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DON CHERRY

Cover of The ORTF Recordings Paris 1971 by Don Cherry Trio.

Don Cherry Trio

The ORTF Recordings Paris 1971

Caz Plak

Caz Plak İstanbul proudly presents..One of jazz's all time greats playing Turkish rhythms!

Don Cherry delves into Turkish rhythms, accompanied by his long-time Don Cherry Trio members: Turkish drummer Okay Temiz and South African bassist Johnny Dyani.

The vinyl LP is manufactured in Istanbul under the guidance of Mr. Okay Temiz, the only living member of this iteration of the Don Cherry Trio. The LP has been remastered from original material housed in BYG Records' vaults by Okay Temiz & Mert Ucer and licensed from BYG Records, France.

This LP features the recording by the Don Cherry Trio in Paris 1971 for the Sound and Vision program at the legendary ORTF studios in Paris 1971. Serving as the second chapter of our Turkish Jazz Trilogy, it follows Okay Temiz's magnum opus, 'Okay Temiz's Oriental Wind at Montreux Jazz Festival 1982' LP. 

This release also stands as one of the most important recordings prior to Don Cherry's legendary "Organic Music Society" album in 1973, in which Okay Temiz also plays drums.

'In the spring of 1971, while we were playing as the Don Cherry Trio in Paris, Don (Cherry) seamlessly flowed from the trumpet to the piano, with improvisation as the lighthouse of the melody. This approach opened up a realm of boundless freedom for Johnny and me. It is to be observed as a melody within a melody. From the Organic Music Society album we recorded a year after this concert, up until the ECM album we recorded before Don's final departure from this planet, this principle has been the gravitational force of the Don Cherry universe.
That, indeed, is the true legacy of the Don Cherry Trio.'

Excerpt from the liner notes by Okay Temiz and Haluk Damar

TRACK LISTING

A1. Okay's (Okay Temiz's) Tune
B1. Dollar's (Dollar Brand's) Tune

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Cover of Human Music - 2023 Reissue by Jon Appleton & Don Cherry.

Jon Appleton & Don Cherry

Human Music - 2023 Reissue

Ace Records

    The discography of trumpeter Don Cherry is one of the most fascinating in music. Although famously associated with the ground-breaking free explorations of Ornette Coleman as his career progressed, Cherry delved into all manner of waters from cosmic mediative wig-outs to mainstream funk. He also pioneered what is now branded as world music, At the other end of the spectrum is this delicious collaboration with Jon Appleton called “Human Music”.

    Jon Appleton was an early pioneer of electronic music in America. He established his first primitive studio whilst studying at the University of Oregon in the mid-60s. Assisted by a financial grant this was greatly expanded at Dartmouth College in New Hampshire in the late 60s where Appleton began to record his sonic explorations at his bespoke electronic music studio.

    It seemed only natural that Appleton would come to the attention of the questing ears of Flying Dutchman label supremo Bob Thiele. This led to the album “Appleton Syntonic Menagerie” released on Flying Dutchman in 1969. Recorded at the Dartmouth studio it’s a fascinating album rich in ideas, proto synthesiser sounds and sonic exploration. Listening today, it’s as if Steve Stapleton from Nurse With Wound went back in time to record a secret album.

    It was probably Bob Thiele’s idea to put Appleton and Cherry together. Thus, Cherry went to Appleton’s electronic music studio at Dartmouth College to record an album of improvisations. Apparently, laid down live the four extended tracks are sparse, spacious and a compelling listen and where jazz meets early electronica. As a jazz musician, Cherry not only played wood, bamboo and metal flutes, kalimbas; earthquake drums, coronet with traditional mouthpiece and bamboo reed but listened to Appleton’s oscillations to ensure that his parts fit into this unlikely musical jigsaw.

    This album has been out of print on vinyl for decades and as well as remastering “Human Music” we have made sure to serve it up in its original gatefold sleeve that features striking original artwork by Don Cherry’s Swedish wife Moki ‘Moqui’ Cherry. An exhibition of her work was recently displayed at the ICA between May and September 2023 


    TRACK LISTING

    Side One
    1. Boa
    2. Oba
    Side Two
    1. Abo
    2. Bao 

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    Cover of I Don't Want You Anymore by Cherry Glazerr.

    Cherry Glazerr

    I Don't Want You Anymore

    Secretly Canadian

      It’s been four years since Cherry Glazerr released their resplendent third album Stuffed and Ready, but Clementine Creevy has been in no rush. “I’ve spent these years taking a hard look at myself, at my relationships, and writing about it,” she says. “I guess I’m coming to terms with a lot of my bullshit.” Cherry Glazerr has been on the road more often than not since Creevy was still in high school, and when the pandemic hit, she immersed herself in a static existence she’d been deprived of.

      Creevy describes Cherry Glazerr’s ambitious new album, I Don’t Want You Anymore, as some of her most personal, raw music to date, a collection of songs that elaborate on this period of self-reckoning. It’s the first she’s produced since Cherry Glazerr’s garage rock debut, Haxel Princess, released nearly a decade ago when Creevy was a teenager.

