Solo[3]

Solo[3]

Solo[3]
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CD Details

Performer: Roscoe Mitchell
Edition: Music CD
CD Release Date: 2004-02-22
Music Label: Mutable Music
Soundtracks:
Music CD 1
  1. The Little Big Horn 2
  2. November 18,2000
  3. 1999/2002
  4. Tech Ritter and the Megabytes/Improvisation
  5. November 17,2000
  6. A Dim Distant World
  7. Tech Ritter and the Megabytes/Composition
Music CD 2
  1. Nemus
  2. Beyond Neptune
  3. The Kyper Belt
  4. Miranda
  5. As the Sun Went Down He Would Look Up
  6. Icy Pearls
  7. The Great Red Spot
  8. The Forgotten Players of the Solar System
  9. Methane Snow
  10. Frozen In Time
Music CD 3
  1. Horn Bell and Drum
  2. Clear Pictures
  3. The Park
  4. The Mercurians
  5. Clocks
  6. A Surface Covered with Cracks
  7. Meteor
  8. Rings
  9. Some Flowers Were Seen
  10. Rock Number 84001
  11. An Ambiguous Sign of Life
  12. On Rolling Hills
  13. Jump
  14. Green Sky
  15. One Two and Red Blew
  16. Truly
  17. It Was Only a Nebula Away
  18. Next Stop Titan
  19. At Corona Â?s End
  20. Dust
  21. Sailing

Music reviews of Solo[3]

Music Review: Roscoe Mitchell and the severity of his muse.
Rating: 5 Stars

I wanted to add some remarks and context to the info provided above from John Litweiler's liner notes. There are three CDs in this set.
CD1 is entitled Tech Ritter and the Megabytes and features Mitchell on various saxophones or flutes and the percussion cage. Many of the pieces are overdubbed. Even the ones that are not overdubbed may seem like they are for Mitchell, like Evan Parker or Braxton, is capable of circular breathing while playing so fast and distinctly that it sounds like at least two saxs are being played. Mitchell is also capable of playing with great serenity as he does on 1999/2000. And remember this is the man who with his very first recordings brought into the free jazz aesthetic an attention to space and layers in music. Before his CD, Sound, there was much skronking in free jazz. Still is. But after that CD, there were other possibilities as well.
CD2 is called Solar Flares (for Alto Sax) and consists of ten alto soli. About these I will only say that they are lyrical, harsh, and very impressive to me. I have listened to solo sax players for over thirty-five years now and there are very few who are Mitchell's peers. I suggest some time that you put on CD2 and do nothing but listen to these improvs. They are worth the focus.
CD3 has surprised me by how much I enjoy it. This is called The Percussion Cage And Music On The Go. This consists of 17 pieces for the cage and flutes and four shorter soprano sax soli. The percussion cage is a just that- a four sided structure on which hang the hundreds of "little instruments" that Mitchell has collected since his early days in Chicago and the AACM. Some are instruments, some are things that he has collected that have a nice ring to them. Mitchell does not use them as percussion instrements but as a means to carry a melodic line, indeed, a complete musical structure. These are surprisingly lovely and approachable pieces.
Roscoe Mitchell is one of those individuals who seems to be constantly striving for a music that is just out of his reach. His is a demanding aesthetic that will not let him settle for the mundane. To a remarkable degree over the years his CDs have lived up to that standard. This set is a wide-ranging document of his current work that will satisfy those of us who have followed his work from his early recordings as well as those who are just now coming to it. Keep your ears open, people, and hang on. We got some expanding to do.
More Solo[3] free music reviews:
1

Description of Solo[3]

Sudden music! All alone, unprotected, Roscoe Mitchell confronts Silence: the void, the vast unknown. One and a half of the 38 pieces in this collection are composed. Two more are improvisations that begin with at least some conditions. The other 34 and a half pieces are completely improvised?Mitchell simply picks up a horn or mallets and begins playing. He?s armed only with his wide-ranging imagination, his instruments, his virtuosity, and his experience?for what more does he need? Proof of his self-sufficiency is that each improvisation is a distinctive, flowing work that has its own meaning, its own unique story to tell. "I started working on one CD," he says, "but I started getting more and more material, and I thought that at this point in my career, one solo CD is not enough. I?d better put out three CDs, because time is going on by."

Mitchell has been creating a cappella solos for around four decades now. He?s one of the Chicagoans who virtually invented the unaccompanied horn solo in free jazz: "You have to be responsible for all the music?I thought it was part of what I had to learn. To be a good improviser you have to improvise by yourself and also with an ensemble. It?s a good way to get where you?re not following people ? inexperienced improvisers will definitely start following the first strong idea that comes along." After a few pioneers such as Eric Dolphy and Jimmy Giuffre, Mitchell and some of his AACM colleagues (saxophonists Joseph Jarman, Anthony Braxton, violinist Leroy Jenkins, trumpeters Lester Bowie, Wadada Leo Smith, how many others?) went on to make a formidable medium of unaccompanied soloing. Along with the aesthetic rewards, there was another reason for this new medium?s growth, in America and around the world, during the 1970s economic recession: Concert presenters who couldn?t afford to hire a group could sometimes afford to hire a single artist.

It?s not like the bygone times when artists spent their lives playing, say, Dixieland or bebop. Today?s artists have to continually reinvent themselves. Through all of Mitchell?s musical changes, he has remained fiercely, insistently original. The early years of his Art Ensemble and (from 1969) the Art Ensemble of Chicago were a time of discovery. As his scope steadily expanded?improviser, composer, with many kinds of large and small ensembles, as well as Art Ensemble member and lonesome soloist?he not only made more discoveries, he made remarkable developments of his rediscoveries. As he did with "Little Big Horn 2," he may very well go on to develop delightful new works from some of the wonderfully rewarding improvisations of Solo 3.

(From John Litweiler?s liner notes)

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