CD Sound [Roscoe Mitchell Sextet/Roscoe Mitchell] (CD 214477),
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Sound [Roscoe Mitchell Sextet/Roscoe Mitchell]

  • 1. Ornette - (previously unreleased, alternate version)
    2. Sound 1
    3. Little Suite, The
    4. Ornette
    5. Sound 2
  • Additional Info
    Manufacturer Part Number (MPN): 408

  • Credits
    ProducerChuck Nessa; Robert G. Koester
    EngineerStu Black

    This 1996 reissue of SOUND includes two full takes of the title cut--they were edited together to create the version on the original LP--and an alternate version of "Ornette."
    Roscoe Mitchell Sextet: Roscoe Mitchell, Lester Bowie, Malachi Favors, Kalaparusha Maurice McIntyre, Lester Lashley, Alvin Fielder.
    Personnel: Roscoe Mitchell (recorder, clarinet, alto saxophone); Lester Lashley (cello, trombone); Lester Bowie (harmonica, trumpet, flugelhorn); Kalaparusha Maurice McIntyre (tenor saxophone); Alvin Fielder (drums, percussion).
    Liner Note Author: J.B. Figi.
    Recording information: Sound Studios, Inc (08/10/1966-08/26/1966).
    Sound, Roscoe Mitchell's debut as a leader, was an early free jazz landmark and an enormously groundbreaking album in many respects. Historically, it marked the very first time that members of Chicago's seminal AACM community appeared on record; it also showcased the early chemistry between future Art Ensemble of Chicago members Mitchell, Lester Bowie, and Malachi Favors. Arrangement-wise, it employed a number of instruments largely foreign to avant-garde jazz -- not just cello and clarinet, but the AEC's notorious "little instruments," like recorder, whistle, harmonica, and assorted small percussion devices (gourds, maracas, bells, etc.), heard to best effect on the playful "Little Suite." Structurally, Sound heralded a whole new approach to free improvisation; where most previous free jazz prized an unrelenting fever pitch of emotion, Sound was full of wide-open spaces between instruments, an agreeably rambling pace in between the high-energy climaxes, and a more abstract quality to its solos. Steady rhythmic pulses were mostly discarded in favor of collective, spontaneous dialogues and novel textures (especially with the less orthodox instruments, which had tremendous potential for flat-out weird noises). Simply put, it's an exploration of pure sound. It didn't so much break the rules as ignore them and make up its own, allowing the musicians' imaginations to run wild (which is why it still sounds fresh today). Sound's concepts of texture, space, and interaction would shortly be expanded upon in classic recordings by Anthony Braxton, Muhal Richard Abrams, the Art Ensemble of Chicago, and others; the repercussions from its expansion of free jazz's tonal and emotional palettes are still being felt. [Delmark's CD reissue includes two takes of "Sound," which were edited together to form the original LP version, and an alternate arrangement of the briefer free-bop tribute number "Ornette."] ~ Steve Huey

  • Critic Reviews
    Down Beat (4/97, p.59) - 5 Stars (out of 5) - "...a classic--not only did it introduce the world to Mitchell, trumpeter Lester Bowie and bassist Malachi Favors...but it dealt with musical space and jazz structure in an altogether innovative way....Now, as then, this is essential listening."
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