      Creevy describes I Don’t Want You Anymore as a “mature” album, moreso in reference to her personal growth than a reflection of the record, which in true Cherry Glazerr fashion is best described as Extremely Fun. To make it, Creevy linked up with producer Yves Rothman, who’s best known for his work with Yves Tumor.

      Lead single “Soft Like a Flower” exemplifies that growth. A murky guitar riff inaugurates the track, before Creevy’s unguarded vocals enter the mix. She sings of a consuming obsession and is joined on the chorus by longtime bandmate Sami Perez. It’s proudly emotive, what Creevy calls an “Evanescence moment.” “It’s a real ‘losing your fucking shit’ kind’ve vibe,” she says. “I wanted this album to be just heart and soul. Completely exposed.”

      I Don’t Want You Anymore uses the element of surprise to its advantage; each track is a radical reimagination of what Cherry Glazerr is and can be. “Bad Habit” opens with a spiraling vocal loop that Creevy began recording at home and it expands into a delirious downtempo dance track without ever invoking a guitar. The subsequent track, “Ready for You” is sung in funky staccato and the initially spare bassline on the opening verse is eventually overtaken by a massive, staticky guitar riff that reminds you this is, at its heart, a rock album. These are songs to soundtrack the listener’s life, a score to suit any occasion. The titular track makes a promise to an unnamed other, but the repeating lyrics on the bridge could just as easily serve as a love letter to listeners: “In the end, you’re always holding me.”

      STAFF COMMENTS

      Barry says: Gigantic swathes of distorted poppy guitar riffs and shimmering shoegaze progressions. It's a huge thematic progression from her 2019 LP, 'Stuffed & Ready', bringing in myriad influence from pop-punk to driving garage rock and grunge.

      TRACK LISTING

      SIDE A:
      1. Addicted To Your Love
      2. Bad Habit
      3. Ready For You
      4. Touched You With My Chaos
      5. Soft Like A Flower
      6. Sugar

      SIDE B:
      1. Golden
      2. Wild Times
      3. Eat You Like A Pill
      4. Shattered
      5. I Don’t Want You Anymore

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      Cover of Home Boy Sister Out by Don Cherry.

      Don Cherry

      Home Boy Sister Out

      Wewantsounds

        Don Cherry's downtown Paris funk masterwork produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. The album features French post punk muse Elli Medeiros (Stinky Toys, Elli & Jacno), avant garde poet Brion Gysin and cult Senegalese drummer Abdoulaye Prosper Niang (from the mythical group Xalam). Newly Remastered, the album is augmented by five bonus tracks culled from Matta's vauts and including the superb "Kick" featuring Gysin.

        TRACK LISTING

        1. Call Me
        2. Treat Your Lady Right
        3. Butterfly Friend
        4. I Walk
        5. Art Deco
        6. Rappin' Recipe
        7. Reggae To The High Tower
        8. Alphabet City
        9. Bamako Love
        10. Kick (Single Version) [feat. Brion Gysin]
        11. Rappin' Recipe (Instrumental)
        12. Benoego
        13. Initiation (Demo)
        14. Treat Your Lady Right (Bim Bam Bom)

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        Cover of Home, Sweet Home - 2023 Reissue by Sonny Rollins & Don Cherry Quartet.

        Sonny Rollins & Don Cherry Quartet

        Home, Sweet Home - 2023 Reissue

        Soundsgood

          This 1962 live engagement at the Village Gate marked Sonny Rollins' first recorded collaboration with Don Cherry. Presented here are three performances never before issued on vinyl, taped in stereo and with brilliant sound quality.

          Sonny Rollins: tenor saxophone
          Don Cherry: cornet
          Bob Cranshaw: bass
          Billy Higgins: drums

          Live at the Village Gate, New York, July 28, 1962

          TRACK LISTING

          Home, Sweet Home
          Solitude
          Lover

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          Cover of Organic Music Theatre: Festival De Jazz De Chateauvallon 1972 by Don Cherry's New Researches Featuring Naná Vasconcelos.

          Don Cherry's New Researches Featuring Naná Vasconcelos

          Organic Music Theatre: Festival De Jazz De Chateauvallon 1972

          Blank Forms Editions

          In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain.

          The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau.

          A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. With liner notes by Magnus Nygren. Released as part of Organic Music Societies, a Blank Forms project that also includes a book, art exhibition, and performance series devoted to Don & Moki Cherry's collaborative practice

          TRACK LISTING

          1. Intro: Dha Dhin Na, Dha Tin Na
          2. Butterfly Friend
          3. Elixir
          4. Amazwe
          5. Interlude With Puppets
          6. Ganesh
          7. Elixir Reprise / Witchi Tai To
          8. Resa
          9. Relativity Suite, Part 1
          10. Berimbau Solo
          11. Interlude / North Brazilian Ceremonial Hymn
          12. Elixir Reprise / Ganesh
          13. Ntsikana's Bell / Traditional Melody

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          Cover of The Summer House Sessions by Don Cherry.

          Don Cherry

          The Summer House Sessions

          Blank Forms Editions

            In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

            On July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. 

            TRACK LISTING

            Side 1
            1. The Summer House Sessions (part 1) (23:59)
            Side 2
            1. The Summer House Sessions (part 2) (23:26)

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