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Ornette Coleman: Genesis of Genius: The Contemporary Albums
by Jeff Kaliss
For many an Ornette Coleman devotee, devotion was pledged with the singular saxophonist's The Shape of Jazz to Come (Atlantic). It was recorded in May and released in November of 1959, and it's a matter of when in our life we caught up with it. For some of us, that's when we first felt liberated by jazz. That album, produced by Nesuhi Ertegun, remains a hard act to follow, even for Coleman himself. Or to precede. But “Hollywood ...
Continue ReadingJazz Not War: Part 2
by Ludovico Granvassu
This time we'll let music do all the talking because it's hard to find words that can channel what's going on. If anything it's in times like this that we are reminded about the power of music. If anything it's in times like these that we are reminded about the power of music. And jazz, in particular, has a long history of being inspired by challenging events and human struggles, distilling beauty out of the harshest circumstances.PlaylistBen Allison ...
Continue ReadingDon Cherry: Complete Communion & Symphony for Improvisers Revisited
by Stefano Merighi
Di fronte a questi gioielli di Don Cherry degli anni '60 che cosa si può scrivere ancora? Si può solamente invitare ad ascoltarli con orecchie ricettive e lasciarsi andare all'emozione, come scriveva Nat Hentoff nelle sue note originali per Complete Communion, senza perdere molto tempo in analisi formali poco utili. Questa edizione della collana Ezz-thetics fa scorrere per un'ora e venti minuti due opere manifesto della poetica del compositore-improvvisatore-cornettista e polistrumentista, che all'epoca coordinava organici smaglianti ...
Continue ReadingOpen Mike Night
by Patrick Burnette
We don't pen up or force-feed our co-host. This podcast is proud to say we use only free-range Mike. And when Mike's in the driver's seat, you never know what odd alleyways you might go down. Today's 'cast looks at two generations of Cherry's, the third appearance on this show of Kemet's best-loved offspring... and an album-length cover of Abbey Road? Brace yourselves, partners..Playlist Discussion of Don Cherry's album Eternal Rhythm (MPS) 5:50 Discussion of David Ornette Cherry's ...
Continue ReadingDon Cherry: Complete Communion & Symphony For Improvisers Revisited
by Mark Corroto
Before his departure, Don Cherry was a kind of Johnny Appleseed for what would eventually be called the “New Thing" in jazz. He can be heard in the midst of the innovative work of Ornette Coleman, Sonny Rollins, Albert Ayler, Steve Lacy, Archie Shepp, and John Tchicai. Cherry's fertilizations changed the sound of creative music then and now. His explorations into (what we now call) world music opened doors for countless non- American musicians to participate in creative improvised music. ...
Continue ReadingAlbert Ayler: New York Eye and Ear Control Revisited
by Mark Corroto
The backstory of New York Ear and Eye Control is a significant factor in the music and the direction free jazz took in the 1960s. Filmmaker Michael Snow commissioned Albert Ayler's trio with bassist Gary Peacock and drummer Sunny Murray to record a thirty-minute soundtrack for a movie, “Walking Woman," he had yet to film. As explained in the liner notes, he “wanted to buy a half hour of music." Also invited to the session were trumpeter & cornetist Don ...
Continue ReadingAlbert Ayler: New York Eye And Ear Control Revisited
by Chris May
The development of so-called free jazz in New York during the first half of the 1960s was topped and tailed by three landmark recordings: Ornette Coleman's Free Jazz (Atlantic, 1961), John Coltrane's Ascension (Impulse, 1966) and Albert Ayler's New York Eye And Ear Control (ESP, 1966). Of the three discs, only New York Eye And Ear Control broke away completely from jazz's normative structure of theme/solos/theme. Commissioned as an art-film soundtrack, Ayler's recording was also the product of an altogether ...
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