"Nice Guys" - Art Ensemble of Chicago

Back in August I discovered a new record shop in Northeast Portland called Beacon Sound. It had a small, yet focused, Jazz vinyl selection with a good percentage of avant-garde discs that I would've gladly purchased. I restrained myself by limiting my purchase to one LP, Nice Guys by the Art Ensemble of Chicago. Nothing too rare as it was a cut out, but the price was just right at $6.

I have owned a digital version of this album for some years now. It's not one the Art Ensemble's strongest works, but it sure exemplifies their compositional style and sheer force as they perform in the studio. Like most music on vinyl, I have been listening to it a lot more now. It must be something to do with putting a record on the turntable over and over again that feels right. Rather than using my Click Wheel to access it.

Nice Guys is the first album the AEOC cut for the ECM label, and also the first after a five year break from recording. Probably what is the most satisfying part of the record is the final track, 'Dreaming of the Master'. What is Joseph Jarman's high tribute to Miles Davis, the whole album seems like a culmination that ultimately feels like a spiritual breaking down during this closing tune.

In 1990 'Dreaming of the Master' was reintroduced in a new album entitled, Dreaming of the Masters Suite: Music Inspired by and Dedicated to John Coltrane. Released on the Japanese Label DIW, it's a mixture of Art Ensemble and Coltrane compositions.

1978 - ECM (1126)

Lester Bowie - trumpet, celeste, bass drum; Joseph Jarman - reeds, percussion, vocal; Roscoe Mitchell - reeds, percussion; Malachi Favors - Maghostus bass, percussion, melodica; Famoudou Don Moye - drums, percussion, vocal.

"Ohnedaruth" - Art Ensemble of Chicago

I just had to share this video. It really gets the heart rate up. Nothing quite beats this AEOC composition for me. Any punk rocker has nothing on these guys, this is real rock and roll!

"Bap-Tizum" - Art Ensemble of Chicago

Rolling off the needle of my turntable, this disc delivers a live performance by the group during the 1972 Ann Arbor Blues and Jazz Festival. Unedited and exhibited in its entirety, the set showcases an adrenaline rush of tunes that leave the audience (as well as myself, the listener) begging for more.

The band here is appearing for the first time shortly after returning from a four year stay in Europe and also introduces Don Moye -- to America -- on drums (who provides the outstanding drum ensemble composition, Nfamoudou-Boudougou to start the set). Particularly, I love Roscoe Mitchell's Unanka, allowing a simplistic, slow tempo bass line while allowing Mitchell freely distort the tune.

Things remain timid with Ooufnoon while the two reedist and Bowie produce sounds hardly imaginable on their instruments. For the climax, the group erupts with Ohnedaruth, a fast tempo, 15 minute free for all track that displays the group's stamina and devotion to their intentions. Odwalla contains a more conventional approach as the tune closes out the set. It show Mitchell's universal abilities as a composer which further demonstrates the ensembles ability to reach so many dimensions of jazz, allowing it to truly be "great black music."

1972 - Koch Records.

Roscoe Mitchell and Joseph Jarman - Reeds; Lester Bowie - Trumpet; Malachi Favors - Bass; Don Moye - Drums.