The Summer House Sessions
Don Cherry
The Summer House Sessions
Boomkat Product Review:
Newly unearthed bonanza of Don Cherry action, capturing an extraordinary free jazz tempest thrown down live in ’68 at a summerhouse south of Stockholm amidst a fecund epoch. Proper, third-eye dilating stuff rife with spontaneous possibilities.
Part of a tranche of Don Cherry recordings that resurfaced recently from the Swedish Jazz Archive, ‘The Summer House Sessions’ now takes pride of place on its first vinyl pressing, accompanied on the CD by other recordings made the same day. For the first time they reveal a day of incredible energies improvised by Cherry with members of his Swedish ensemble, plus a Turkish drummer, at saxophonist and recording engineer Göran Freese’s summer house in late July, 1968. As many jazz heads will know, this is circa some of Cherry’s most legendary works, spanning a period after he’d cut his teeth playing with Coltrane and setting the template for free jazz with Ornette Coleman’s classic quartet, at a time when his creativity was unbounded and truly definitive of a searching, modal democracy of jazz music that drew from myriad sources.
The two vinyl sides and bonus material bear witness to a remarkable murmuration of sorts, with a swingeing rhythmic drive from the dual drummers underpinning a deeply psychedelic play of colours and pan-ethnic expression derived from Cherry’s pocket sax and flutes, and free-handed air shredding by likes of Bernt Rosengren (tenor saxophone, flutes, clarinet) and Tommy Koverhult (tenor saxophone, flutes). In effect, the recordings prove that Cherry’s preceding lessons for the players in extended forms of improvisations including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales had really hit home, triggering the massed ensemble to play with a ruptured, shearing unpredictability, but equally with a rapturous coherence that’s simply everything at once and then some.
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Boomkat Product Review:
Newly unearthed bonanza of Don Cherry action, capturing an extraordinary free jazz tempest thrown down live in ’68 at a summerhouse south of Stockholm amidst a fecund epoch. Proper, third-eye dilating stuff rife with spontaneous possibilities.
Part of a tranche of Don Cherry recordings that resurfaced recently from the Swedish Jazz Archive, ‘The Summer House Sessions’ now takes pride of place on its first vinyl pressing, accompanied on the CD by other recordings made the same day. For the first time they reveal a day of incredible energies improvised by Cherry with members of his Swedish ensemble, plus a Turkish drummer, at saxophonist and recording engineer Göran Freese’s summer house in late July, 1968. As many jazz heads will know, this is circa some of Cherry’s most legendary works, spanning a period after he’d cut his teeth playing with Coltrane and setting the template for free jazz with Ornette Coleman’s classic quartet, at a time when his creativity was unbounded and truly definitive of a searching, modal democracy of jazz music that drew from myriad sources.
The two vinyl sides and bonus material bear witness to a remarkable murmuration of sorts, with a swingeing rhythmic drive from the dual drummers underpinning a deeply psychedelic play of colours and pan-ethnic expression derived from Cherry’s pocket sax and flutes, and free-handed air shredding by likes of Bernt Rosengren (tenor saxophone, flutes, clarinet) and Tommy Koverhult (tenor saxophone, flutes). In effect, the recordings prove that Cherry’s preceding lessons for the players in extended forms of improvisations including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales had really hit home, triggering the massed ensemble to play with a ruptured, shearing unpredictability, but equally with a rapturous coherence that’s simply everything at once and then some.
Boomkat Product Review:
Newly unearthed bonanza of Don Cherry action, capturing an extraordinary free jazz tempest thrown down live in ’68 at a summerhouse south of Stockholm amidst a fecund epoch. Proper, third-eye dilating stuff rife with spontaneous possibilities.
Part of a tranche of Don Cherry recordings that resurfaced recently from the Swedish Jazz Archive, ‘The Summer House Sessions’ now takes pride of place on its first vinyl pressing, accompanied on the CD by other recordings made the same day. For the first time they reveal a day of incredible energies improvised by Cherry with members of his Swedish ensemble, plus a Turkish drummer, at saxophonist and recording engineer Göran Freese’s summer house in late July, 1968. As many jazz heads will know, this is circa some of Cherry’s most legendary works, spanning a period after he’d cut his teeth playing with Coltrane and setting the template for free jazz with Ornette Coleman’s classic quartet, at a time when his creativity was unbounded and truly definitive of a searching, modal democracy of jazz music that drew from myriad sources.
