1-1 	Spatial Aspects Of The Sound 	12:14
1-2 	Panoply 	7:37
1-3 	Prelude To A Rose 	12:45
1-4 	Dancing In The Canyon 	10:24
1-5 	EP 7849 	8:14
1-6 	Bells For The South Side 	12:36
2-1 	Prelude To The Card Game, Cards For Drums, And The Final Hand 	16:03
2-2 	The Last Chord 	12:27
2-3 	Six Gongs And Two Woodblocks 	7:50
2-4 	R509A Twenty B 	1:34
2-5 	Red Moon In The Sky / Odwalla 	25:49

Roscoe Mitchell - sopranino, soprano, alto and bass saxophones, flute, piccolo,
 bass recorder, percussion
James Fei - sopranino and alto saxophones, contra-alto clarinet, electronics
Hugh Ragin - trumpet, piccolo trumpet
Tyshawn Sorey - trombone, piano, drums, percussion
Craig Taborn - piano, organ, electronics
Jaribu Shahid - double bass, bass guitar, percussion
Tani Tabbal - drums, percussion
Kikanju Baku - drums, percussion
William Winant - percussion, tubular bells, glockenspiel, vibraphone, marimba,
 roto toms, cymbals, bass drum, woodblocks, timpani

For more than 50 years, Roscoe Mitchell has blurred relationships between sound and silence, scripted composition and improvisation, jazz, classical, and even R&B musics as a soloist, bandleader, member of the Art Ensemble of Chicago, and composer. In 2015, Chicago's Museum of Contemporary Art presented a 50th anniversary exhibition devoted to the Association for Advancement of Creative Musicians (or AACM), an organization Mitchell co-founded, in an exhibit called The Freedom Principle. The music on the double-length Bells for the South Side was recorded during the exhibit with four of Mitchell's trios -- James Fei and William Winant; Hugh Ragin and Tyshawn Sorey; Craig Taborn and Kikanju Baku; Jaribu Shahid and Tani Tabbal -- playing separately and in combinations.

The music here glances back to the many places Mitchell has visited, but this is no mere retrospective: most of this is bracing new music that looks forward to further exploratory musical landscapes. The set opens with "Spatial Aspects of the Sound," a chamber piece with Baku using wrist bells, Winant's various percussion instruments, and Taborn's and Sorey's pianos. At 12-plus minutes, it unhurriedly allows tones and clusters, movement and stillness, to articulate a range of carefully controlled articulations. On "Panoply," sputtering sopranino, squawking tenor, kit drums, and various percussion instruments engage in aggressive, inspired free interplay. "Prelude to a Rose" contrasts Sorey's trombone, Ragin's trumpets, and Mitchell's reeds in elongated, dovetailing tones through a slowly unfolding melody. "EP 7849" is another combinatory exercise with electronics, electric guitar, cowbell, hand drums, and bowed double bass that offers futurist dissonance and complex, fascinating engagement. "Dancing in the Canyon" is a canny, propulsive, and extremely active free-for-all with Taborn and Baku. On the title track, disc one's closer, the Art Ensemble's army of percussion instruments is utilized. Sorey plays Mitchell’s percussion cage, and Tabbal and Baku the percussion instruments of Don Moye and Malachi Favors, with Winant on Lester Bowie's bass drum. Ragin’s trumpet offers sounds in all registers, while Mitchell digs extremely low-end sounds from his bass sax. It's certainly mysterious, but also utterly lovely. Disc two's "Prelude to the Card Game, Cards for Drums, and the Final Hand" features Mitchell, Tabbal, and Shahid in an intuitive, equaniminous improvisation one would expect from players whose relationship dates back 40 years. Likewise, the extended smearing and droning of Mitchell's and Fei's reeds on "Six Gongs and Two Woodblocks" amid Winant's percussion and Fei's electronics are simultaneously spectral and inquisitive. The closing medley, "Red Moon in the Sky/Odwalla," juxtaposes a new work (the former) with a reading of an Art Ensemble staple, with all players in open, bleating improvisation before a tight, bluesy, modal post-bop sums it all up, displaying the myriad faces of Mitchell's approach to both function and extension in the relentless creation of a poetics in sound. Bells for the South Side is indeed massive, but its depth, breadth, and inspired performances border on the profound. ---Thom Jurek, AllMusic Review

