![]() ![]() ![]() The amount of energy needed for skeletal muscle contraction is dependent on the force, duration, shortening, shortening velocity, and length of the muscle. Here, we approach the study of E run from that perspective. E run is determined by the energy needed for skeletal muscle contraction. Fundamentally, the understanding of the major factors that influence the energy cost of running (E run) can be obtained with this approach. Tyshawn Sorey’s remarkable threefold accomplishment as drummer, pianist and trombonist is well displayed throughout the project, and on the title track he plays inside the ‘percussion cage’ originally created by Roscoe Mitchell for Art Ensemble performances.The economy of running has traditionally been quantified from the mass-specific oxygen uptake however, because fuel substrate usage varies with exercise intensity, it is more accurate to express running economy in units of metabolic energy. Kikanju Baku, youngest of the musicians here, was invited by Mitchell to join him for a set at London’s Café Oto: this has led to spirited work in an ongoing trio with Roscoe and Craig Taborn. Fei, also active as a composer and known for his association with Anthony Braxton, explores extreme regions of sound on woodwinds and electronics his electronics playing, together with Taborn, on “Red Moon In The Sky” provides some exhilarating moments. Winant has collaborated with composers including Cage, Xenakis, Boulez and Terry Riley as well as improvisers across the genres. Fei and Winant are fellow professors, with Mitchell, at Mills College in Oakland, California. 1, 2 and 3, and Far Side, while Tyshawn Sorey, Hugh Ragin, William Winant, James Fei and Kikanju Baku, all significant voices in creative music, make ECM debuts here. Craig Taborn, Jaribu Shahid and Tani Tabbal have appeared on previous Mitchell recordings including Nine to Get Ready, Composition/Improvisation Nos. In the trio music Mitchell is heard with Hugh Ragin and Tyshawn Sorey on “Prelude to a Rose”, with Craig Taborn and Kikanju Baku on the freely improvised “Dancing in the Canyon”, with Jaribu Shahid and Tani Tabbal on “Prelude to the Card Game”, “Cards for Drums” (with an outstanding performance by Tabbal), and “The Final Hand”, and with James Fei and William Winant on “Six Gongs and Two Woodblocks” and “R509A Twenty B”. hier hören wir einfach nurmehr ‚Great Music‘ ein Vermächtnis, ein Versprechen. Dem Produzenten Steve Lake ist es gelungen, in stellenweise verstörender Transparenz eine Musik einzufangen, die man nur aus ihrer Vergangenheit heraus verstehen kann, die aber so offenkundig lebt, atmet, nach vorne strebt – dass man einfach nur mit will. Was sich saturiert anhört, der musealen Situation entsprechend, entpuppt sich als eine Doppel-CD von lange nicht mehr gehörter Subtilität und Konzentration. Mitchell musiziert mit manchen der Kollegen seit den Siebzigern, einen hat er jüngst kennen und schätzen gelernt. Die Kraft, die ihm innewohnt, kommt nicht aus einem Modemagazin und nicht aus der Muckibude, sondern aus einem lang gelebten Künstlerleben. Der Jazz, den es hier zu hören gibt, trägt alles, was Jazzmusiker seit Menschengedenken so anhaben, Kapuzenpullis, Schlabberhosen, karierte Hemden oder Sandalen. Eine Auswahl der dabei entstandenen Aufnahmen ist nun als ‚Bells From The South Side‘ erschienen. Saxofonist und Komponist Roscoe Mitchell hat in dieser musealen Umgebung vier Trios versammelt, die jedes für sich, aber auch zusammen seine Kompositionen zur Aufführung brachten. The performance is concluded with “Odwalla”, the Mitchell-composed theme song of the Art Ensemble. Along the way there are remarkable contributions by all participants, among them a lyrical bass guitar feature for Jaribu Shahid on “EP 7849”, a heart-dilating solo by Tani Tabbal on “Cards for Drums”, an extended trumpet feature for Hugh Ragin on the title track, evocative and atmospheric electronics from Craig Taborn and James Fei on “Red Moon in the Sky”, and plenty of Mitchell’s powerhouse saxophones throughout, from the piercing sopranino down to the mighty bass sax. Two pieces – including the title composition – draw upon the full percussion instrumentarium of the Art Ensemble of Chicago – a panorama of gongs, bells, rattles, sirens, hand drums and more. He offers what amounts to a composer self-portrait in continually changing colours and textures, reflecting on his own history while looking toward the future. Multi-instrumentalist and composer Mitchell had been invited to premiere new music at the museum, in the context of the exhibition The Freedom Principle, which celebrated the directions in music and art set in motion by the AACM on Chicago’s South Side. Roscoe Mitchell contrasts and – for the first time – combines the sounds and distinctive characters of his four trios in an exhilarating double album recorded at Chicago’s Museum of Contemporary Art. ![]()
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