Organic Music Theatre: Festival de jazz de Chateauvallon 1972
Don Cherry's New Researches
Organic Music Theatre: Festival de jazz de Chateauvallon 1972
Boomkat Product Review:
A sentimental trip into the world of Don and Moki Cherry's Organic Music Theatre, a collaboration proposed as an alternative space for creative music and art. "Festival de jazz de Chateauvallon 1972" is a recording of the group's historic debut performance marks a joyful period in the Cherrys' lives.
Accompanied by musicians Naná Vasconcelos, Christer Bothén and Doudou Gouirand and Danish puppeteers Det Lilla Cirkus, Don and Moki laid out their life philosophy to French festivalgoers on this extended set. The performed outdoors and were joined onstage by a handful of friends, both adults and children, who danced and sang as the band played. The duo's message was clear: they wanted to bring people together.
This was the period that Don Cherry had rejected his former status as a jazz titan, jettisoning his career in favor of a more mysterious existence in rural Sweden with his wife and family. But as "Organic Music Theatre" illustrates, it wasn't a rejection of music, but of the art world's oppressive hierarchy, that was central to his decision. The music here, a frolicking fusion of Indian, African, South American and Native American forms that feel charged with an almost spiritual energy, is intimate but universal.
There's little of the avant/free jazz that Cherry cut his teeth pioneering here, rather it's a performance that celebrates the very act of playing in public. The band play challenging pieces - including tracks that would eventually make their way to Cherry's "Organic Music Society" and "Home Boy" albums - but inject them with so much positive energy that their context is shifted completely. It's a privilege to hear this performance from beginning to end and bask in its hopeful energy.
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Boomkat Product Review:
A sentimental trip into the world of Don and Moki Cherry's Organic Music Theatre, a collaboration proposed as an alternative space for creative music and art. "Festival de jazz de Chateauvallon 1972" is a recording of the group's historic debut performance marks a joyful period in the Cherrys' lives.
Accompanied by musicians Naná Vasconcelos, Christer Bothén and Doudou Gouirand and Danish puppeteers Det Lilla Cirkus, Don and Moki laid out their life philosophy to French festivalgoers on this extended set. The performed outdoors and were joined onstage by a handful of friends, both adults and children, who danced and sang as the band played. The duo's message was clear: they wanted to bring people together.
This was the period that Don Cherry had rejected his former status as a jazz titan, jettisoning his career in favor of a more mysterious existence in rural Sweden with his wife and family. But as "Organic Music Theatre" illustrates, it wasn't a rejection of music, but of the art world's oppressive hierarchy, that was central to his decision. The music here, a frolicking fusion of Indian, African, South American and Native American forms that feel charged with an almost spiritual energy, is intimate but universal.
There's little of the avant/free jazz that Cherry cut his teeth pioneering here, rather it's a performance that celebrates the very act of playing in public. The band play challenging pieces - including tracks that would eventually make their way to Cherry's "Organic Music Society" and "Home Boy" albums - but inject them with so much positive energy that their context is shifted completely. It's a privilege to hear this performance from beginning to end and bask in its hopeful energy.
Boomkat Product Review:
A sentimental trip into the world of Don and Moki Cherry's Organic Music Theatre, a collaboration proposed as an alternative space for creative music and art. "Festival de jazz de Chateauvallon 1972" is a recording of the group's historic debut performance marks a joyful period in the Cherrys' lives.
Accompanied by musicians Naná Vasconcelos, Christer Bothén and Doudou Gouirand and Danish puppeteers Det Lilla Cirkus, Don and Moki laid out their life philosophy to French festivalgoers on this extended set. The performed outdoors and were joined onstage by a handful of friends, both adults and children, who danced and sang as the band played. The duo's message was clear: they wanted to bring people together.
This was the period that Don Cherry had rejected his former status as a jazz titan, jettisoning his career in favor of a more mysterious existence in rural Sweden with his wife and family. But as "Organic Music Theatre" illustrates, it wasn't a rejection of music, but of the art world's oppressive hierarchy, that was central to his decision. The music here, a frolicking fusion of Indian, African, South American and Native American forms that feel charged with an almost spiritual energy, is intimate but universal.
There's little of the avant/free jazz that Cherry cut his teeth pioneering here, rather it's a performance that celebrates the very act of playing in public. The band play challenging pieces - including tracks that would eventually make their way to Cherry's "Organic Music Society" and "Home Boy" albums - but inject them with so much positive energy that their context is shifted completely. It's a privilege to hear this performance from beginning to end and bask in its hopeful energy.
Boomkat Product Review:
A sentimental trip into the world of Don and Moki Cherry's Organic Music Theatre, a collaboration proposed as an alternative space for creative music and art. "Festival de jazz de Chateauvallon 1972" is a recording of the group's historic debut performance marks a joyful period in the Cherrys' lives.
Accompanied by musicians Naná Vasconcelos, Christer Bothén and Doudou Gouirand and Danish puppeteers Det Lilla Cirkus, Don and Moki laid out their life philosophy to French festivalgoers on this extended set. The performed outdoors and were joined onstage by a handful of friends, both adults and children, who danced and sang as the band played. The duo's message was clear: they wanted to bring people together.
This was the period that Don Cherry had rejected his former status as a jazz titan, jettisoning his career in favor of a more mysterious existence in rural Sweden with his wife and family. But as "Organic Music Theatre" illustrates, it wasn't a rejection of music, but of the art world's oppressive hierarchy, that was central to his decision. The music here, a frolicking fusion of Indian, African, South American and Native American forms that feel charged with an almost spiritual energy, is intimate but universal.
There's little of the avant/free jazz that Cherry cut his teeth pioneering here, rather it's a performance that celebrates the very act of playing in public. The band play challenging pieces - including tracks that would eventually make their way to Cherry's "Organic Music Society" and "Home Boy" albums - but inject them with so much positive energy that their context is shifted completely. It's a privilege to hear this performance from beginning to end and bask in its hopeful energy.
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Boomkat Product Review:
A sentimental trip into the world of Don and Moki Cherry's Organic Music Theatre, a collaboration proposed as an alternative space for creative music and art. "Festival de jazz de Chateauvallon 1972" is a recording of the group's historic debut performance marks a joyful period in the Cherrys' lives.
Accompanied by musicians Naná Vasconcelos, Christer Bothén and Doudou Gouirand and Danish puppeteers Det Lilla Cirkus, Don and Moki laid out their life philosophy to French festivalgoers on this extended set. The performed outdoors and were joined onstage by a handful of friends, both adults and children, who danced and sang as the band played. The duo's message was clear: they wanted to bring people together.
This was the period that Don Cherry had rejected his former status as a jazz titan, jettisoning his career in favor of a more mysterious existence in rural Sweden with his wife and family. But as "Organic Music Theatre" illustrates, it wasn't a rejection of music, but of the art world's oppressive hierarchy, that was central to his decision. The music here, a frolicking fusion of Indian, African, South American and Native American forms that feel charged with an almost spiritual energy, is intimate but universal.
There's little of the avant/free jazz that Cherry cut his teeth pioneering here, rather it's a performance that celebrates the very act of playing in public. The band play challenging pieces - including tracks that would eventually make their way to Cherry's "Organic Music Society" and "Home Boy" albums - but inject them with so much positive energy that their context is shifted completely. It's a privilege to hear this performance from beginning to end and bask in its hopeful energy.
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