“An impressive complement to a season of commemoration, this elegant boxed set gathers every ECM release by The Art Ensemble of Chicago, along with albums that spin in a compatible orbit […] Avant-garde enthusiasts will be familiar with most if not all of this material, but it’s presented in such handsome fashion here, as in the catalog of a museum retrospective, that the package makes its case.” Nate Chinen WBGO
Some of the best work of one of the greatest groups in jazz is celebrated in a new mammoth boxed set, ‘The Art Ensemble of Chicago and Associated Ensembles’ (ECM). The package features 21 discs, including five essential recordings from the Art Ensemble, as well as individually led and sideman projects by its members. It is a vital document of jazz in the late ’70s and early ’80s, and it offers clear sonic through-lines to some of today’s most important bands.
Martin Johnson, The Wall Street Journal
Fewer groups in improvised music have a legacy more respected than the 50-year run of The Art Ensemble of Chicago, and ECM Records has assembled every note they released on that label with “The Art Ensemble of Chicago and associated ensembles.” […] The box set’s heartfelt and thoughtfully annotated book will serve as a revelation to admirers of the group […] When I heard the Art Ensemble’s ‘Full Force’ album (included here) as an impressionable kid, its expressions of freedom changed my life by exposing me to the possibilities of sound. I haven’t been the same since; it’s nice to think someone else might be affected by these geniuses decades later.
Bret Saunders, Denver Post
This 21-CD collection, centred on the four recordings the Ensemble made for ECM between 1978 and 1984, captures the quintet in its vibrant theatrical prime, fearlessly living up to the strapline ‘Great Black Music, from the ancient to the future’. […] A fascinating document of an influential strand of left-field jazz.
Mike Hobart, Financial Times
ECM’s state-of-the-art production values are palpable in the recordings […] The oft-reserved Mitchell was particularly effusive about the box set’s booklet, a feat of design ingenuity and editorial intelligence that does the music justice, augmenting well-reproduced album covers with a slew of archival documents and photographs, and essays by luminaries like George Lewis and Vijay Iyer.
Ted Panken, Downbeat
Musik, die weite Kreise gezogen hat: Das merkt man an dieser Auswahl. […] Sie schufen etwas ganz Eigenes und gaben dem Jazz eine Sinnlichkeit und Ursprünglichkeit wieder, die dieser – zumindest in seinen avantgardistisch-experimentellen Formen – zuvor verloren hatte. Nicht umsonst schrieb 1980 ein Autor der Zeitschrift ‚La Tribune‘ über das Erleben dieser Band: ‚Es ist egal, ob man irgendetwas von Jazz versteht; dies ist eine durch und durch menschliche Erfahrung.‘ Töne, die der Welt etwas mitzuteilen haben – und nicht nur den Spezialisten. Gerade das ist ein Grund, wieder einmal tief einzutauchen in einen ebenso eigenen wie weit offenen Klang-Kosmos.
Roland Spiegel, Bayerischer Rundfunk
C’est cette saga couvrant près de quarante ans de passions partagées dont ce somptueux coffret rend compte aujourd’hui en rèunissant de façon chronologique et thématique pas moins de 21 enregistrements, parus sur ECM entre 1979 et 2017. […] Manfred Eicher a eu l’excellente idée de regrouper tous les disques du label auxquels Bowie et Mitchell ont participé, en leader ou en sideman, dans des registres des plus variés. C’est Lester Bowie qui le premier, parallèlement à l’aventure de l’Art Ensemble, trouva sur ECM un espace ideal où developper sa voix, lyrique et expressionniste. […] A l’arrivée, ce coffret magnifiquement conçu, riche d’un livre de 300 pages regroupant toutes les pochettes originales des albums, des liner notes et des poems de Joseph Jarman, ainsi que des textes inédits écrits par Craig Taborn, Vijay Iyer et George Lewis, une preface de Manfred Eicher, et une introduction par Steve Lake, offer un apercu saisissant de la contribution d’ECM à la diffusion des forms les plus avant-gardistes de la musique afro-amèricaine. Pas forcément là où on l’attendait…
Stéphane Ollivier, Jazz Magazine