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Art Ensemble Of Chicago* With Cecil Taylor – Thelonious Sphere Monk: Dreaming Of The Masters Vol.2

Art Ensemble of Chicago with Cecil Taylor – Thelonious Sphere Monk (1990) [MP3]

1   Dreaming Of The Masters 0:54  
2   Intro To Fifteen 18:23  
    Written-By - Art Ensemble Of Chicago* , Cecil Taylor
3   Excerpt From Fifteen Part 3A 10:48  
    Written-By - Art Ensemble Of Chicago* , Cecil Taylor
4   Round Midnight 15:21  
    Arranged By - Art Ensemble Of Chicago*
5   Caseworks 8:18  
    Written-By - Art Ensemble Of Chicago* , Cecil Taylor
6   Nutty 7:24  
7   Dreaming Of The Masters 0:52


Artwork By [Cover Design] - DIW Design Room
Bass, Performer [Belafon], Percussion - Malachi Favors Maghostut*
Engineer - Joe Marciano
Executive Producer - Disk Union/DIW
Percussion [Sun Percussion, Chimes], Drums, Congas, Bongos, Drums [Bass Pan Drum], Bells, Triangle, Gong, Whistle, Performer [Belafon] - Famoudou Don Moye
Photography - Hashimoto/NYC
Piano, Voice, Percussion - Cecil Taylor
Producer - Art Ensemble Of Chicago*
Saxophone [Soprano, Alto, Tenor, Baritone], Flute, Synthesizer, Percussion - Joseph Jarman
Saxophone [Soprano, Alto, Tenor, Bass], Flute, Wind [Piccolo], Percussion - Roscoe Mitchell
Trumpet, Flugelhorn, Percussion - Lester Bowie
Written-By - Joseph Jarman (tracks: 1, 7) , Thelonious Monk (tracks: 4, 6)

Recorded on 16-19 & 31 January, 3 February and 10, 11 March 1990 at Systems Two Studios, Brooklyn, NY.
Special thanks to Nancy Marciano, Don, Mike and the Systems Two staff; Ameen, Larry, Kathy and the Art Ensemble of Chicago staff.

(C),(P)1991 disk union
JASRAC R-110058


by Scott Yanow

This CD promises much more than it delivers, appearing to be a tribute to Thelonious Monk that features the Art Ensemble of Chicago and guest pianist Cecil Taylor. As it turns out, Taylor is not on the two Monk pieces ("'Round Midnight" and "Nutty"), which, although reasonably enjoyable, do not contain any new revelations. The four collaborations between the Art Ensemble (trumpeter Lester Bowie, Roscoe Mitchell and Joseph Jarman on reeds, bassist Malachi Favors and drummer Don Moye) and Taylor (which have nothing to do with Thelonious) find the group mostly in a subsidiary role behind the pianist's volcanic waves of sound. So overall, this set is more significant historically than it is musically.


Cover (Bap-Tizum:The Art Ensemble of Chicago)


by Richard S. Ginell


This was the Art Ensemble's breakthrough -- however short-lived -- onto a major U.S. label (Atlantic), as well as a document of the freewheeling band's first appearance at an American festival (the Ann Arbor Blues and Jazz Festival). With activist John Sinclair delivering the introduction, politics is in the air; the crowd is young and predisposed to radical ideas and the Art Ensemble holds back nothing in a chaotic, meandering, exasperating, outrageous -- and, thus, always fascinating -- performance. The band seems to be clearing its collective throat in the first half of the concert, opening with a battering all-percussion prelude. Roscoe Mitchell and Malachi Favors go at it at length in a staggered, honking tenor sax/bass duet on "Unanka," and Mitchell ratchets up the gears into screeching overdrive on "Oouffnoon." Finally, after a mocking intro by Lester Bowie, the 15-minute "Ohnedaruth" puts the Art Ensemble on full, ultra-colorful, wailing, free-form display (complete with a few vocal obscenities) before signing off with the "relatively" straight-ahead "Odwalla." It is interesting that Atlantic would lease these way-out recordings to Koch at a time (1998) when it was simultaneously putting out new, safer-sounding releases by the current Art Ensemble and its members.


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