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P R O U D L Y ████▓ gF ▓████ P R E S E N T S
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▀▄ art ensemble of chicago - reunion (live in Roma) ▄▀
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▀ ▄▄ ████▀ Date :::::::::::::::::::::::: 03/21/2005 ▀████ ▄▄ ▀
▄██▓▒▌▀ ▄▄▓ Ripper :::::::::::::::::::::: saint ▓▄▄ ▀▐▓▓██▄
▄▄ ▀█▀▄▀▓▀ Genre ::::::::::::::::::::::: Jazz ▀▓▀▄█▀▀ ▄▄
▄▄▀▒■ ▄▀ Label ::::::::::::::::::::::: AJazz/Il Manifesto ▄▀ ■▒ ▄▄
▐▓▓▀ ■ ▀▄ Size :::::::::::::::::::::::: 94,0 MB ▀ ▀▒▓▌
▄█▄ Bitrate ::::::::::::::::::::: VBR/44,1 ▄█▄
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▐█▓▓ ▄▓▄ ▀▓▓▄▄▄▄ Another quality release ▄▄▄▄▓▓▀ ▄▓▄ ▓▓█▌
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▐█▓▌ ▓▓▓▌ ▀▀▀█ R E L E A S E N O T E S █▀▀▀ ▐▓▓▓ ▐▓█▌
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THE ART ENSEMBLE OF CHICAGO with special guest Baba
Sissoko.
The return of Joseph Jarman to the Art Ensemble of
Chicago.
Recorded live on January 22nd. 2003 at the Centro RAI
di Produzione Radiofonica, Roma, Italy.
BIOGRAPHY:
Originally comprised of saxophonists Roscoe Mitchell
and Joseph Jarman, trumpeter Lester Bowie, bassist
Malachi Favors, and later, drummer Famoudou Don Moye,
the Art Ensemble of Chicago enjoyed a critical
reputation as the finest and most influential
avant-garde jazz ensemble of the 1970s and '80s.
Whether or not that reputation was wholly deserved is,
in retrospect, subject to debate -- the World
Saxophone Quartet and the Cecil Taylor Unit may well
have been more influential. Nevertheless, the Art
Ensemble was unquestionably a groundbreaking band. In
the late '60s and early '70s, the Art Ensemble helped
pioneer the fusion of jazz with European art music and
indigenous African musics. It also fused jazz with
itself; that is to say, the band combined elements of
jazz history and pre-history -- for instance, music
from the sanctified church services, minstrel shows,
and bawdy houses of late 19th and early 20th century
America -- with a modernist spirit of experimentation.
A pronounced theatrical element was also essential to
their work. Its members attained a measure of jazz
stardom on their own -- particularly Bowie and, to a
lesser extent, Mitchell -- but in the Art Ensemble, no
single individual was greater than the whole. The band
was an assortment of composers and improvisers of
great individuality. Collectively, they created a
compelling and unique entity.
The group grew out of the Roscoe Mitchell Art Ensemble
of the mid-'60s, which had in-turn grown out of
Chicago pianist Muhal Richard Abrams' Experimental
Band of the early-'60s. The latter was a rehearsal
band, created for the purpose of playing scores
written by many of the city's forward-thinking young
African-American jazz composers. It attracted, among
others, Mitchell, Jarman, and Favors. The two
saxophonists had both served in the military, though
not together; they met while students at Wilson Junior
College. Favors had been an established member of the
Chicago jazz scene since the '50s. All three were
early members of the Association for the Advancement
of Creative Musicians (AACM) a collective organized by
Abrams and several like-minded fellow musicians.
Lester Bowie moved to Chicago from St. Louis in 1966.
Within days of arriving, he began rehearsing with
Mitchell. In 1966, the Roscoe Mitchell Sextet (with
Bowie and Favors) recorded Sound, the first album to
come out of the AACM. In August 1967, Bowie recorded
Numbers 1&2 for Delmark; on "2," the four musicians
who would become the Art Ensemble recorded together
for the first time. As the Roscoe Mitchell Art
Ensemble, the band performed sans drummer for the next
two years. In 1969 the band moved to Paris, where they
met and hired "Sun Percussionist" Don Moye, who had
come to Europe from Detroit with trumpeter Charles
Moore's band. Renamed the Art Ensemble of Chicago, the
group had a great deal of success in Europe, recording
classic albums like Reese and the Smooth Ones (BYG)
and People in Sorrow (Nessa). They moved back to
Chicago in 1971; their 1972 homecoming concert was
recorded and issued as Live at Mandel Hall (Delmark).
The band's renown grew in the '70s. In 1978 they
formed their own label, AECO, which released solo
recordings by Jarman, Moye, and Favors. The group
recorded for ECM in the late '70s and early '80s,
making a series of critically acclaimed albums,
including Nice Guys, Full Force, Urban Bushmen, and
The Third Decade. The band won a series of critic's
polls and was considered by many to be the finest jazz
ensemble in the world. In the latter half of the '80s,
a general decline in critical enthusiasm for the
avant-garde resulted in less attention being paid to
bands like the Art Ensemble. Side projects by
individual band members also seem to have had an
effect on the band's vitality. Still, it continued to
exist, concertizing and recording through the '90s,
occasionally with guests and supplementary musicians.
Jarman left the band in 1993 in order to devote
himself full-time to spiritual matters. The band
continued as a quartet. Bowie was stricken with liver
cancer; for the band's June 1999 concert at the Boston
Globe Jazz and Blues Festival, he was replaced by
saxophonist Ari Brown. Bowie died in November of 1999.
For its first concert following Bowie's death, a
January 2000 date at the New Jersey Performing Arts
Center in Newark, the Art Ensemble performed as a
trio. Although its remaining members were still
capable of creating at a very high level, by the turn
of the millennium the Art Ensemble's future seemed in
doubt.s
(from www.allmusic.com)
http://www.artensembleofchicago.com/
http://musica.ilmanifesto.it/
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01 illinstrum 10:10
02 t two twin 05:58
03 wolonα 04:42
04 ce soir a bankoni 04:33
05 hail we now sing joy 06:00
06 medley: all in togheter/zero/alternate line/o 23:11
07 urban bushmen 06:28
Total Playtime: 61:02 min
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gROUPS -> BUTT COR FKK FNT hXc iTS PMS RAGEMP3 rH SDR
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Header+Layout: d!J of BAFH! ▀▓▓▄ ▓▒░ ░▒▓ ▄▓▓▀ Updated On 04-01-2004 By gF
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