Thomas Bruckner-baritone voice
James Fei-live electronics
Jeongak Soo Yeon Lyuh-Haegeum
Giovanni Trovalusci-flute, bass flute
Kyle Bruckmann-oboe, English horn
Rachel Condry-clarinet, bass clarinet
Alicia Telford-French horn
Jordan Glenn-drum set
Roy T. Malen-violin
Mai Bella D'Augelli-violin
Richard Worn-double bass
Kristin Zoernig-double bass
Roscoe Mitchell 25 Piece Orchestra Returns with an Outstanding Follow up to its 2017 release 'Discussions.'
Recorded March 19th and 20th 2018 in the Littlefield Auditorium, Mills College, where Roscoe has held the chair of composition, once held by esteem composer Darius Milhaud, for over a decade. Encompassing intriguing instrumentation with full written orchestrations by Mr. Mitchell, this recording contains performance by many notable musicians and is of the highest quality both sonically and musically.
Joining Roscoe’s Orchestra are three accomplished soloists: Thomas Buckner - baritone voice, Giovanni Trovalusci - flute and bass flute, and Soo Yeon Luyh - haegeum. "Rub," "Wha Wha," and "Frenzy House" were conducted by Steed Cowart and "No Nah Nah Nai" was conducted by Roscoe Mitchell.
[...] Each of the four pieces on the album is a product of the Roscoe's tireless efforts to devise systems to articulate and capitalize on the tensions between composition and improvisation in both his own work and music as a practice at-large. Three of the four works ("Rub," "Wha-Wha," and "Frenzy House") are part of the "Conversations for Orchestra" series, the history of which is described in detail in the liner notes for Mitchell's 2017 album "Discussions" (Wide Hive Records WH-0339).
In brief, the "Conversations" series consists of compositions which trace their genesis back to a suite of improvisations recorded by Mitchell, pianist Craig Taborn, and drummer Kikanju Baku in 2014 (which can be heard on the Wide Hive releases "Conversations I" and "Conversations II"). Mitchell has employed some of the most talented minds from all over the globe to produce precise, note-for-note transcriptions of the complex material improvised by the trio. The process suggests a vision of music making which eschews both the rigid fixity of composition and the flighty transience of improvis....... więcej