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Roscoe Mitchell: Nonaah
by Clifford Allen
Roscoe Mitchell Nonaah Nessa Records 2008 One of the significant things that set AACM music apart from its brethren in New York in the 1960s and early 1970s was its use of space, of opening up the music so that things could occur within broad, environmental ...
Roscoe Mitchell / The Transatlantic Art Ensemble: Composition/Improvisation Nos. 1, 2 & 3
by Budd Kopman
The distinction made between jazz and classical music is usually one of rhythm and artistic depth, of improvisation versus composition, of the player being the creator versus the player as interpreter. However, upon deeper reflection, the two musics both have composers and interpreters, with the difference being one of emphasis. Saxophonist and composer ...
Composition/Improvisation Nos. 1, 2 & 3
Label: ECM Records
Released: 2007
Track listing: I (from Composition/Improvisation 2); II (from Composition/Improvisation 2); III (from Composition/Improvisation 3); IV (from Composition/Improvisation 1); V (from Composition/Improvisation 2); VI (from Composition/Improvisation 2); VII (from Composition/Improvisation 2); VIII (from Composition/Improvisation 1); IX (from Composition/Improvisation 2).
Propelling Personality: The Roscoe Mitchell Trio at UMASS
by Lyn Horton
Roscoe Mitchell Trio University of Massachusetts Amherst, Massachusetts April 26, 2007 When Roscoe Mitchell joined with his fellow Chicago musicians in 1965 to create the AACM, his primary motivation was to unravel how music reflecting the integrity of sound-making from a set of individual instruments could best be expressed. Judging ...
Roscoe Mitchell: Composition/Improvisation Nos. 1, 2 & 3
by AAJ Italy Staff
E se alla fine l'annosa diatriba sulla opposizione/dialettica tra composizione e improvvisazione fosse solo frutto di un errore percettivo? E l'essenza del “farsi" musica [in tempi più o meno meditati o immediati] emergesse dal negativo, come in quelle illusioni prospettiche, rivelandosi un brulicare di “altro" cui incredibilmente non si era fatto caso? La domanda è ovviamente ...
Roscoe Mitchell / The Transatlantic Art Ensemble: Composition/Improvisation Nos. 1, 2 & 3
by John Kelman
While perhaps best known for his ground-breaking improvisational work with The Art Ensemble of Chicago and assorted personal projects, woodwind multi-instrumentalist Roscoe Mitchell has also been exploring, over the past four decades, contemporary classical music and the integration of written form with exploratory improvisation. Composition/Improvisation Nos. 1, 2 & 3 is Mitchell's most successful example of ...
Samsara
Label: Balance Point Acoustics
Released: 2006
Track listing: 01. Magma (Zurzolo) - 06:09; 02. OM (Zurzolo) - 07:06; 03. Formiche elefanti e vecchie zanzare (Zurzolo) - 05:00; 04.
A distant raindrop (Mitchell) - 04:43; 05. Rumba degli scugnizzi (Viviani) - 05:51; 06. Up in there (Mitchell) - 02:03; 07. Mon
ami Don (Zurzolo) - 05:35; 08. For Favors (Mitchell) - 08:20; 09. Theme for Roscoe (Zurzolo) - 05:20; 10. Suite (Zurzolo) - 07:23.
No Side Effects
Label: Rogue Art
Released: 2006
Track listing: Poem; Flash; From Red to Rusk; Broken Pictures; Shake-up; Trio Four;
No Side Effects; Frame Three; Shag Bark Hickory; Let's See; Ruddy;
Vermillon; When the Wind Blows.
Roscoe Mitchell: No Side Effects
by Marc Medwin
Very few musicians have made a first statement like Roscoe Mitchell's Sound, recorded for Delmark in 1966. Like the proverbial big bang's reverberations, all of his subsequent work consists of gestures from but not confined to that era and the freedom it fostered. Mitchell's recordings can elicit a deeply intuitive but ultimately inexplicable ...
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