On his first album as a band leader, Roscoe Mitchell gave the world a first glance at the music that the Art Ensemble of Chicago–of which Mitchell and a few of these musicians were a part of–would be enamored with throughout their illustrious career. Coming seven years after Ornette Coleman’s The Shape of Jazz to Come, Sound extended Coleman’s message with a more collective playing style and further dives into experimental textures. The aptly named opener Ornette follows the same melody-improvisation-melody formula that Coleman used so often, but The Little Suite follows with great deal of components, each of which tested limits of aesthetic and timbre with harmonicas and other texturally driven instrumental sounds. At 20-minutes long, title-track Sound was certainly one of the most rebellious offerings of the 1960s.
Chicago was a town that always held an influence on jazz history as many New Orleans-born heroes had to flee to a less racist part of the country late in their careers. The Art Ensemble of Chicago proved the importance of the city’s art music scened by pushing the idea of improvisation further than it had ever been with each performance. Sound was the start of their rise and without it the fundamental ideas of free improvisation would not be where they are today.