Reviews that mention James Fei

June 11, 2018

Roscoe Mitchell

Bells for the South Side
ECM 2494/2495

Roscoe Mitchell/Montreal-Toronto Art Orchestra

Ride the Wind

Nessa ncd-40

Roscoe Mitchell-Matthew Shipp

Accelerated Projection

RogueArt Rog 0079

Daniel Carter/William Parker/Matthew Shipp

Seraphic Light

AUM Fidelity AUM 106

Something In The Air: The Continued Relevance of Composer/Performer Roscoe Mitchell

By Ken Waxman

More than a half-century after his recording debut, multi-reedist Roscoe Mitchell shows no sign of slowing down as a player or composer. One of the founders of the Association for the Advancement of Creative Musicians (ACCM) and the Art Ensemble of Chicago (AEC), Mitchell, who also teaches, keeps the AEC going alongside experiments with ensembles ranging from duos to big bands. Many of the bigger configurations are pliable however, so what at first appear to be a large ensemble turns out to be several subsets of musicians who more faithfully portray some of Mitchell’s thornier compositions. MORE

October 6, 2016

Roscoe Mitchell Trio

Angel City
RogueArt ROG-0061

Ensemble SuperMusique

Les accords intuitifs

Ambiances Magnétiques AM 222



NoBusiness NBLP 92/93

RED Trio with John Butcher

Summer Skyshift

Clean Feed CF 372 CD

Jack DeJohnette

In Movement

ECM 2488

Something in the Air: Interpreting Roscoe Mitchell’s Challenging and Influential Music

By Ken Waxman

April 8, 2014

Anthony Braxton

Quartet (Warsaw) 2012
ForTune 0020

By Ken Waxman

True appreciation of Anthony Braxton’s music must come with the understanding that the only reference points for it are often other Braxton works. That said it’s also important to remember that there is no definitive Braxton style any more than there was an exclusive Duke Ellington or Sun Ra style. A musical omnivore, Braxton’s influences range over jazz, modern notated music, pure improvisation and electronics.

The provocative “Composition 363b+” that takes up all of Quartet (Warsaw) 2012 for instance, appears to be a step away from his recent repetitively tremolo Ghost Trance and Falling River musics. Instead it relates to his sessions from the ‘70s where a stringed instrument would provide the continuum, with the top – not front – line consisting of improvising expressions from Braxton plus another reed or brass player. Featuring violinist Erica Dicker, alto saxophonist James Fei and long-time Braxton aide-de-camp cornetist Taylor Ho Bynum, plus the composer on alto and tenor saxophones, this composition approaches that earlier style. However real-time electronic processing generated by SuperCollider supplies the tense, crackling ostinato here. MORE