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A Jackson Your House
A Jackson Your House in Bloomington, MN
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Size: CD
A Jackson in Your House
was recorded while
the Art Ensemble
was on its initial sojourn in Paris with just a quartet --
Roscoe Mitchell
,
Lester Bowie
Malachi Favors
, and
Joseph Jarman
-- because drummer
Phillip Wilson
had left to play with
Muhal Richard Abrams
and
Foumoudou Don Moye
wasn't in the house yet. So this, along with its companion LP,
A Message to Our Folks
, showcases
at its bravest and most vulnerable. For those familiar with the earlier recordings on
Nessa
, such as
People in Sorrow
is shockingly formalist, though far from conventional in any way. Here the band was interested in being a gigging and recording "art ensemble" more than being a
free jazz
group. Hence, all sorts of theatrical elements are involved in the performances. The set opens with the title track, which sounds like a rent party with music playing both on the juke and in the living room. Given that this was 1969, a number of
jazz
critics misunderstood the New Orleans references in the music and took this to mean that the band had either sold out its
experimental
heritage (which is absurd), or they were poking fun at the founding fathers of the music known as
(which is absurd, too). If anything, by utilizing on the opening statement -- and indeed throughout the album -- the historical frames of
revealed its deep empathy with
Armstrong
W.C. Handy
King Oliver
Jelly Roll Morton
, etc. The freewheeling influence of
Ornette Coleman
is felt on
"Get in Line,"
with its strident pacing, stop-on-a-dime changes, and stretched melodic and harmonic sensibilities -- check out
Favors
trying to keep the saxophones "lined up" in the middle of the tune since he's the only rhythm player. There are some things that don't translate well to a recording session, however, and the largely spoken theater of
"Old Time Religion"
is one of them. Near the end of the disc, on
"Rock Out,"
the band proves it can
funk
rock
with the best and worst of them by using an electric guitar and a host of percussion instruments, taking a riff apart endlessly until it becomes just some funky detritus in the mix.
is not the finest or most revelatory recording by
the Art Ensemble of Chicago
, but it is one of their more entertaining and carefree outings and, as expected, the French ate it up. ~ Thom Jurek
was recorded while
the Art Ensemble
was on its initial sojourn in Paris with just a quartet --
Roscoe Mitchell
,
Lester Bowie
Malachi Favors
, and
Joseph Jarman
-- because drummer
Phillip Wilson
had left to play with
Muhal Richard Abrams
and
Foumoudou Don Moye
wasn't in the house yet. So this, along with its companion LP,
A Message to Our Folks
, showcases
at its bravest and most vulnerable. For those familiar with the earlier recordings on
Nessa
, such as
People in Sorrow
is shockingly formalist, though far from conventional in any way. Here the band was interested in being a gigging and recording "art ensemble" more than being a
free jazz
group. Hence, all sorts of theatrical elements are involved in the performances. The set opens with the title track, which sounds like a rent party with music playing both on the juke and in the living room. Given that this was 1969, a number of
jazz
critics misunderstood the New Orleans references in the music and took this to mean that the band had either sold out its
experimental
heritage (which is absurd), or they were poking fun at the founding fathers of the music known as
(which is absurd, too). If anything, by utilizing on the opening statement -- and indeed throughout the album -- the historical frames of
revealed its deep empathy with
Armstrong
W.C. Handy
King Oliver
Jelly Roll Morton
, etc. The freewheeling influence of
Ornette Coleman
is felt on
"Get in Line,"
with its strident pacing, stop-on-a-dime changes, and stretched melodic and harmonic sensibilities -- check out
Favors
trying to keep the saxophones "lined up" in the middle of the tune since he's the only rhythm player. There are some things that don't translate well to a recording session, however, and the largely spoken theater of
"Old Time Religion"
is one of them. Near the end of the disc, on
"Rock Out,"
the band proves it can
funk
rock
with the best and worst of them by using an electric guitar and a host of percussion instruments, taking a riff apart endlessly until it becomes just some funky detritus in the mix.
is not the finest or most revelatory recording by
the Art Ensemble of Chicago
, but it is one of their more entertaining and carefree outings and, as expected, the French ate it up. ~ Thom Jurek
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