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Art Ensemble Of Chicago - Phase One

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Phase One

Art Ensemble Of Chicago

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Langue disponible : anglais

By 1971, the Art Ensemble of Chicago had become true denizens of the city of Paris and its environ. Regularly playing and recording, they were able to delve deeply into their Great Black Music aesthetic and explore not only the boundaries of free jazz, but also the intricate demands of African folk forms in improvisation. Dynamic, long a part of the AEC's M.O., had become a dominant methodology for the group, as had textural interplay, and nowhere are these more evident than on Phase One. Issued in 1971 on the French America Records imprint, this set has been reissued over a dozen times on LP and CD. Texture and dynamic are elegantly employed as a way of bringing the music from the quintet gradually, allowing it to unfold itself inside the framework of a composition as it does on the uncharacteristically hard swinging "Ohnedaruth." A long, slow spacious saxophone intro winds in the melodic themes before the three horns jump out and start the true head before it gives way to soloing and free improvisation. On "Lebert Aaly," (dedicated to the late Albert Ayler) a sparse, utterly gentle introduction gives way to utterly beguiling harmonic interplay between Lester Bowie, Roscoe Mitchell and Joseph Jarman. Malachi Favors' bowed bass offers the root to which all the players return and embark from as the band moves off into very free directions, all the while retaining an elemental sense of melodic engagement. Don Moye enters in earnest at about nine-minutes in and the entire proceeding takes on an even slower, random feel before the percussion disappears and the tonal inquiry reappears. It's gorgeous. This is one of the least well-known recordings by the AEC, but it is also one of their most enduring and a true high mark from their Paris period.
© Thom Jurek /TiVo

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Phase One

Art Ensemble Of Chicago

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1
Ohnedaruth (Instrumental)
00:21:22

Art Ensemble of Chicago, MainArtist - Joseph Jarman, Interprète Instrumental, AssociatedPerformer, ComposerLyricist - Lester Bowie, Interprète Instrumental, AssociatedPerformer - Malachi Favors, Interprète Instrumental, AssociatedPerformer - Roscoe Mitchell, Interprète Instrumental, AssociatedPerformer - Don Moye Famoudou, Interprète Instrumental, AssociatedPerformer

℗ 1971 Decca Records France

2
Lebert Aaly (Instrumental)
00:21:00

Art Ensemble of Chicago, MainArtist - Joseph Jarman, Interprète Instrumental, AssociatedPerformer, ComposerLyricist - Lester Bowie, Interprète Instrumental, AssociatedPerformer, ComposerLyricist - Malachi Favors, Interprète Instrumental, AssociatedPerformer, ComposerLyricist - Roscoe Mitchell, Interprète Instrumental, AssociatedPerformer, ComposerLyricist - Don Moye Famoudou, Interprète Instrumental, AssociatedPerformer

℗ 1971 Decca Records France

Descriptif de l'album

By 1971, the Art Ensemble of Chicago had become true denizens of the city of Paris and its environ. Regularly playing and recording, they were able to delve deeply into their Great Black Music aesthetic and explore not only the boundaries of free jazz, but also the intricate demands of African folk forms in improvisation. Dynamic, long a part of the AEC's M.O., had become a dominant methodology for the group, as had textural interplay, and nowhere are these more evident than on Phase One. Issued in 1971 on the French America Records imprint, this set has been reissued over a dozen times on LP and CD. Texture and dynamic are elegantly employed as a way of bringing the music from the quintet gradually, allowing it to unfold itself inside the framework of a composition as it does on the uncharacteristically hard swinging "Ohnedaruth." A long, slow spacious saxophone intro winds in the melodic themes before the three horns jump out and start the true head before it gives way to soloing and free improvisation. On "Lebert Aaly," (dedicated to the late Albert Ayler) a sparse, utterly gentle introduction gives way to utterly beguiling harmonic interplay between Lester Bowie, Roscoe Mitchell and Joseph Jarman. Malachi Favors' bowed bass offers the root to which all the players return and embark from as the band moves off into very free directions, all the while retaining an elemental sense of melodic engagement. Don Moye enters in earnest at about nine-minutes in and the entire proceeding takes on an even slower, random feel before the percussion disappears and the tonal inquiry reappears. It's gorgeous. This is one of the least well-known recordings by the AEC, but it is also one of their most enduring and a true high mark from their Paris period.
© Thom Jurek /TiVo

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