Categorías:
Carrito 0

Su carrito está vacío

Art Ensemble Of Chicago - American Swinging In Paris

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

American Swinging In Paris

Art Ensemble Of Chicago

Disponible en
16-Bit CD Quality 44.1 kHz - Stereo

Streaming ilimitado

Escuche este álbum ahora en alta calidad en nuestras apps

Comenzar mi periodo de prueba gratis y escuchar este álbum

Disfrute de este álbum en las apps Qobuz con sususcripción

Suscribir

Disfrute de este álbum en las apps Qobuz con sususcripción

Descarga digital

Compre y descargue este álbum en múltiples formatos, según sus necesidades.

Idioma disponible: inglés

This recording, comprised of two complete Art Ensemble of Chicago albums -- Les Stances a Sophie with singer Fontella Bass from 1970 and People in Sorrow from 1969 -- offers two very different sides of the group's sound from this key period in their development. Recorded in France and released on the Nessa label in the United States, the two discs show how much in command the AEC were of their strengths even at that early date, though for the record it should be noted that with the exception of Don Moye and Lester Bowie, the trio of Roscoe Mitchell, Joseph Jarman, and Malachi Favors had been playing together since 1965. Living in self-imposed exile in France, the band explored the complete historical continuum of jazz and moved the free jazz boundary further to the left. While Les Stances a Sophie is perhaps the most accessible AEC album from the 1960s or 1970s, it nonetheless showcases the love of adventure inside traditional forms. Fontella Bass, married to Bowie at the time, was a catalyst coming from the gospel and R&B traditions. She brought out the sense of groove and grit in the band's rampant experimentalism, and Bowie reigned them in further with his own swinging pastoralism that came just as much from Louis Armstrong as it did from Ted Curson and Albert Ayler. The finest examples of the culture clash in the jazz lineage come on "Theme de Yoyo," on which Bass sings, and the shuffling New Orleans swing of "Variations on a Theme of Monteverdi." There's plenty of AEC weirdness here, too; beautiful passages of multi-textured dissonance and elongated improvisations on thematic statements. But as fine an album as Les Stances a Sophie is, it cannot compare to one of the true masterworks in the AEC's catalog, People in Sorrow. Comprised of just one piece -- split into two long sections as it was on the original LP -- People in Sorrow is a meditation on sound itself. This is the AEC at their most adventurous, yet their most dynamically restrained. There are periods of long silence interrupted sometimes only by a single percussion instrument, bass note, or series of tonal breathing from the horns. The effect is crystalline, sad, beautiful, and haunting. It is heartbreaking in its beauty and poignant in its intent. When tension seems to grow, efforts are made collectively to dispel it in order to stay focused on the thematic elements in the improvisation. When the AEC do engage in sound as a group and the flow becomes more immediate, there are always one or two instrumentalists holding back, anchoring everything in the mystery of sonic inquiry. There is only one section of the piece, about 13 minutes into part two, where edgy dissonance is allowed the space to give utterance, and its more in the form of tonal release than harmonic engagement. Because immediately after, the theme reasserts itself, albeit with Favors playing double time under the long, slow lines by Bowie and Jarman, and then only to underline everything that has taken place previously. The fire then takes hold and the AEC become what most people know them as -- intense free jazzers with a love for smeared textures and tonal white-out. But even here, three minutes before the end of the piece, everything moves back to the seamless and spatial, ushering in the silence that has its own voice as a kind of sixth member. The small, scalar statement made with the horns being breathed through rather than played upon is the heartbreaking exit upon a long, continuous drone upon a sopranino saxophone that takes it out with small notes from a thumb piano that don't so much end as cease to weep. This is perhaps the most essential of all AEC reissues to appear on CD, as it was previously thought that the master to People in Sorrow might have been lost. Thank goodness it was not, because this record, along with its more famous counterpart, Les Stances a Sophie, deepens the AEC's legacy considerably; these recordings sound as contemporary and futuristic as they did when they were released.
© Thom Jurek /TiVo

Más información

American Swinging In Paris

Art Ensemble Of Chicago

launch qobuz app Ya he descargado Qobuz para Windows / MacOS Abrir

download qobuz app Todavía no he descargado Qobuz para Windows / MacOS Descargar la app Qobuz

Copie el enlace siguiente para compartirlo

Está escuchando muestras.

Escuche más de 70 millones de pistas con un plan de streaming ilimitado.

