Rogue Art

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RogueArt’ is a natural name for a label that provides shelter for music that is outside the mainstream. – Michel Dorbon, Rogue Art founder

In matters of artistic expression

the cheaper the statement, the more chances it gets to be heard. The market demands barren goods with a short turnover and no resistance. As far as music is concerned, one only has to dig into the entertainment supermarket displays to find that they are packed with cheesy products: is it for hiding some treasures destined to a happy few? On the other hand, this implacable Market is crushing independent record shops and labels that aim at experienced music lovers and true curious.

Rogue Art goes against this tendency and allows original, clever and creative artists to express themselves. Rogue Art is a jazz label, in times when the word itself has lost its meaning, to such point that the great creators won’t even name their music that way. Jazz is one of the big artistic revolutions of the last hundred years. Without any preconceptions, open to many influences of other forms of expression, jazz perpetually evolves, remaining only true to its own history. Jazz still lives and disturbs. It will do so relentlessly, with its complex, refined and sensitive way of expressing our energy, emotions, joy and pain, breaches, fights, hopes and despairs… of life. Jazz is one of the rare artistic movements to embrace social concerns – its African-American roots built its identity and far reaching sensibility. Too many people forget that jazz isn’t just a void aesthetical movement; it is totally devoted to the everyday fights of those who struggle for survival and social existence.

In this context, Rogue Art has built a field of expression and discussion. Listen to the artists and musicians who honour us with their presence and you won’t be disappointed! We only aim to make their voice audible to you, audible to everyone.

Nicole Mitchell | Engraved in the Wind | RogueArt Jazz

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This recording is a virtuosic tour-de-force. The technical achievement of this music stands on its own and defines Nicole Mitchell as an innovator and expressive artist with a depth of mastery that surpasses even that which we already know about her. Consider the exacting precision of every sound made here, the multi-phonics, the sustain and variation of pitch, the rhythmic phrasing, the sheer beauty of the intonation, the arch and fluid execution of every phrase regardless of the velocity or density of notes, and the. tremendous and complex variety of timbre, articulation, and variation of groove. All of these elements make Engraved in the Wind a masterful work of solo music, a great achievement for Nicole Mitchell and a deeply rewarding listening experience for the rest of us. — Joe Morris, November 2012 Continue reading →

Jeff Albert’s Instigation Quartet | The Tree On The Mound | RogueArt Jazz

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The art of throwing spinning-tops It’s on. It’s overflowing with energy.The music tosses the spinning-top of reality, since playing is spinning around what is, where hides what is not, what once was, and what one day will be. To play is to drill. And to improvise is to recover and develop “the faculty and the ability to ceaselessly birth sensations.” (Novalis) To improvise is to make the world flow, or to let oneself go as it flows. Sounds visit us and their levels rise within us like the waters of a flooding river – closeness of the Nile and the Mississippi. (Edward “Kidd” Jordan is the instigator of River Niger, a composition sometimes played by this quartet, which is at Jeff Albert’s instigation). When he is playing, Jeff Albert, proud heir of the tailgaters, has all the dykes and seawalls at his disposition. When he is playing, “Kidd” Jordan accumulates cataracts and deltas. There are at least two types of accumulation: the methodical accumulation of the merchant economy, the one which compiles and compacts, which amasses objects, signs, bits and pieces, which amasses time-frames also, in order to confirm them in their conformity and isolation. There is the poetic accumulation: it is spasmodic, disparate, thought-provoking -while it gathers, it squanders; while is uses, it rejuvenates. Lucid silt. — Alexandre Pierrepont (Translation: Romain Tesler) Continue reading →

Denis Fournier | Nicole Mitchell | Hanah Jon Taylor | Tomeka Reid | Bernard Santacruz | Watershed | RogueArt Jazz

