '84, more specifically at the Jazzgalerie, Restaurant Falb (outside in the court yard), Nickelsdorf, Austria on 30. June 1984.

One contiguous piece only, lasting close to one hour.

Line - up:

Anthony Braxton - as,cond
Roscoe Mitchell - as,ss,bs,fl
Anthony Holland - as, bs
Faruq Z.Bey - ts
Michael Mossmann - tp, flh
Pinguin Moschner - tuba
Conny Bauer - tb
Johannes Bauer - tb
Martin Mayes - horns
Ursula Opens - p
Spencer Barefield - g
Susanna Heilmeyer - vla
Richard Teitelbaum - synth
Jaribu Shahid - b, eb
Ponda O'Bryan - perc
Tanni Tabbal - dr

This is a dense, orchestral piece which shifts across several moods and passages, some rooted in jazz, others in collective improvisation and yet others in formally composed contemporary music. As such it may be representative of the AACM philosophy of not recognising any stylistic boundaries in music, drawing as much on the Afro-American jazz tradition as on the European classical-contemporary tradition. Mitchell and Braxton were (and are) explicit exponents of this worldview, at the risk of not being fully accepted by either camp. But they know what they're doing and are fully able to defend themselves. Needless to say, perhaps, I'm in full sympathy with this view and with the deconstruction of artificial boundaries in music.

By the way, George Lewis has now published his book on the AACM which can be found here:
http://tinyurl.com/6nj9ep

Braxton and Lewis up next, but that won't be quick as it's back to the vinyls again ...

Roscoe Mitchell - Duets with Anthony Braxton

Continuing with the AACM flood and also responding to a request from Cent, this is a mid-70s recording with two of the AACM veterans, Roscoe Mitchell and Anthony Braxton. No prices for guessing who is who. This was done for the Canadian Sackville label and the notes on the back reveal that both of them made more records for the label at about this time. I do have the Mitchell group record in case there is an interest in that one.

Seven pieces in all, with Mitchell credited with the four on side one and Braxton with the three on side two, the latter with "graphical" titles. Most of the pieces are what one might call minimalist "tone poems" with the players throwing phrases back and forth and demonstrating in the process an amazing rapport with each other and an astounding ability to listen and to respond. The odd one out in this collection is "Composition 40Q" which to me sounds like a warped marching tune for an unspecified furry or feathered creature, demonstrating that there's an underlying sense of humour in Braxton's work, too. And as familiar listeners will expect, they keep switching between a multitude of reeds and woodwinds throughout the set, but leaving out the "little instruments" this time. A record for the long haul, I thought, and one to return to now and then.

Titles:

01_Five Twenty One Equals Eight

02_Line Fine Lyon Seven

03_Seven Behind Nine Ninety-Seven Sixteen or Seven

04_Cards - Three and Open

05_Comp. 40Q

06_Comp. 74A

07_Comp. 74B

There seems to be numbering theme behind Mitchell's pieces, but I've no idea about what significance to attach to it. Braxton's pieces are in general numbered.

Now, with a little more time on my hands, I hope to do more Braxton 70s vinyls, so stay tuned!