Lou Reed was touring in support of Rock and Roll Heart, when he rolled into L.A.'s Roxy and played a set that was recorded for later radio broadcast. Reed and his road band (which included Michael Fonfara on keys and Marty Fogel on sax) sound like they're having a fine time, and with free jazz legend Don Cherry sitting in, the band's frequent jams give this an exploratory feel that sets it apart from some of Reed's other live sets of the period.
This previously unreleased concert recording from 1980 presents a special confluence in the development of free jazz as a wholly international language, with trumpeter Don Cherry and his personal evolution at the centre of the music.
First time reissue of this forgotten album of Don Cherry. This album was recorded in 1978 in Paris and released only in France in1981. That was the first meeting between Don Cherry and Indian percussionist Latif Khan and the result is an incredible mixture of jazz and Indian music. This unsung album is only known by hardcore fans of Don cherry who considered it as one of his best effort.
Trumpeter and world-music pioneer Don Cherry had a very special relationship with Sweden, a place he called home for twenty years. And Sweden had a special relationship with Cherry: the country and its musicians recognized the master in their midst, and in 1972 the state-subsidized record company Caprice put out the double album Organic Music Society (which they reissued in 2012). Now with Live in Stockholm, Caprice has gone into its vaults and pulled out three stunning long-form songs from the same era.
It's obvious right from the title that Multikulti is another of Don Cherry's trademark fusions of jazz and world music, this time around with a heavy African influence. Cherry is joined on several tracks by members of multi-instrumentalist Peter Apfelbaum's Hieroglyphics Ensemble (plus the full band on "Until the Rain Comes" and "Divinity-Tree"), and their shared affinity for African music is what produces most of the album's best moments. (Listeners who prefer Cherry in a stricter jazz context are hereby warned.)
The art of the improvisers beyond all borders. Preaching equality for all the idioms, anticipating the gathering wave of “world music”, drawing on traditions from all the continents, Codona was like no other band. Its sound: simultaneously poetic and powerfully evocative and stamped, in every second, with character. Summoned into being by Collin Walcott in 1978, the trio provided an utterly original context for Don Cherry’s starkly melodic trumpet and for the multi-instrumentalism of all three players.