https://youtube.com/playlist?list=OLAK5uy_l9yY-dimdhhRlUyhaKzp7Du9JcilzkXyQ

Nicole Mitchell: flute
Jason Adasiewicz: vibe
Josh Abrams: bass
Frank Rosaly: drums
Calvin Gantt: spoken word (10)

NEW YORK TIMES:
Flautist Nicole Mitchell may have recently headed west for the warmer climes of California, but her latest Delmark venture Aquarius is still very much a Chicago affair. The ensemble name reflects both the wintery certainties of that Midwestern city and the boreal beauty at the root of the band’s sound. Vibraphonist Jason Adasiewicz is the chief reason for the latter distinction and his mallet-meted patterns often supply the bonding agent for Mitchell’s subtly inventive compositions. Coruscating clusters and sustaining swells are recurring call signs to his contributions, and they work exceptionally well in concert with Mitchell’s mercurial leads.

Double bass is just one of the many implements in Josh Abrams’ musical tool bag (as a pair of lauded genre-defying albums for the Eremite label amply demonstrate), but his focus on it here -- plying thick reverberating lines that are right in tune with the city’s past masters running back from Malachi Favors to Wilbur Ware -- is a welcome decision. Drummer Frank Rosaly balances force and grace, often working in close tandem with Abrams to build shifting rhythmic patterns that reveal clever deviations and derivations upon closer inspection. Perhaps most impressive, all four players consistently achieve a full and integrated sound.

Mitchell largely forgoes extended techniques, centering instead on gliding, sonorous runs that thread gorgeously with the creations of her colleagues. “Adaptability” and “Sunday Afternoon” are arguable exceptions to that rule; on the former she adds some electronic echo, and on the latter reveals a harder, funkier intonation that harkens directly back to the maverick artistry of Roland Kirk. That these variations in inflection and tone are only used sparingly only enhances their impact.

The opener “Aqua Blue” nods directly at Herbie Hancock’s classic “.......
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Najnowsza płyta jednej z najbardziej rozpoznawalnych jazzowych instrumentalistek, Nicole Mitchell. Jest jedną z niewielu afro-amerykańskich kobiet, które z powodzeniem poświęciły się kreatywnej muzyce jazzowej. Znakomita flecistka i uczennica Jamesa Newtona, który w jednym z wywiadów powiedział, że artystka "swobodnie stosuje nowe techniki gry, których nie słyszał u żadnego innego flecisty".

Najnowszy projekt artystki powstał w doborowym składzie, na wibrafonie usłyszymy Jasona Adasiewicza, Josh Abrams na kontrabasie, Frank Rosaly za perkusją i w ostatnim utworze o znamiennym tytule „Fred Anderson” mąż Nicole Mitchell - Calvin Gantt.

NEW YORK TIMES:
Flautist Nicole Mitchell may have recently headed west for the warmer climes of California, but her latest Delmark venture Aquarius is still very much a Chicago affair. The ensemble name reflects both the wintery certainties of that Midwestern city and the boreal beauty at the root of the band’s sound. Vibraphonist Jason Adasiewicz is the chief reason for the latter distinction and his mallet-meted patterns often supply the bonding agent for Mitchell’s subtly inventive compositions. Coruscating clusters and sustaining swells are recurring call signs to his contributions, and they work exceptionally well in concert with Mitchell’s mercurial leads.

Double bass is just one of the many implements in Josh Abrams’ musical tool bag (as a pair of lauded genre-defying albums for the Eremite label amply demonstrate), but his focus on it here -- plying thick reverberating lines that are right in tune with the city’s past masters running back from Malachi Favors to Wilbur Ware -- is a welcome decision. Drummer Frank Rosaly balances force and grace, often working in close tandem with Abrams to build shifting rhythmic patterns that reveal clever deviations and derivations upon closer inspection. Perhaps most impressive, all four players cons.......
more