Jazz Articles about Sonny Simmons

Sonny Simmons: Burning Spirits

by Jeff Stockton
August 25, 2003

The name Sonny Simmons is variously preceded by the words “underrated," “underappreciated," or even “unknown." Based on the evidence presented on Burning Spirits, a session from late 1970 – released the following year as a double LP and just been reissued by Fantasy Records – the neglect and indifference of jazz listeners has been criminal.

Simmons had released a few recordings in the ‘60s as a leader on ESP and Arhoolie (all currently back in print), but it would be ...

Sonny Simmons: Cosmosamatics II

by Glenn Astarita
December 22, 2002

Multi-reedman Michael Marcus and alto saxophonist Sonny Simmons have been collaborating since the early '80s. This release signifies the group's followup to the 2001 date Cosmosamatics. Much like the previous outing, the saxophonists work well together, amid organically tinted sound structures and razor sharp soloing.Drummer Jay Rosen's rumbling tom work rides atop bassist Curtis Lundy's booming ostinato during the jazz waltz etude on “Daughter of Isis." Here, Marcus overlays bass clarinet and soprano sax lines during a piece ...

Sonny Simmons, Michael Marcus, Curtis Lundy, Jay Rosen: Cosmosamatics II

by Dan McClenaghan
October 17, 2002

You'd think a musical quartet running around calling themselves the Cosmosamatics would be something whimsical--fun, but a throwaway of sorts; but the sounds on Cosmosamatics II are brooding, deep free jazz in the mode of Eric Dolphy or Marty Ehrlich. Serious stuff that doesn't take itself too seriously.Two reed men are out front--Sonny Simmons on mostly the alto, and some English horn; and Michael Marcus playing tenor and soprano saxophones, bass clarinet and flute. Playing free, interacting, wailing ...

Sonny Simmons: Live - In Paris

by Mark Corroto
July 5, 2002

The story of the resurrection of saxophonist Sonny Simmons has been told and retold many times. Needless to say, his comeback recording Ancient Ritual in 1994 rekindled interest in his brand of Coltrane meets Ornette and Ayler music. Since then, he has recorded for the specialty jazz label CIMP and a nifty outward session The Cosmosamatics with James Carter, Michael Marcus, and William Parker

In 2000, Arhoolie music re-issued a long out-of-print live 1969 album Manhattan Egos to ...

Prince Lasha Quintet featuring Sonny Simmons: The Cry!

by David Rickert
January 1, 2002

Give a quick listen to this CD and you might be tempted to write off Prince Lasha and Sonny Simmons as Ornette Coleman knockoffs, albeit good ones. The reality is that Lasha had been playing with Coleman since high school, swapping ideas and looking for fellow players in a world that wasn’t quite ready for what they had to offer. Coleman broke through first, and finally people were ready for Lasha; The Cry, one of Lasha and Simmons’ only appearances ...

Sonny Simmons - Michael Marcus - William Parker - Jay Rosen: The Cosmosamatics

by Glenn Astarita
November 1, 2001

“Boxholder Records” infers that this inaugural outing represents a proposed ongoing collaboration between the somewhat legendary multi-reedman, Sonny Simmons, and the increasingly important saxophonist/flutist, Michael Marcus. Coupled with the fact that bassist, William Parker and drummer, Jay Rosen anchor down the rhythms, the implications are that of a modern jazz/improvising super-group!

The soloists’ launch the proceedings with turbo mode unison choruses on the piece titled, “Quasar,” as Rosen and Parker incorporate African-tinged rhythms into a series of passages that might ...

Sonny Simmons: Manhattan Egos

by Derek Taylor
August 1, 2000

This long-overdue reissue is surprising and satisfying on a number of levels. First of all there’s the fact that it’s on Arhoolie, an imprint far better known for its preeminent Roots and Blues music releases by the likes of Lightnin’ Hopkins, Clifton Chenier and Flaco Jimenez, than as a purveyor of Avant-Garde jazz. Fortunately label owner Chris Strachwitz’s tastes veered in just such a direction in the late 60s by way of more traditional strains of the music and recognizing ...