Intergalactic Beings forms the second chapter in flutist Nicole Mitchell's science fiction derived discographical strand. Like the first, Xenogenesis Suite (Firehouse 12, 2008), it showcases Mitchell the composer, again drawing her inspiration from the Afrofuturist novels of Octavia Butler, in which survivors of nuclear holocaust are plucked from earth by aliens who believe that interbreeding is the only way to save the humans from themselves. Commissioned by the Chicago Museum of Contemporary Art, the recording documents the premier at the institution in April 2010. Inevitably given the subject matter, this results in another performance rich in mystery and ominous brooding moods.
This edition of Mitchell's Black Earth Ensemble retains most of the cast from the previous work, only replacing piano with the guitar of Jeff Parker, and adding the violin of Renee' Baker from her Black Earth Strings. Mitchell employs the ten-piece unit to create dense soundscapes which frame the emotive voice of Mankwe Ndosi. Interlocking riffs, tricky unisons and ostinatos organically develop into ambient improv type structures in a largely continuous program in which atmospheric episodes alternate with more driving solo laden passages. Some of the settings recall another Afrofuturist, Sun Ra, especially the eastern sounding marches for flute and horns over clattering percussion on "Cycle of Metamorphosis."
In spite of the emphasis on group texture Mitchell still allows room for individual expression, though she herself enjoys no greater prominence than anyone else. Of the instrumentalists, Baker proves one of the key characters, reveling in spots such as the end of the woozy "Fields of Possibility" where her flickering lines fracture into abrasive shards. Parker contributes choppy chording and effects charged distortion to "The Ooli Moves," while on "Negotiating Identity" tenor saxophonist David Boykin manufactures excitement as he shifts from short urgent phrases to skewed overblowing. Even though Ndosi is tasked with conveying both the human emotions and alien utterance, her voice dominates less than on Xenogenesis Suite. Her otherworldly vocals encompass not only a litany of glottal stops, trills, grunts, squeals and gurgles, but also elements of text in a mode partway between speech and song.
The beautiful melody for voice and Tomeka Reid's cello which closes Resisting "Entanglement" offers some resolution to the journey and transitions into the locomotive "The Inevitables" which features a sparkling flute solo and a swirling tutti followed by an intense percussion section (more shades of Ra) before finishing to enthusiastic applause. A slightly murky recording clouds detail at times, and there are occasional interludes such as the percussive rustling on "Dripping Matter" that translate less well to disc, resulting in a set that might exert most appeal upon existing fans rather than new converts. - John Sharpe
The mission statement for Nicole Mitchell's Black Earth Ensemble "is to inspire the human spirit with thought-provoking beauty and to present a positive, healthy and culturally aware image of African Americans", the group having been named Black Earth to "honor the feminine source that our lives depend on—Mother Earth." Intergalactic Beings manages to both achieve this goal and present an alternative vantage point to consider these ideas. Inspired by the science fiction writing of Afro-futurist author Octavia Butler's 'Xenogenesis' novels, Mitchell's second suite based on these texts seeks to "express the perspective of intelligent extraterrestrials that look with horror at our human contradictions", and tells a journey (both physical and emotional) of "a lone woman in this strange place far from Earth".Mitchell is best known as a flautist, regularly topping Downbeat's Critics Poll, her command of her instrument (C, Alto & Bass flutes in addition to piccolo and occasional vocal contributions) has seen her figure prominently in ensembles led by Anthony Braxton and Rob Mazurek, as well as leading her own groups. However, on Intergalactic Beings it is her compositional strength which takes centre stage.
For this recording (captured live April 30, 2010, at the Museum of Contemporary Art in Chicago) the Black Earth Ensemble's ranks are swollen to ten, the only personnel changes from the first Xenogenesis suite are the addition of Renée Baker on violin (from Mitchell's Black Earth Strings), and Jeff Parker on guitar replacing Justin Dillard (piano). In contrast to the positivity usually associated with her writing for the BEE, Xenogenesis II deals with some bleak subject matter, often utilising dark and brooding sonance to frame the tumult of the story. The resulting suite is almost Third Stream, albeit with the incongruous palette of a post-Cageian sound world, rather than Schuller's sweeter conception. Mitchell's command of instrumental voices at times feels like Gil Evans twisted by pernicious forces, although tempered by a sense of hope and wonder. The recording comes with supporting text detailing the events portrayed, and whilst this is illuminating to the listener it is by no means required reading. The music stands on its own merit, the words providing further context from which to consider the suite, rather than a crutch required to support it.
Whilst much of the piece is through composed, there are areas within its structure for group improvisation, although within a predetermined sonic framework. When the occasional solo does occur, such is the strength of the compositional narrative that the lead voice sounds like an extension of the narration, rather than purely that of an individual. Clearly the long standing musical relationships Mitchell has with each musician ensures that their voices are ideally suited to her compositional style (it isn't a stretch to suggest that passages have been conceived with that particular musician in mind, rather than just their instrument), and in turn an awareness of the aims of the composer is readily apparent in the suite's more improvised areas, although individual brilliance is always afforded its place. Throughout the instrumental colouring is as central to telling the story as Mankwe Ndosi's often wordless vocalese, careful combinations and interplay rendering the emotional complexities of the subject matter through the creaking of a bass clarinet, rummaging percussion or ring modulated guitar. Mitchell's writing for strings is particularly affecting (she began life as a viola player), and her use of interconnecting themes and instruments brings the cinematic best from the ensemble.
Whilst Mitchell's Xenogenesis works utilise ominous overtones which are not a facet of other BEE recordings, there is nonetheless an adherence to the idealogical foundations of the group. An alternative perspective of 'Mother Earth' is offered, holding a mirror to the ruinous potential of a dystopia future we appear to be walking blindly toward (a concept common to much science fiction writing). However, it is the sense of wonder and the resilience of the protagonist which best realises the BEE ideas of positivity. In the engaging musicality of this lovingly rendered composition there is much to "inspire the human spirit with thought-provoking beauty." - Matthew Grigg / freejazzblog.org
Tracks
01. Phases Of Subduction
02. Cycle Of Metamorphosis
03. The Ooli Moves
04. Dripping Matter
05. Negotiating Identity
06. Web Of Hope
07. Fields Of Possibility
08. Resisting Entanglement
09. The Inevitable
NICOLE MITCHELL flute, composition
MANKWE NDOSI vocals
DAVID BOYKIN tenor sax, bass clarinet
DAVID YOUNG trumpet, sralai thom
RENÉE BAKER violin
TOMEKA REID cello
JEFF PARKER electric guitar
JOSHUA ABRAHAMS bass
AVREEAYL RA percussion
MARCUS EVANS drumset
Music composed by Nicole Mitchell
Recorded April 30, 2010
FPE Records - FPE 002