Escuche este álbum y más de 70 millones de pistas con los planes de streaming ilimitado.

1
Thème de Yoyo
00:09:06

Art Ensemble of Chicago, MainArtist - Lester Bowie, Composer, Writer - N Beasley, Composer, Writer - M Favors, Composer, Writer - R Mitchell, Composer, Writer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1970 Parlophone / Warner Music France, a Warner Music Group Company

2
Thème de Céline
00:03:03

Jarman, Composer, Writer - Art Ensemble of Chicago, MainArtist - Mitchell, Composer, Writer - Lester Bowie, Composer, Writer - Favors, Composer, Writer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1970 Parlophone / Warner Music France, a Warner Music Group Company

3
Variations sur un thème de Monteverdi (I, II, III)
00:04:47

Art Ensemble of Chicago, MainArtist - Lester Bowie, Composer, Writer - M Favors, Composer, Writer - R Mitchell, Composer, Writer - J Jarman, Composer, Writer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1970 Parlophone / Warner Music France, A Warner Music Group Company

4
Thème de l'amour universel
00:03:52

Jarman, Composer, Writer - Art Ensemble of Chicago, MainArtist - Mitchell, Composer, Writer - Lester Bowie, Composer, Writer - Favors, Composer, Writer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1970 Parlophone / Warner Music France, a Warner Music Group Company

5
Proverbes (I, II, III)
00:03:55

Jarman, Composer - Art Ensemble of Chicago, MainArtist - Mitchell, Composer - Lester Bowie, Composer, Writer - Favors, Composer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1970 Parlophone / Warner Music France, a Warner Music Group Company

6
Thème libre
00:08:53

Jarman, Composer, Writer - Art Ensemble of Chicago, MainArtist - Mitchell, Composer, Writer - Lester Bowie, Composer, Writer - Favors, Composer, Writer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1970 Parlophone / Warner Music France, a Warner Music Group Company

7
People in Sorrow (Pt. I)
00:17:07

Jarman, Composer - Art Ensemble of Chicago, MainArtist - Mitchell, Composer - Lester Bowie, Composer, Writer - Favors, Composer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1969 Parlophone / Warner Music France, a Warner Music Group Company

8
People in Sorrow (Pt. II)
00:23:07

Jarman, Composer - Art Ensemble of Chicago, MainArtist - Michell, Composer - Lester Bowie, Composer, Writer - Favors, Composer

© 2002 Parlophone / Warner Music France, A Warner Music Group Company. ℗ 1969 Parlophone / Warner Music France, a Warner Music Group Company

Descripción del álbum

This recording, comprised of two complete Art Ensemble of Chicago albums -- Les Stances a Sophie with singer Fontella Bass from 1970 and People in Sorrow from 1969 -- offers two very different sides of the group's sound from this key period in their development. Recorded in France and released on the Nessa label in the United States, the two discs show how much in command the AEC were of their strengths even at that early date, though for the record it should be noted that with the exception of Don Moye and Lester Bowie, the trio of Roscoe Mitchell, Joseph Jarman, and Malachi Favors had been playing together since 1965. Living in self-imposed exile in France, the band explored the complete historical continuum of jazz and moved the free jazz boundary further to the left. While Les Stances a Sophie is perhaps the most accessible AEC album from the 1960s or 1970s, it nonetheless showcases the love of adventure inside traditional forms. Fontella Bass, married to Bowie at the time, was a catalyst coming from the gospel and R&B traditions. She brought out the sense of groove and grit in the band's rampant experimentalism, and Bowie reigned them in further with his own swinging pastoralism that came just as much from Louis Armstrong as it did from Ted Curson and Albert Ayler. The finest examples of the culture clash in the jazz lineage come on "Theme de Yoyo," on which Bass sings, and the shuffling New Orleans swing of "Variations on a Theme of Monteverdi." There's plenty of AEC weirdness here, too; beautiful passages of multi-textured dissonance and elongated improvisations on thematic statements. But as fine an album as Les Stances a Sophie is, it cannot compare to one of the true masterworks in the AEC's catalog, People in Sorrow. Comprised of just one piece -- split into two long sections as it was on the original LP -- People in Sorrow is a meditation on sound itself. This is the AEC at their most adventurous, yet their most dynamically restrained. There are periods of long silence interrupted sometimes only by a single percussion instrument, bass note, or series of tonal breathing from the horns. The effect is crystalline, sad, beautiful, and haunting. It is heartbreaking in its beauty and poignant in its intent. When tension seems to grow, efforts are made collectively to dispel it in order to stay focused on the thematic elements in the improvisation. When the AEC do engage in sound as a group and the flow becomes more immediate, there are always one or two instrumentalists holding back, anchoring everything in the mystery of sonic inquiry. There is only one section of the piece, about 13 minutes into part two, where edgy dissonance is allowed the space to give utterance, and its more in the form of tonal release than harmonic engagement. Because immediately after, the theme reasserts itself, albeit with Favors playing double time under the long, slow lines by Bowie and Jarman, and then only to underline everything that has taken place previously. The fire then takes hold and the AEC become what most people know them as -- intense free jazzers with a love for smeared textures and tonal white-out. But even here, three minutes before the end of the piece, everything moves back to the seamless and spatial, ushering in the silence that has its own voice as a kind of sixth member. The small, scalar statement made with the horns being breathed through rather than played upon is the heartbreaking exit upon a long, continuous drone upon a sopranino saxophone that takes it out with small notes from a thumb piano that don't so much end as cease to weep. This is perhaps the most essential of all AEC reissues to appear on CD, as it was previously thought that the master to People in Sorrow might have been lost. Thank goodness it was not, because this record, along with its more famous counterpart, Les Stances a Sophie, deepens the AEC's legacy considerably; these recordings sound as contemporary and futuristic as they did when they were released.
© Thom Jurek /TiVo

