#doncherry

[projazznet]

"Jazz is an art that makes a person completely naked."

~ Don Cherry

📸Public Domain, Wikimedia Commons

[abelkia]

Don Cherry, Daisy Cherry, Eagle-Eye Cherry, Neneh Cherry & Lisa Lawrence (Daisy Cherry's home in Watts, Los Angeles, California, 1976) #doncherry #daisycherry #eagleeyecherry #nenehcherry #lisalawrence #watts #losangeles #california #mokicherry #family #usa #musician #music #jazz #freejazz #organicmusictheatre https://www.instagram.com/p/ChKBtFNtO2g/?igshid=NGJjMDIxMWI=

[jazz-improvisation]

Don Cherry, 1984

Photo: Christian Rose

[ginzyblog]

• Don Cherry, looking at Allen’s “Reality Sandwiches” photography book, Hamburg, June 1988.  He and Allen were there for the premiere of Georg Gruntz’ “Cosmopolitan Greetings” Jazz opera about Bessie Smith,  with libretto by Allen, stage design by Bob Wilson,  Dee Dee Bridgewater as Bessie Smith, and  Don Cherry performing  among many others.  Don Cherry and Allen first worked together on Allen’s William Blake Songs of Innocence and Experience album in 1968. (photo: Allen Ginsberg, courtesy Stanford University Libraries / Allen Ginsberg Estate) • https://vimeo.com/10229398 • #DonCherry #allenginsberg #deedeebridgewater #bessiesmith #bobwilson #hamburg #cosmopolitangreetings #doncherrybrownrice #georggruntz #jazz #poetry @nenehcherryofficial #poetrycommunity #blues • (at Hamburg, Germany) https://www.instagram.com/p/CCj0DoChu7b/?igshid=m831v6tavz7a

[puckoffhockey-blog]

📣 Did you know: (1) In 1992, Don Cherry lent his voice to the charity song “Rock ‘Em Sock ‘Em Techno” for Canadian techno group BKS; and (2) He also appeared on an episode of Goosebumps called “Don’t Go to Sleep!” where he plays a hockey coach. . . . #doncherry #doncherrysuits #hockeynightincanada #coachescorner #puckoffhockey #themoreyouknow #hockeyhistory #hockeyfacts #funfacts #wendys #thisisawendys #immigrationmakesournation #hockeymemes https://www.instagram.com/p/B43l4iwgJZ9/?igshid=quced2khy1hf

[soleilfeedback]

POST-SCRIPTUM 1040

PHILIPPE MATÉ / DANIEL VALLANCIEN, Daniel Vallancien / Philippe Maté, SouffleContinu Records

Certes discrète, la carrière du saxophoniste Philippe Maté n'en aligne pas moins les disques indispensables : que ce soit avec l'Acting Trio, Jean Guérin (Tacet) ou Jef Gilson (Workshop), sans compter ses collaborations en grand orchestre et en quartette avec Lawrence “Butch” Morris, ou sa présence dans le Quatuor de Saxophones et sur le génial L'Enfant assassin des mouches de Jean-Claude Vannier.

Quant à l'homme de l'ombre Daniel Vallancien, ingénieur du son peu habitué à être mis en avant sur les pochettes, la collection Actuel du label BYG lui doit énormément (il est aux manettes derrière Anthony Braxton, Don Cherry, Sonny Sharrock ou Steve Lacy), tout comme Saravah pour le compte duquel il a notamment enregistré Areski, Brigitte Fontaine, Maurice Lemaître ou Cohelmec Ensemble : excusez du peu ! Qui plus est, Daniel Vallancien appartient à cette prestigieuse lignée d'ingénieurs du son français aux oreilles ouvertes et souvent eux-mêmes musiciens, même si parfois uniquement de manière occasionnelle : citons Bruno Menny, Daniel Deshays ou Jean-Marc Foussat, qui tous ont eux aussi gravé sous leur nom des opus remarquables.

Sous-tendant cette collaboration, l'idée était d'accoucher d'une musique libre, directe et spontanée, bien qu'un minimum réfléchie. Une musique, selon les brèves notes de pochette, voulue “détachée des longues et patientes gestations de laboratoire”. Ici, donc : aucun outillage sophistiqué propre aux recherches électroacoustiques, mais principalement une console, qui dans les mains de Daniel Vallancien agit sur la matière sonore instrumentale originale en direct, et la modifie ou démultiplie tout en respectant son jaillissement naturel.