The two vinyl sides and bonus material bear witness to a remarkable murmuration of sorts, with a swingeing rhythmic drive from the dual drummers underpinning a deeply psychedelic play of colours and pan-ethnic expression derived from Cherry’s pocket sax and flutes, and free-handed air shredding by likes of Bernt Rosengren (tenor saxophone, flutes, clarinet) and Tommy Koverhult (tenor saxophone, flutes). In effect, the recordings prove that Cherry’s preceding lessons for the players in extended forms of improvisations including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales had really hit home, triggering the massed ensemble to play with a ruptured, shearing unpredictability, but equally with a rapturous coherence that’s simply everything at once and then some.
Boomkat Product Review:
Newly unearthed bonanza of Don Cherry action, capturing an extraordinary free jazz tempest thrown down live in ’68 at a summerhouse south of Stockholm amidst a fecund epoch. Proper, third-eye dilating stuff rife with spontaneous possibilities.
Part of a tranche of Don Cherry recordings that resurfaced recently from the Swedish Jazz Archive, ‘The Summer House Sessions’ now takes pride of place on its first vinyl pressing, accompanied on the CD by other recordings made the same day. For the first time they reveal a day of incredible energies improvised by Cherry with members of his Swedish ensemble, plus a Turkish drummer, at saxophonist and recording engineer Göran Freese’s summer house in late July, 1968. As many jazz heads will know, this is circa some of Cherry’s most legendary works, spanning a period after he’d cut his teeth playing with Coltrane and setting the template for free jazz with Ornette Coleman’s classic quartet, at a time when his creativity was unbounded and truly definitive of a searching, modal democracy of jazz music that drew from myriad sources.
The two vinyl sides and bonus material bear witness to a remarkable murmuration of sorts, with a swingeing rhythmic drive from the dual drummers underpinning a deeply psychedelic play of colours and pan-ethnic expression derived from Cherry’s pocket sax and flutes, and free-handed air shredding by likes of Bernt Rosengren (tenor saxophone, flutes, clarinet) and Tommy Koverhult (tenor saxophone, flutes). In effect, the recordings prove that Cherry’s preceding lessons for the players in extended forms of improvisations including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales had really hit home, triggering the massed ensemble to play with a ruptured, shearing unpredictability, but equally with a rapturous coherence that’s simply everything at once and then some.
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Boomkat Product Review:
Newly unearthed bonanza of Don Cherry action, capturing an extraordinary free jazz tempest thrown down live in ’68 at a summerhouse south of Stockholm amidst a fecund epoch. Proper, third-eye dilating stuff rife with spontaneous possibilities.
Part of a tranche of Don Cherry recordings that resurfaced recently from the Swedish Jazz Archive, ‘The Summer House Sessions’ now takes pride of place on its first vinyl pressing, accompanied on the CD by other recordings made the same day. For the first time they reveal a day of incredible energies improvised by Cherry with members of his Swedish ensemble, plus a Turkish drummer, at saxophonist and recording engineer Göran Freese’s summer house in late July, 1968. As many jazz heads will know, this is circa some of Cherry’s most legendary works, spanning a period after he’d cut his teeth playing with Coltrane and setting the template for free jazz with Ornette Coleman’s classic quartet, at a time when his creativity was unbounded and truly definitive of a searching, modal democracy of jazz music that drew from myriad sources.
The two vinyl sides and bonus material bear witness to a remarkable murmuration of sorts, with a swingeing rhythmic drive from the dual drummers underpinning a deeply psychedelic play of colours and pan-ethnic expression derived from Cherry’s pocket sax and flutes, and free-handed air shredding by likes of Bernt Rosengren (tenor saxophone, flutes, clarinet) and Tommy Koverhult (tenor saxophone, flutes). In effect, the recordings prove that Cherry’s preceding lessons for the players in extended forms of improvisations including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales had really hit home, triggering the massed ensemble to play with a ruptured, shearing unpredictability, but equally with a rapturous coherence that’s simply everything at once and then some.
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