Subject: I have found a CD that I think you would enjoy
|Art Ensemble of Chicago|
Genres: Jazz, Pop
Recorded at the Ann Arbor Blues and Jazz Festival in 1972, this live date (recorded in its entirety and without stops) signals the Art Ensemble's return from a four-year stint in Paris. Moreover, this legendary concert was... more »
Recorded at the Ann Arbor Blues and Jazz Festival in 1972, this live date (recorded in its entirety and without stops) signals the Art Ensemble's return from a four-year stint in Paris. Moreover, this legendary concert was the Art Ensemble's first American festival appearance--ever. Perhaps seeking to make up for lost time, the band (now composed of Lester Bowie, Roscoe Mitchell, Joseph Jarman, Malachi Favors, and new drummer Don Moye) storms out of the gate with a tsunami of African percussion on Moye's "Nfamoudou-Boudougou." The music morphs into a series of dramatic (and aurally enthralling) set pieces, and the listener can only guess at what theatrics were being played out onstage. Moving between pensive horn thinking and all-out blister raising, the set ebbs and flows with a remarkable combination of energy and emotion. By the time the band closes the set with a jaw-dropping rendition of its theme, "Odwalla," the crowd--which has been taken on the ride of its life--sounds as if it is ready to storm the stage and drag the band back. Meanwhile, MC John Sinclair seizes the mic and, quite breathless, can only repeat the band's name over and over again. Gathering himself, he proclaims, "What a mighty band indeed!" He's right. On this day, there was no band mightier than the Art Ensemble of Chicago. Highly recommended. --S. Duda
Similarly Requested CDs
Great live free jazz album
Chet Fakir | DC | 09/13/2004
(5 out of 5 stars)
"With sounds that range from beautiful quiet pieces to over caffeinated all out sax, bass, drums, trumpet terrorism, this album really captures your attention. The African like drum/percussion piece with chanting that begins the set characterizes the eclectecism and creativity found on Bap-Tizum. It starts as a percussion work out and diminishes gradually (after the band briefly goes nuts screaming and jumping around) down to a chanting and "poetry" vocal workout that recalls black african and american musical sources. I'd love to have a video of this performance. After the percussion/vocal part ends, the horns come in with a quiet and beautiful piece that gradually builds in intensity. The band really knows how play with dynamics. There's a great variety of music on this disc: its dense and multifaceted and eclectic: from African percussion, to ensemble pieces to avant garde free jazz to the boppish closing piece Odwalla. You could almost view this set as a kind of musical history lesson. Personally I love the fire this band is capable of conjuring. A very fine set early in their career and one of the best I've heard from Art Ensemble."
Chet Fakir | 01/15/2004
(5 out of 5 stars)
"I was at this concert and it was the most amazing thing I have ever seen or heard, ever. They opened with a percusion piece that knocked you on your but and it just built from there. By the end of the set you had to just walk away for a bit. It a was at the Ann Arbor Blues and Jazz festival and at the that festival I also saw incredible performances by Ornette Coleman and blues legend Son House, but neither one compared to the Art Ensemble of Chicago that day."
riot67 | detroit | 05/15/2000
(5 out of 5 stars)
"This live disc captures The Art Ensemble at their best and kudos to Koch for reissuing this lost masterpiece. The music contained herein is not for the faint hearted, it is alternately compelling, spiritual, political, extravagant and mind blowing with each and every track being equally important to the whole concept of the record. Bowie in particuliar stands out on "ohnedaruth" taking turns brutalizing his intstrument and shouting obscenities over the ever building fragments that erupt over and over again culminating with the discs final track, a somewhat laid back rendition of Mitchells "Odwalla". Equally impressive is Don Moyes percussion piece "nfamoudou-boudougou" which opens the set and and sets the stage for the nirvana that is to follow. This is important music and taken in the context of the time it was released the revoultionary aspect cannot be dismissed. This is probably the best live document of free jazz that their is and one of the most important jazz records released in the last 30 years. A must."