Albert Ayler, Don Cherry, John Tchicai, Roswell Rudd, Gary Peacock, Sonny Murray – New York Eye And Ear Control #ESPDisk 1966 🇺🇸 US Alto Saxophone – #JohnTchicai Bass – #GaryPeacock Drums – #SunnyMurray Recorded By, Cover – #MichaelSnow Tenor Saxophone – #AlbertAyler Trombone – #RoswellRudd Trumpet – #DonCherry https://www.instagram.com/p/CC1cKAhJfbe/?igshid=6zfugkqbxm8m
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OFFICIAL RSD 2020 release. Recorded live at the Donaueschingen Music Festival on October 17, 1971, Actions features a truly mind-bending confluence of musicians of the avant-garde, in the broadest sense of the term. Don Cherry -- the brilliant American free jazz trumpeter -- had recently expatriated to Sweden and was finding his way not only among the emerging free-jazz scene of Europe but also within his own constantly expanding musical palette that had begun to incorporate elements of African rhythms, Turkish folk idioms, and Indian classical music. Cherry, in collaboration here with Krzysztof Penderecki -- one of Poland's greatest modern composers, who is perhaps best known to casual audiences for the use of his music in The Exorcist (1973), The Shining (1980), and more recently, the third season of David Lynch's Twin Peaks -- creates a sonic landscape previously unrivaled in his work. Combining modern classical and avant-garde elements, choral arrangements, and a large free jazz ensemble -- The New Eternal Rhythm Orchestra, formed specifically for this performance and featuring a veritable who's who of the European scene including Peter Brötzmann, Han Bennink, Terje Rypdal, Albert Mangelsdorff, and Gunter Hampel -- Actions is one of the most expansive sets of Cherry's storied career. #DonCherry #KrzysztofPenderecki #davidlynch #twinpeaks #jazz #freejazz #avantgarde #theshining #theexorcist #vinyl https://www.instagram.com/p/CBLvtBxlDQY/?igshid=n3y680ex9ayt
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I’ve Always Hated Don Cherry
I hope he dies from being held down, and somebody shits down his throat until there's so much shit inside his belly that it ruptures, and then he slowly bleeds internally as the shit and blood spill from his guts and fill up the lumpy crevasses of his ancient body, until blood and liquid shit start to flow from his eyeballs and ears, and then it takes another six to eight weeks of that slow leaking for the slow blood and shit loss to finally let him die, and he's screaming the entire time, screaming in pain, screaming for it to stop, but it won't stop. He'll just be known as this screaming shit-and-blood goblin, and then finally he'll die and rather than burying him, we'll just burn him where he falls, and then never mention him again.
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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.
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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.
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• 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
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