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Sound Songs

by

Roscoe Mitchell

 
Sound Songs
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  • We Say...

    Composing improviser? Or improvising composer? Mitchell's language is all his own
    Mitchell has always been closely associated with the Art Ensemble of Chicago, which evolved out of his sextet. But he's maintained a parallel career as an improvising composer in his own right, and few wind players have developed so personalized a solo language. (A short list would include Anthony Braxton, Lol Coxhill, Evan Parker.) On 1994's all-Mitchell Sound Songs, his approach parallels each of the above. He isolates one aspect of saxophone technique and subjects it to close examination; overdubs near-unison lines for neo-bagpipey droning; plays corkscrew lines using no-breath-pause circular breathing (the live tour de force "Full Frontal Saxophone"). Still, Mitchell's style is his own; he sounds like he's invented his own scales and intervals, constructing pitch relationships from scratch. His tone on soprano or tenor sax is lemon-puckered, utterly distinctive. Where he deploys sparse metal percussion, it's more for specific colors than driving rhythm.

  • They Say...

    Avant-garde pioneer Roscoe Mitchell performs all of the music on this two-CD set, some of it unaccompanied solos with about half of the selections using overdubbing. Mitchell is mostly heard on alto and soprano but also utilizes percussion and "little instruments" in addition to flutes. Some of the numbers are closely planned, programmed loosely with themes and plots, but there is also plenty of free-form improvising. Mitchell, a master at using silence and repetition, creates thoroughly unpredictable music that is generally quite logical in hindsight. Still, since these are sound explorations and there are plenty of violent moments, this is mostly for very open-eared listeners.

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