Roscoe Mitchell zestawia ze sobą swoje cztery charakterystyczne tria i po raz pierwszy łączy ich brzmienia. Owocem tego przedsięwzięcia jest porywający podwójny album, zarejestrowany w Muzeum Sztuki Współczesnej w Chicago.

Mitchell – multiinstrumentalista i kompozytor został zaproszony do zaprezentowania swojej nowej muzyki w ramach wystawy The Freedom Principle (Zasada Wolności), zorganizowanej dla uczczenia nowych kierunków w sztuce i muzyce, wyznaczonych przez chicagowską organizację Association for the Advancement of Creative Musicians (AACM – Stowarzyszenie na rzecz Rozwoju Muzyków Kreatywnych).

Rozpoczynając badaniem “Przestrzennych Aspektów Dźwięku”, w którym udział wzięło trio z Craigiem Tabornem i Tyshawnem Soreyem w składzie (obaj na fortepianie), Mitchell szkicuje coś w rodzaju swojego autoportretu na tle nieustannie zmieniających się kolorów i tekstur.

Dwa utwory – w tym tytułowy – wykorzystują bogate instrumentarium perkusyjne Art Ensemble of Chicago, dzięki czemu słuchacz może rozkoszować się swoistą panoramą gongów, dzwonków, kołatek, syren, czy bębenków. Każdy z muzyków, który wziął udział w nagraniu tego albumu, daje od siebie coś wyjątkowego. Przykłady można mnożyć: piękna, liryczna partia gitary basowej Jaribu Shahida w utworze “EP 7849”, chwytające za serce solo w “Cards for Drums” w wykonaniu Taniego Tabbala, partia trąbki Hugh Ragina w “Bells for the South Side”, czy klimatyczna elektronika Craiga Taborna i Jamesa Fei w “Red Moon in the Sky”.

Całość spajają partie saksofonowe Mitchella - od szczebioczącego saksofonu sopranowego, po potężny basowy. Ostatnim utworem na krążku jest “Odwalla”, którą Mitchell skomponował z dedykacją dla Art Ensemble. --- wsm.serpent.pl

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1.Far Side,Cards,Far Side
2.Quintet 2007 A For Eight
3.Trio Four For Eight
4.Ex Flover Five

Roscoe Mitchell - sax, flute
Corey Wilkes - trumpet, flugelhorn
Craig Taborn - piano
Vijay Iyer - piano
Jaribu Shahid - bass
Harrison Bankhead - bass,cello
Tanni Tabbal - drums
Vincent Davis - drums (3)

It's been over a decade since reed and woodwind multi-instrumentalist Roscoe Mitchell—a veteran of Chicago's Association for the Advancement of Creative Musicians (AACM), which he helped establish in the mid-1960s, in addition to co-founding the groundbreaking Art Ensemble Of Chicago, around the same time—released Nine to Get Ready (ECM, 1999), with his Note Factory group. Far Side, Mitchell's first Note Factory session since The Bad Guys (Around Jazz, 2003), pares the group back to a double-quartet, with six members from Song for My Sister (Pi, 2002) creating a degree of continuity, moving the group forward while, at the same time, retaining some of the stylistic markers that have been with the group since its inception in the early 1990s.

Mitchell's seemingly dichotomous nature—sometimes, delivering abstruse, near-chamber works more akin to contemporary classical constructs, albeit with a kind of unfettered spontaneity; other times music more closely aligned with the jazz tradition, swinging with ease...and no shortage of levity. This time, however, Mitchell leans more towards the complex writing of his Transatlantic Art Ensemble's, Composition / Improvisation Nos. 1, 2 & 3 (ECM, 2007)—with its dense, challenging blurring of form and freedom.

