Don Cherry (1936-1995) was of course best known for his work with Ornette Coleman, documented on a now-classic series of recordings from 1958 through 1961, and on a number of later recordings, including from an international reunion tour in 1987.
I remember a report (by Martin Williams, I think) on an Ornette Coleman rehearsal with Bobby Bradford circa 1962 mentioning a piece called "The Idiot" (as it mentioned Bradford joking about the title), but no idea how it sounded.
That's interesting. It's possible that whoever guessed that the title was "The Idiot" was simply saying "This is an unknown tune, and there is an unknown tune called "The Idiot" from the same time period. Unfortunately such wild guesses become "facts." THANK YOU!
Thanks for thi!s Cherry treat! There are severa moments i Black Elk where he sounds close to Miles Davis in the Davis-Evans Spain album (Saeta). This might no be a coincidence, in his Lacy Quartet album be also showed he had been listening to Davis.
So, here's maybe my weird ears, but I always felt that Cherry, on the recordings with Bley from the Hillcrest, has a clear Clifford Brown influence. And of course here there is some Miles feel, especially in his inflections, but I still hear Clifford in that tone.
Thank you, Dr Porter. Any music that features Ed Blackwell is worth hearing. Such a joyous and melodic musician. The mix really allows the bass to stand out plus Cherry's playing is a delight. Thank you again!
I like just about anything by Cherry, but it’s always nice to hear him in a small group setting. I like that album with Lacy a lot, and anything from that era is interesting to check out. And Grimes and Blackwell, both very special in any setting.
Enjoying everything about this set, but particularly the vamp-y Black Elk Speaks. Noting it's not related to the Eric Revis piece with the same title, has the Cherry composition ever been covered by anyone?
Don was playing cornet on these tracks..he switched to the pocket instrument after all the blue note records. He plays "strong" at many periods of his life. Check out the first old and new dreams record. Miles loved his playing, as did Woody Shaw. He did not copy , he created. And yes he loved Clifford Brown. His pocket trumpet was not in tune in the conventional European trumpet sense .. but playing a quarter tone trumpet recently I played a 5th (quarter tone down).. and my ears said... "a Don Cherry 5th" .. he had very big ears
Hello Steven and thanks much for these knowledgeable comments as an experienced brass player yourself. As you know I often edit and correct my essays after posting them, but but before I do so, I need you to check out this photo from 1959 and reply back to me at Lrpjazz@gmail.com , just to be sure:
Wow, such a treat!! The reason(s) may be lost to the ages, but is there any information as to WHY this trio LP project was never completed and these tracks never released?! It’s dynamite stuff!
We don't in fact know why no further tracks were completed, but often these answers are mundane, such as they couldn't get the musicians together again due to scheduling conflicts etc. I do know why they weren't released, and can't share that, except to say that once again it has to do with mundane matters, business matters. THANK YOU CHRIS
Thank you so much from a Cherry devotee. Your post arrived as I was listening to an Old & New Dreams live set at Moers in the 1980s, presented by the invaluable Deep Focus radio show. Then I heard that Sonny had passed - so next up is Don & Sonny, Our Man in Jazz. All joy!
I remember a report (by Martin Williams, I think) on an Ornette Coleman rehearsal with Bobby Bradford circa 1962 mentioning a piece called "The Idiot" (as it mentioned Bradford joking about the title), but no idea how it sounded.
That's interesting. It's possible that whoever guessed that the title was "The Idiot" was simply saying "This is an unknown tune, and there is an unknown tune called "The Idiot" from the same time period. Unfortunately such wild guesses become "facts." THANK YOU!
Great piece Lewis! How did you come across these unreleased recordings?
Whenever I can share my sources, I do so. This is not one of those times. (Maybe on a phone call sometime?) THANK YOU PAUL
Thanks for thi!s Cherry treat! There are severa moments i Black Elk where he sounds close to Miles Davis in the Davis-Evans Spain album (Saeta). This might no be a coincidence, in his Lacy Quartet album be also showed he had been listening to Davis.
Yes--in general he's proves to be a stronger player than many people assume. THANK YOU!
So, here's maybe my weird ears, but I always felt that Cherry, on the recordings with Bley from the Hillcrest, has a clear Clifford Brown influence. And of course here there is some Miles feel, especially in his inflections, but I still hear Clifford in that tone.
Makes sense! THANK YOU ALLEN!
Black Elk Speaks Don Cherry at his best. Thank you for posting this unreleased session.
THANK YOU PETER!
Thank you so much for posting this! I had to listen twice to Black Elk Speaks for Grimes and Blackwell create such a wonderful groove.
Absolutely! We agree! THANK YOU ERICA!
Cherry—all Cherry—ages beautifully as time moves along!
Nice! THANK YOU CHUCK!
Thank you, Dr Porter. Any music that features Ed Blackwell is worth hearing. Such a joyous and melodic musician. The mix really allows the bass to stand out plus Cherry's playing is a delight. Thank you again!
My Pleasure. THANK YOU RICHARD!
I like just about anything by Cherry, but it’s always nice to hear him in a small group setting. I like that album with Lacy a lot, and anything from that era is interesting to check out. And Grimes and Blackwell, both very special in any setting.
Absolutely! THANK YOU KARL!
BLACKWELL!
Very nice set! I'd only heard Cherry with Ornette or casually on the radio. I liked his playing then, and even more here on his own session.
THANK YOU JIM
Enjoying everything about this set, but particularly the vamp-y Black Elk Speaks. Noting it's not related to the Eric Revis piece with the same title, has the Cherry composition ever been covered by anyone?
Don Cherry's piece was never recorded again, not even by himself. THANK YOU HUGO
Don was playing cornet on these tracks..he switched to the pocket instrument after all the blue note records. He plays "strong" at many periods of his life. Check out the first old and new dreams record. Miles loved his playing, as did Woody Shaw. He did not copy , he created. And yes he loved Clifford Brown. His pocket trumpet was not in tune in the conventional European trumpet sense .. but playing a quarter tone trumpet recently I played a 5th (quarter tone down).. and my ears said... "a Don Cherry 5th" .. he had very big ears
Hello Steven and thanks much for these knowledgeable comments as an experienced brass player yourself. As you know I often edit and correct my essays after posting them, but but before I do so, I need you to check out this photo from 1959 and reply back to me at Lrpjazz@gmail.com , just to be sure:
https://www.facebook.com/photo?fbid=1085317870302776
I don't think I said anything about his playing not being strong, only that it is melodic and creative. THANK YOU STEVEN
Wow, such a treat!! The reason(s) may be lost to the ages, but is there any information as to WHY this trio LP project was never completed and these tracks never released?! It’s dynamite stuff!
We don't in fact know why no further tracks were completed, but often these answers are mundane, such as they couldn't get the musicians together again due to scheduling conflicts etc. I do know why they weren't released, and can't share that, except to say that once again it has to do with mundane matters, business matters. THANK YOU CHRIS
Ok, well that fills in part of the blanks. It’s a damned shame, though. Absolutely terrific tracks!
Thank you so much from a Cherry devotee. Your post arrived as I was listening to an Old & New Dreams live set at Moers in the 1980s, presented by the invaluable Deep Focus radio show. Then I heard that Sonny had passed - so next up is Don & Sonny, Our Man in Jazz. All joy!