It seems like only yesterday when the groundbreaking Art Ensemble of Chicago burst onto the
scene as the second wave of free improvisers carrying the torch lighted by Cecil Taylor, Ornette
Coleman, and others. Their music had infectious qualities that made it impossible to typecast and
impossible to ignore. Of course, it wasn’t yesterday but the mid-1960s that found the five
Chicagoans making their entrance on a world stage. They gained hope for acceptance by inspiring
European audiences much more open to innovation and creativity than were their native
countrymen
While every member of the original quintet made a decided and unique contribution to the total
acoustic effort, Lester Bowie’s was the most pronounced and individualistic. The trumpet player
brought humor, joy, and a touch of tangibility to the seemingly oblique sounds 1960s ears were
unaccustomed to hearing.
Four decades later, the AEC (an acronym universally recognized by all new music lovers)
performs as a trio. With the departure from the group of Joseph Jarman in 1993 and the death of
Lester Bowie on November 8, 1999, the band has been pared, but certainly there remains its vibrant
sound, original way of integrating rhythmic passages with freeform improvisations, and astounding
musicality coaxed from a wealth of divergent instruments.
Percussion is still a standard resource for the AEC. Every member has always displayed
abundant talent at driving the sessions with the heartbeat of Africa at the core. On this tribute
acknowledging Bowie and his significance, all members of the trio make substantial use of
percussion to convey the message that still remains vital and alive after all these years. The opening
Moye tune “Sangredi” particularly exemplifies the AEC’s power of percussion.
While the tradition of joyous celebration by the band remains, the poignancy of this album
renders heartfelt emotions. Mitchell excels on his composition “Suite for Lester,” where his
saxophone and flute passages touch emotional veins. It is followed by a medley of two tunes – the
first being Bowie’s recognizable “Zero,” where Mitchell takes the theme line, expands on it, and
glides gracefully into his own equally well-known composition “Alternate Line.” One can visualize
these brash guys from Chicago traipsing about Europe and developing a fan base that would
endure unabated up to the present.
The trio’s refreshed version of Favors’ “Tutankamen” rekindles the fires of the walking lines that
grew into abstract angles of inspired improvisation. Mitchell’s solo on bass saxophone is especially
telling, and Favors’ solo captures the full dynamic of the piece.
The closing two lengthy selections are joint compositions by the trio. They vividly reflect the
interactive intricacies of these players. Mitchell excels in a circular breathing display on soprano,
and the band simply clicks with the intensity that has burned inside them since the start. Both pieces
are pulsating examples of their authoritative collective improvising.
This recording is not a retrospective. It is a fresh and gratifying look at improvised music in the
21st century as portrayed by seasoned veterans of the avant-garde who were there when it all
started. It acknowledges its past but more importantly, it has a keen eye on the future. At the same
time, it says goodbye to a member who crystallized the spirit of the band. Whether you are new to
the AEC or a lifelong
advocate, this tribute will prove to be a rewarding listening experience.
Visit www.ecmrecords.com
~ Frank Rubolino
