The Art Ensemble represented one of my very earliest forays into avant-jazz. I remember ordering 'Les Stances a Sophie' from New Music Distribution Service back around '73, right around when 'Bap-Tizum' had been released on Atlantic. One of the great things about that band was how each member represented a different take on the music, displayed a facet through which the talents of the others were amplified and enhanced. Bowie's sardonicism riffing on Jarman's mysticism each playing off Mitchell's cerebral ecstasy. Moye deployed African rhythms informed by the streets of Detroit while Favors...Favors nailed down the blues base. I'd mentally toy with who was the most invaluable member, Mitchell or Favors--could never decide.

In some trivial ways, Favors was the anti-virtuoso whose thick sound belied the need for gymnastics. But, given a choice, I'd rather hear him play than almost any of his more nimble contemporaries. Upon hearing of his death yesterday, I took out the glorious duo album he recorded in 1975 with Muhal Richard Abrams, 'Sightsong'. For sheer musicality, I'd rank his work on that session with any bassist short of Mingus. And his solo piece, 'Way Way Way Down Yonder' (what a title!) is just stunning in both conception and execution. I next played one of my desert island recordings, Roscoe's 'Congliptious' and once again marvelled at Favors' contributions to 'Congliptious/Old', how vast and rock solid he is. And how utterly ancient and timeless on 'Tutankhamen'. Later on, I'll play "The Spiritual" from the Paris, 1969 sessions, a piece conceived by Mitchell but, to my ears, bearing a strong Favors stamp, particularly in the wonderful story-telling and banjo playing.

I get the impression that Favors was a pretty self-effacing man and you certainly heard less about him than his compadres; his name rarely showed up in any list of great bassists/musicians. But it should have.

Thanks so much for all the beautiful music, Mr. Favors.

I only started listening to the Art Ensemble about three years ago, but now I've got nearly 20 of their albums (including the 5-CD box). I'm currently working on a piece on them (it's mostly Jarman-centered, because until this weekend his return was the big news), and Favors was the only member I didn't get to interview.

In addition to his work on their albums, I really love the sound he has on Dewey Redman's Tarik. That's probably what I'll wind up playing today—that or Eda Wobu.

Well, it should finally (sadly) put paid to Art Ensemble Reunion gigs, which in my view should have stopped after Bowie died. Great bassist, often overlooked.
OK Bags boys & girls, what's your favourite AEC album then?

A long bout with stomach cancer now over, correct? If so, at least his suffering is over.

I can't really add to what Brian said (SIGHTSONG indeed), other than to say that I've always felt that Favors kept the spirit of Wilbur Ware alive, which is tantamount to sainthood (of the musical variety) in my book.

As for my favorite AEC album... it's a toss-up between A JACKSON IN YOUR HOUSE and PEOPLE IN SORROW.

I'll go you ten better, Dan:

Les Stances a Sophie (Nessa)
Phase One (Prestige)
People in Sorrow (Nessa)
Bap-Tizum (Atlantic)
1967/68 (Nessa)
Fanfare for the Warriors (Atlantic)
With Fontella Bass (Prestige)
Nice Guys (ECM)
Full Force (ECM)
Art Ensemble of Soweto (DIW)

If considered as AEC, I'd place both "Congliptious" and "Old/Quartet" right up near the top.

My AEC Top Ten (can't rank 'em in order, sorry):

Les Stances A Sophie
Reese and the Smooth Ones
With Fontella Bass
Bap-Tizum
Urban Bushmen
The Meeting
Message To Our Folks
Chi-Congo
Tutankhamun
Live In Milano (formerly Among The People)

Does that early "Roscoe Mitchell Sextet" LP "Sound" count? There's some great Favors thrumming on that one.

This is sad news, indeed. I spent part of the weekend revisiting some of my favorites of his ‘sideman’ spots. Unlike say John Gilmore, Favors found the time when he wasn’t on AEC duty to record/gig quite regularly, particularly when the band was on hiatus.

Some of the highpoints of his extra AEC-curricular career IMO:

Dennis Gonzalez New Dallasorleanssippi – DEBENGE DEBENGE (Silkheart) [octet w/ both Charles Brackeen & Kidd Jordan (yow!) in the ranks- Favors has room to solo on the longer cuts- pretty explosive stuff]

Dennis Gonzalez New Dallas Sextet – NAMESAKE (Silkheart) [another one with Brackeen, Favors locks in great w/ drummer Alvin Fielder]

Charles Brackeen – BANNAR (Silkheart) [tight, high velocity quartet w/ Favors & Fielder once again in easy simpatico]

Kahil El’Zabar’s Ritual Trio – RENAISSANCE OF THE RESISTANCE (Delmark) [the trio’s debut on the Chicago label, Favors’ as walking line pivot for his partners on more ‘inside’ fare]

Kahil El’Zabar’s Ritual Trio – JITTERBUG JUNCTION (CIMP) [Favors’ deep mahogany sound versus the Spirit Room’s bass-swallowing sonics- damn if he doesn’t come out on top]

Kahil El’Zabar – BIG CLIFF (Delmark) [a jam session uniting the vintage & new in El'Zabar’s Ritual outfit- One of the best examples of Favors’ abilities as flexible anchor & he makes everyone else sound better, serving as ostinato stanchion when the others noodle]

Wadada Leo Smith – REFLECTATIVITY & GOLDEN QUARTET (Tzadik) [Favors in chamber jazz & postbop settings respectively- the former offers a definitive example of his adaptability to a stricter composerly context]

Ditto on what Joe mentioned about the Ware connection. I have to admit I’ve never really been a big AEC fan. I like what I’ve heard well enough, but don’t seem to return to their albums all that often. Though my favorite would probably be BAP-TIZUM.

Phil, looking forward to your piece.

Bap-tizum
Fanfare for the Warriors
Message to Our Folks
A Jackson in Your House
Urban Bushmen
Eda Wobu
Les Stances a Sophie
People in Sorrow
Full Force
Reese and the Smooth Ones

"Phase One" and "With Fontella Bass", which I listed above, came out (I think) at the same time on Prestige (or Milestone/Prestige) around 1973-4. I understand they were briefly available on disc on some boot French label a few years ago, though I've never seen 'em and I don't know if they're around today. But, presumably because of their general unavailability, they're generally not mentioned in AEC best lists, which is a real shame. 'Phase One' contains a side-long version of "Ohnedaruth" that, imho, is one of the single great performances in post-Ornette jazz. It goes from a fantastic, spacy, gongs and electric bass throb opening to that thrilling unison horn line and then a series of molten solos, ending with a Mitchell alto solo that's just speaker-shredding in its rawness.