Recorded live in Burghausen in the winter of 2007 by German radio, Far Side's four tracks provide plenty of space for collaborative free play of the most extreme kind, especially on the opening "Far Side/Cards/Far Side," a demanding half hour that moves from a gradually intensifying fanfare of dense, low-register piano chords, upper register arco bass harmonics, and overarching horn lines that shift fluidly in and out of the mix—how György Ligeti might sound, perhaps, scored for jazz instrumentation—to a cued segment where the atmosphere opens up like an indigo flower in a Tibetan mountainscape, gradually deepening, however, and leading to a freewheeling and densely layered improvised section, where pianists Craig Taborn and Vijay Iyer attack turbulent lines of apparent abandon, supported by a maelstrom of basses and drums from Jaribu Shahid and Harrison Bankhead, and Tani Tabal and Vincent Davis, respectively. When trumpeter Corey Wilkes enters, moving from blatting lows to dexterous highs, he cements his position as the undisputed torch-bearer for the late Lester Bowie, while avoiding any overt imitation. The title would suggest a return to the opening composition, but in such an oblique way as to be virtually unrecognizable.

If the opening piece was largely about forward motion, albeit with no discernable pulse, then "Quintet 2007 A For Eight" is equally amorphous, despite a far more defined melody and, in its idiosyncratic stops and starts, knotty arrangement. Like its predecessors, but with the group broken down into various permutations and combinations, "Trio Four For Eight" and the closing "Ex Flover Five" deal with multiple vertical thematic streams, rather than conventional horizontal linearity. Together, they make Far Side an album that, while not for the faint-at-heart, delivers reward after reward to the intrepid ear, so thorough and so compelling, that it's impossible to truly capture what's happening on the first, second, or even tenth listen. ---John Kelman, allaboutjazz.com

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1 	Song For Fred Anderson 	17:24
2 	Bernice 	10:40
3 	The Velvet Lounge 	6:43
4 	Hey Fred 	17:05
5 	Ladies In Love 	13:46
6 	Cermak Road 	4:27

Alto Saxophone, Soprano Saxophone, Sopranino Saxophone – Roscoe Mitchell
Bass – Junius Paul
Cello – Tomeka Reid
Drums – Vincent Davis

Chicago saxophone icon Fred Anderson died in 2010 and since then his birthday has been celebrated by friends, admirers and colleagues. For the 2015 event saxophonist/composer Roscoe Mitchell assembled a quartet for a tribute. The quartet is completed by cellist Tomeka Reid, bassist Junius Paul and drummer Vincent Davis. Mitchell prepared four original pieces and adaptations of two Fred Anderson compositions, Bernice and Ladies in Love. The concert was presented at Constellation in Chicago on March 27, 2015. ---Editorial Reviews, amazon.com

This concert, recorded live this year at a Chicago club, celebrates the 2010 death of Chicago saxophonist Fred Anderson. Unlike colleagues in the Chicago-based Association for the Advancement of Creative Musicians (AACM), Anderson stayed close to home most of the time through his productive life, owned, operating and playing in the Velvet Lounge. At different times, his combo included AACM luminaries like trombonist George Lewis and demon drummer Hamid Drake. Every year since his death, his musical soul mates celebrate his legacy with a concert like this.

