The Art Ensemble of Chicago

 Of the seven bands/musicians I'm covering for the letter "A", The Art Ensemble of Chicago is undoubtedly the most "out-there" in approach. They were/are an avant-garde, free-jazz ensemble that incubated in the fertile ground of the Association for the Advancement of Creative Musicians (AACM) based in Chicago in the late 60s. Much of their music was created spontaneously, improvised on the spot. They utilized an incredible array of instruments including what they referred to as "little instruments" such as bells, whistles, bicycle horns, wind chimes, birthday party noise makers, kalimbas, and a variety of percussion. And while each musician had their main instruments, they all contributed to the overall tonal effect through the varied use of these "little instruments."

Their first LP, Sound, was released in 1966 as a work from The Roscoe Mitchell Sextet, featuring Mitchell on sax, Lester Bowie on trumpet, and Malachi Favors on bass. The following year, they were joined by Joseph Jarman (also on sax) and Phillip Wilson on drums. and their performances grew theatrically. 

In describing what they were about, Jarman said: "So, what we were doing with that face painting was representing everyone throughout the universe, and that was expressed in the music as well. That's why the music was so interesting. It wasn't limited to Western instruments, African instruments, or Asian instruments, or South American instruments, or anybody's instruments."

It was during their residency in Paris starting in 1970 that they became known as The Art Ensemble of Chicago, which they felt represented the collaborative nature of their work. It was also during this time that drummer Don Moye joined the band as Phillip Wilson had left to join Paul Butterfield's Blues Band. Here, in Paris, in 1970, they recorded one of my favorite albums of all time, Les Stances A Sophie, featuring a blistering vocal from Fontella Bass, the iconic singer of the hit, "Rescue Me" and who was Lester Bowie's wife. 

Here's a performance from 1991, pretty much the group as I saw them and here's an example of their expressionistic improvised performances, replete with small instruments. And, finally, a tune they often performed, here an exciting performance from the Ann Arbor Blues and Jazz Festival.

The last thing heard from those of the group remaining was in 2019, with a celebration of their 50th Anniversary.