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If the three compositions proposed by Denis Fournier have already been recorded, they merit to be here as resurgences, like scenarios encouraging the freedom of transformation without which free interpretation is nothing. “I often say that I don’t make improvised music, but that I improvise music. In other words, I put together there and then elements of my life, of my history, of my culture…” In other words, no structure commands the action. Every structure opens to the action (to sharing) which redefines it. On their side, Nicole Mitchell and Tomeka Reid propose, one a musical treasure trail (Pathways), in phases and superposed phrases, the other a lament which is also a homage (Prayer for Wadud), beginning solemnly, elevatory, but dispersing like the cellist Abdul Wadud who still lives isolated from the world. Because if the album starts briskly, it finishes through several series of halos – once reaching Prayer for Wadud and La Voce de la Luna which takes its name and its indolence from Federico Fellini’s last film, itself inspired by a book by Ermanno Cavazzoni entitled Il Poema dei lunatic – The Lunatics Poem…Or how to show that things and beings are never what they appear to be, never only, never complete without the imagination which completes them and glorifies them. — Alexandre Pierrepont, excerpt from the liner notes Continue reading →

Roscoe Mitchell | Nicole Mitchell | Black Earth Ensemble| Three Compositions | Live at Sant’Anna Arresi | RogueArt Jazz

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Despite the compositions’ respective demands Nicole Mitchell and Black Earth Ensemble fully and vividly represented Roscoe Mitchell’s varied means of creating chemistry between written and improvised materials. At every turn in the program, they played with a palpable sense of familiarity and ease with the composer’s vernacular and methods. They sounded like they’ve been playing this music every night for a long time. — Bill Shoemaker, excerpt from the liner notes Continue reading →

Didier Petit | Alexandre Pierrepont | Passages – A Road Record – Woodstock – New York – Chicago – Los Angeles | RougeArt Jazz

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Lawrence Butch Morris developed the concept of “conduction” to account for a mode of Instant Composition based on the creative freedom of the players stimulated by the gestures of a central conductor. AP/DP, with this cd, invent the practice of musical transduction. Just like the French language is not “translated” but transducted into Kamau Daáood’s unique prosody, DP’s cello does not “translate” the playing of a thumb piano, an oud or a kora: all of these instruments, all of their phrasings electrify his playing from the inside, they are transducted into the cello. Similarly, DP’s vocal cords do not “translate” what his fingers perform on the strings: both are electrified by a common current, alternating and direct. The astonishing fluidity of this complex meshwork of influences qualifies AP/DP as “Super-transductors”: through this cd, one hears not only a whole family of giant cello players (Abdul Wadud, Robert Een, Tom Cora, Ernst Reijseger, Peggy Lee, Hank Roberts), but also a long history of lyrical surrealism (from Lautréamont to Henri Michaux), and the widest range of traditions in ethnomusicology (from Africa to the Middle East, through classical Europe and Amerindian singing)… …Be prepared to be transducted, transformed and elated. — Yves Citton, excerpt from the liner notes Continue reading →

Steve Dalachinsky | Matthew Shipp | Lorna Lentini | Logos and Language: A Post-Jazz Metaphorical Dialog | RogueArt Jazz

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Steve Dalachinsky, poet, and Lorna Lentini, photographer, both know Matthew Shipp, musician, since he arrived in New York in the late 80’s. “Logos and Language: a Post-Jazz Metaphorical Dialogue” is made up of dialogues between Steve and Matthew, Steve’s poems (written while listening to Matthew Shipp), Matthew’s writings and Lorna’s photographs. Shipp’s music as seen from the inside by three major artists. It definitely creates a unique book that on its own, is not just a book about Shipp but as Shipp himself would agree, a book that encompasses the entire Cosmos. Continue reading →