Acerca del álbum

Mejorar esta página

Qobuz logo Por qué comprar en Qobuz...

De oferta actualmente...

Aqualung

Jethro Tull

Aqualung Jethro Tull

Crime Of The Century [2014 - HD Remaster]

Supertramp

Thick as a Brick

Jethro Tull

Thick as a Brick Jethro Tull

Misplaced Childhood

Marillion

Más en Qobuz
Por Art Ensemble Of Chicago

Chicago Jazz Festival 1980 (Live WBEZ Broadcast)

Art Ensemble Of Chicago

We Are On the Edge: A 50th Anniversary Celebration

Art Ensemble Of Chicago

The Third Decade

Art Ensemble Of Chicago

The Third Decade Art Ensemble Of Chicago

Nice Guys

Art Ensemble Of Chicago

Nice Guys Art Ensemble Of Chicago

Urban Bushmen

Art Ensemble Of Chicago

Urban Bushmen Art Ensemble Of Chicago

Playlists

Quizás también le guste...

Side-Eye NYC (V1.IV)

Pat Metheny

Side-Eye NYC (V1.IV) Pat Metheny

BD Music Presents Miles Davis

Miles Davis

Le Jazz de Cabu - Une petite histoire du swing de Louis Armstrong à Miles Davis...

Various Artists

On Vacation

Till Brönner

On Vacation Till Brönner

Sunset In The Blue (Deluxe Version)

Melody Gardot

Los Grandes Angulares...
ECM en 10 álbumes

«El sonido más bello después del silencio». Es la coletilla aparejada al sello ECM desde hace cincuenta años. Pero Manfred Eicher, el carismático fundador de la discográfica muniquesa, no vive «al margen del tiempo» sino, en realidad, en «un tiempo paralelo» al de la sociedad, lo que convierte a ECM en un universo tan insólito como bello donde el jazz adopta otras formas. Y es que en ECM, precisamente, Keith Jarrett, Charles Lloyd, Jan Garbarek, Chick Corea y tantos otros han grabado algunos de sus discos más intensos. Más aún que en los casos de Blue Note o Impulse!, limitarse a 10 álbumes para narrar la historia de esta escudería sin parangón se hace misión imposible. Por eso, estos diez discos seleccionados explicarán tan solo «una» de las historias posibles de ECM.

Miles Davis en 10 álbumes

Treinta años después de su muerte, Miles Davis sigue siendo uno de los músicos más importantes de su tiempo. La impresionante discografía del trompetista estadounidense refleja perfectamente su cuestionamiento constante y su influencia más allá del ámbito del jazz. La prueba está en diez discos elegidos subjetivamente entre un océano de revoluciones estéticas.

Las batallas de Nina Simone

Puede que se la considere hoy una de las voces más originales de la música jazz y soul, pero la vida de Nina Simone nunca fue un camino de rosas, porque la mujer que soñaba con ser la primera pianista clásica afroamericana nunca dejó de luchar contra los demás, contra su propia gente y contra sí misma.

De actualidad...