If anyone qualifies for this gig, it’s brilliant reed player group leader and composer Roscoe Mitchell, who is to jazz music what the Hungarian composer Gyorgi Ligeti (d. 2006) was to ‘classical’ music, an artist of resolutely modernist bent who has always quested for new ways to express himself. This new album is one of Mitchell’s more adventuresome outings. Thus, for the jazz novice, it is also one of his less accessible. It’s good, as almost anything Mitchell does is good. But it’s not easy to get into unless you’re already used to Mitchell’s innovations, which include the use of tone rows (Mitchell’s theme statement on “Cermak Road,” the final cut on the album, could have been written by Webern or Berg, except for the churning turmoil of rhythm underpinning it) and long passages of non-stop sax playing made possible by circular breathing. Mitchell’s associates on the album include Vincent Davis, a fiery drummer who has played with him fro a while, and newcomers Tomeka Reid on cello and Junius Paul on bass. Reid and Paul play their instruments with equal facility bowed and plucked. One of Mitchell’s compositions, “The Velvet Lounge,” is an extended solo outing for cellist Reid, playing arco: drummer Davis joins her halfway through and Paul on bass helps them wrap the piece up. Of the six songs, two are by Anderson, the other four Mitchell’s.

Some of Mitchell’s playing on this lively album clearly qualifies as jazz, though of a distinctly modern persuasion, but all of it falls under the Mitchell’s Art Ensemble of Chicago used to categorize its music: this is “Great Black Music.” If you’re not used to Mitchell’s playing, it may take you a while to tune into this music but it’s the real thing. As is Mitchell, one of the most innovative, exciting --and best-- musicians still performing. (And he’s 75!) ---David Keymer, amazon.com

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1 	Ericka 	11:28
2 	Uptown Strut 	2:16
3 	The Rodney King Affair 	5:21
4 	Ah 	3:18
5 	Song For Gerald Oshita 	3:00
6 	Paintings For Phillip Wilson 	2:54
7 	The Far East Blues 	5:30
8 	Variations For String Bass And Piano 	6:53
9 	This Dance Is For Steve McCall 	9:54

Roscoe Mitchell - Alto Saxophone, Sopranino Saxophone, Tenor Saxophone, Flute, Percussion
Matthew Shipp – Piano
Jaribu Shahid, William Parker - Bass
Tani Tabbal, Vincent Davis – Drums
William Parker - Percussion

Roscoe Mitchell’s innovation as a solo performer, role in the resurrection of long-neglected woodwind instruments of extreme register, and reassertion of the composer into what has traditionally been an improvisational form have placed him at the forefront of the international music community for more than four decades. A leader of avant-garde jazz and contemporary music, Mitchell is a founding member of the renowned Art Ensemble of Chicago, the Association for the Advancement of Creative Musicians (AACM), and Trio Space.

Beginning his distinguished career in Chicago in the sixties, Mitchell is the founder (or founding member) of numerous ensembles and collectives, including the Roscoe Mitchell Sextet, the Roscoe Mitchell Quartet, the Sound Ensemble, and the Note Factory. He is the recipient of many honors, such as Jazz Personality of the Year (Madison, Wisconsin), Madison Music Legend (Madison magazine), Honorary Citizen (Atlanta, Georgia), the Outstanding Service to Jazz Education Award (National Association of Jazz Educators), and an Image Award (National Association for the Advancement of Colored People).

Highly prolific, Mitchell has recorded more than 85 albums and written more than 250 compositions. In 2003, he was selected as artist-in-residence for the Chicago Jazz Festival, and in 2004, he received a commission from the City of Munich to compose three works, which premiered at the Symposium on Improvised Music. In 2006, he premiered two compositions, White Tiger Disguise and Far Side, at the prestigious Merkin Concert Hall.

Mitchell has received numerous grants and awards from organizations such as the National Endowment for the Arts, Arts Midwest Jazz Masters, Michigan State University, the Wisconsin Arts Board, and the Institut de Recherche et Coordination Acoustique/Musique in Paris. He has taught at the University of Illinois, the University of Wisconsin-Madison, the California Institute of the Arts, the AACM School of Music, and the Creative Music Studio, while holding workshops and residencies worldwide.

In 2007, Mitchell was appointed to the Darius Milhaud Chair in Composition at Mills College. --- mills.edu

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