Roscoe Mitchell & David Wessel | Contact | RogueArt Jazz

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David Wessel, despite whatever label on can attach to his music is very familiar with the musical object commonly called jazz (never mind the name we give to this music which is both one and multiple, pushing the limits of its frontiers, the importance being that it exists, whatever the label). He has also played with George Lewis, Steve Lacy to name but a few; several times during later meetings, David told me of his admiration for the drummer Oliver Johnson, found dead in tragic circumstances one morning in March 2002 in the Halles square in the heart of Paris… Roscoe Mitchell Mitchell, from the Art Ensemble of Chicago to his performances with Thomas Buckner, to his Note Factory and numerous other groups, is not a stranger to adventure as long as it serves the cause of music… This duo is an evidence in itself. When we know that their first musical encounter dates from the 80’s (as witness a first concert in 1986 at IRCAM), we can only be surprised that their musi has not been diffused more widely… Roscoe Mitchell and David Wessel are of those, each in his own right, who push musical expression to its furthest limits. No cold rigour her, no search of form for form’s sake; music, complex, refined, is warmly offered to the audience. — Michel Dorbon, excerpt from the liner notes Continue reading →

Hamid Drake & Bindu | Bindu | RogueArt Jazz

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Who could have imagined that Hamid Drake would wait such a long time before giving life to his first band – as a leader that is? As one of the most important drummers in Afro-American music’s History, Drake is the guide to many musicians the world over while his rich, thorough, eclectic and fully controlled playing is used as the backbone to many orchestras. For ages, his numerous duets gave us a clear view of his music skills but this first recording as the leader of Bindu allows Hamid Drake the necessary space to fully display at last his own brilliant and original expression. No matter how unusual the orchestra is (four reeds and a drum), we really are confronted here with a great band. Who else than Hamid Drake would have dared to pick such strong personalities as Ernest Dawkins and Greg Ward from Chicago, Daniel Carter and Sabir Mateen from New York, with no other goal and challenge than a meeting of pioneers willing to break new grounds? And what more beautiful introduction to this musical structure could be made than this duet with Nicole Mitchell and her refined, sparkling playing? It won’t be difficult, in these circumstances, to forgive Hamid Drake for having taken his time so long before leading such a group. Hamid Drake, we thank you for honoring us with that perfect Rogue Art opening. Continue reading →

Rob Brown | Steve Swell | Joe Morris | Luther Gray | Rob Brown Quartet | Radiant Pools | RogueArt Jazz

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Rob Brown has a sound of his own one that you instantly identify, and it’s a wonder why his unique way of playing alto saxophone still hasn’t found the recognition it deserves. With “Radiant Pools”, not only does he confirm what a great musician he is, but he also shows how he can give life and soul to an orchestra… and what orchestra! Quite noteworthy is the way Rob Brown’s alto sax (hear his high notes) and flute, and Steve Swell’s trombone complement and enrich each other; respond to one another while Swell shows as much talent as a soloist than composer. The rhythm – and sometimes improvising – section is brilliantly composed of Joe Morris (who also wrote a wonderful piece) on the bass, although he gained a top-ranking reputation as a guitar player, and Luther Gray whose perfect knowledge of dynamics is a clear clue of how great a drummer he his. “Radiant Pools” also proves that written and free form improvised music can make a happy combination for the recipe of a consistent musical piece… as long as the service is first-rate! Continue reading →

Roscoe Mitchell | Corey Wilkes | Craig Taborn | Jaribu Shahid | Tani Tabbal | Roscoe Mitchell Quintet | Turn | RogueArt Jazz

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It’s been many years since the multi-facetted art of Roscoe Mitchell overwhelm us whether with the Art Ensemble of Chicago, or his Note Factory, or his solo performances or so many projects with so many giants. However, we know that Roscoe Mitchell still has much to say. Incredible as it may seems, this here quintet generously offers yet another dimension of his music. The first striking thing in “Turn” is how Mitchell perfectly controls such an elaborate speech while, rich as may be the written parts, they never hamper the freedom to ad lib. And that’s why each new listening at “Turn”, each of Turn’s turns (and there are many), bring new emotions and wonderful surprises. Roscoe Mitchell unquestionably is the architect of this refined musical building called “Turn”; however, without such great musicians as Corey Wilkes, Craig Taborn, Jaribu Shahid and Tani Tabal, the other members of the quintet, we wouldn’t have entered it so easily. For all these reasons, we dare say “Turn” is a masterpiece. And we do mean masterpiece! Continue reading →