Qu'il s'agisse de Paul Méfano, Betsy Jolas, Gérard Grisey ou Jacques Lejeune, de nombreux compositeurs contemporains ayant oeuvré en France ont, à un moment ou un autre, intégré le saxophone à leur travail. Par exemple, Michel Redolfi, du GRIM puis du CIRM, a expérimenté avec le saxophoniste André Jaume le temps d'un disque convaincant (Hardscore). Pourtant, rien ne peut être comparé à la singularité du dialogue entre Philippe Maté et Daniel Vallacien, décrit par eux-mêmes comme tour à tour “sérieux, sarcastique ou humoristique”, avec çà et là des “sonorités angoissantes”. Sauf que les mots, y compris ceux choisis par les protagonistes de cet album, ne sauraient suffire à décrire pareil objet sonore, aussi difficilement identifiable, et, pour tout dire : sidérant.

—

Although discrete, the career of saxophonist Philippe Maté includes nonetheless several indispensable albums: be it with the Acting Trio, Jean Guérin (Tacet) or Jef Gilson (Workshop), his collaborations in a big band or quartet with Lawrence “Butch” Morris, his presence in the Saxophone Quartetand also on the brilliant L'Enfant assassin des mouches by Jean-Claude Vannier.

As for the man in the background, Daniel Vallancien, a sound engineer rarely featuring on the sleeves, the collection Actuel on the BYG label owes much to him (he is at the controls behind Anthony Braxton, Don Cherry, Sonny Sharrock or Steve Lacy), the same goes for Saravah for who he notably recorded Areski, Brigitte Fontaine, Maurice Lemaître or the Cohelmec Ensemble: not bad for starters! What is more, Daniel Vallancien is one of a prestigious group of French recording engineers with open ears and often themselves musicians, even if only occasionally for some, including Bruno Menny, Daniel Deshays or Jean-Marc Foussat, who have all recorded remarkable albums as leaders.

Behind this collaboration was the idea ofcreating music which was free, direct and spontaneous, while having also a minimum of advance planning. Music, according to the brief liner notes desirous to “remove itself from long and patient laboratory experiments ”. So, there can be found here none of the sophisticated tools associated withelectroacoustic research, but mainly a recording mixer console, which, in the hands of Daniel Vallancien acts directly on the original instrumental sound in real time, modifying and multiplying it while respecting the natural flow.

Be it Paul Méfano, Betsy Jolas, Gérard Grisey or Jacques Lejeune, many contemporary composers working in France have, at one time or another, includedthe saxophone in their work. Michel Redolfi, for example, with the GRIM and then the CIRM , experimented with saxophonist André Jaume on a convincing recording (Hardscore). Nothing, however, can compare to the singularity of the dialogue between Philippe Maté and Daniel Vallancien, which they themselves describe as being “serious, sarcastic orhumorous”, with, here and there, “disturbing sounds”. Words, however, even those used by the protagonists themselves, are insufficient to describe such a sonic object, difficult to identify and, it has to be said, extraordinary.

[tunesfromthemancave]

Now spinning: John Coltrane & Don Cherry "The Avant-Garde" Another stellar LP from the mono box set. #nowspinning #vinyl #vinyligclub #vinyljunkie #vinylcollector #vinylcollection #vinylcollectionpost #vinylcommunity #vinylcommunitypost #recordcollection #johncoltrane #doncherry #theavantgarde #jazz #deathtodigital #digitalsucks #happinessissmoothjazz #therevolutionwillnotbedigital

[projazznet]

Ornette Coleman/Don Cherry/Jimmy Giuffre/Kenny Dorham – The Lenox Jazz School Concert: August 29, 1959

The Lenox School of Jazz was a summer program in Lenox, Massachusetts founded by John Lewis and held from 1957 to 1960. It was one of the first instances where the worlds greatest jazz musicians were enlisted as faculty and where jazz was taught to promising young musicians. This release presents the rare and long unavailable 1959 Lenox Annual Benefit Concert, featuring such stars as Ornette Coleman, Don Cherry, Jimmy Giuffre, Kenny Dorham and Gary McFarland, among many others.

As a bonus, an extremely rare quartet set by Kenny Dorham, who was one of the mentors at the Lenox School.