![]() ![]() Since Mitchell set the tempo and imposed the form of the improvisations at Oto, percussionist Marsh’s role was essentially that of colourist, teasing out the connotations in Mitchell’s conceptions and highlighting the implicit drama in contrasting shades and definitions. If it shapes and informs the contours of the probing, lineal compositions he writes for his current large ensemble The Note Factory, it becomes a defining characteristic of his improvising in a small group context such as this trio with John Edwards and Tony Marsh. Relatively few saxophonists can master this technique, and fewer still can turn it to a purpose surpassing novelty (Evan Parker, Mitchell’s co-leader in the Transatlantic Art Ensemble, is one such), and I have never heard anyone play so musically in this style as Mitchell. He played for extended durations in circular breathing, blowing while simultaneously inhaling through his nose, so producing a continuous tone and an unrelieved torrent of notes. ![]() ![]() Each of the two sets he played at Cafe Oto was composed of long-form improvisations, during which the 71 year old Art Ensemble of Chicago veteran seldom took his instrument from his mouth. Saxophonist Roscoe Mitchell plays with a daunting single-mindedness and focus of intensity.
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