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Don Cherry

Imagination and a passion for exploration made Don Cherry one of the most influential jazz musicians of the late 20th century. A founding member of Ornette Coleman's groundbreaking quartet of the late '50s, Cherry continued to expand his musical vocabulary until his death in 1995. In addition to performing and recording with his own bands, Cherry worked with such top-ranked jazz musicians as Steve Lacy, Sonny Rollins, Archie Shepp, Albert Ayler, John Coltrane, and Gato Barbieri. Cherry's most prolific period came in the late '70s and early '80s when he joined Nana Vasconcelos and Collin Walcott in the worldbeat group Codona, and with former bandmates Charlie Haden and Ed Blackwell, and saxophonist Dewey Redman in the Coleman-inspired group Old and New Dreams. Cherry later worked with Vasconcelos and saxophonist Carlos Ward in the short-lived group Nu.

Born in Oklahoma City in 1936, he first attained prominence with Coleman, with whom he began playing around 1957. At that time Cherry's instrument of choice was a pocket trumpet (or cornet) -- a miniature version of the full-sized model. The smaller instrument -- in Cherry's hands, at least -- got a smaller, slightly more nasal sound than is typical of the larger horn. Though he would play a regular cornet off and on throughout his career, Cherry remained most closely identified with the pocket instrument. Cherry stayed with Coleman through the early '60s, playing on the first seven (and most influential) of the saxophonist's albums. In 1960, he recorded The Avant-Garde with John Coltrane. After leaving Coleman's band, Cherry played with Steve Lacy, Sonny Rollins, Archie Shepp, and Albert Ayler. In 1963-1964, Cherry co-led the New York Contemporary Five with Shepp and John Tchicai. With Gato Barbieri, Cherry led a band in Europe from 1964-1966, recording two of his most highly regarded albums, Complete Communion and Symphony for Improvisers.

Cherry began the '70s by teaching at Dartmouth College in 1970, and recorded with the Jazz Composer's Orchestra in 1973. He lived in Sweden for four years, and used the country as a base for his travels around Europe and the Middle East. Cherry became increasingly interested in other, mostly non-Western styles of music. In the late '70s and early '80s, he performed and recorded with Codona, a cooperative group with percussionist Nana Vasconcelos and multi-instrumentalist Collin Walcott. Codona's sound was a pastiche of African, Asian, and other indigenous musics.

Concurrently, Cherry joined with ex-Coleman associates Charlie Haden, Ed Blackwell, and Dewey Redman to form Old and New Dreams, a band dedicated to playing the compositions of their former employer. After the dissolution of Codona, Cherry formed Nu with Vasconcelos and saxophonist Carlos Ward. In 1988, he made Art Deco, a more traditional album of acoustic jazz, with Haden, Billy Higgins, and saxophonist James Clay.

Until his death in 1995, Cherry continued to combine disparate musical genres; his interest in world music never abated. Cherry learned to play and compose for wood flutes, tambura, gamelan, and various other non-Western instruments. Elements of these musics inevitably found their way into his later compositions and performances, as on 1990's Multi Kulti, a characteristic celebration of musical diversity. As a live performer, Cherry was notoriously uneven. It was not unheard of for him to arrive very late for gigs, and his technique -- never great to begin with -- showed on occasion a considerable, perhaps inexcusable, decline. In his last years, especially, Cherry seemed less self-possessed as a musician. Yet his musical legacy is one of such influence that his personal failings fade in relative significance. ~ Chris Kelsey & Craig Harris
full bio

Selected Discography

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Track List: Where Is Brooklyn ?

Comments

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Saw DC live in the 1980s at St. John the Divine in NYC--uneven, but inspiring and I was hooked. Every time I put on a CD, I hear something different--n e v e r a dull moment, especially in his later stuff. A gamelin, for god's sake!
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sounds like me tpshields8.i was not sober-sold a thousand jazz lps to the Record Man in Redwood City in the mid nineties for 300 dollars to just pay the rent. got 15 years clean and sober and don cherry has never sounded better !
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a trumpet player who plays from his deepest heart. always enjoy his solo lps and the work he did with dewey redman.
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I think I must have been reletively sober when I recorded WCKR's tribute to Don onto blank TDK cassette's sometime between 1984 and 1998, Sorry but I can't recall some of those years (I think it was December/Jan u a r y ) . However, I got over 48 hours and had to label the cassette's as Not for the Meek. Today, some good friends. really bold ones have a step back moment when i play the tapes.

Great stuff. You can't drive to this music, you'll freak.
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a wonderful.ic o n c l a s t i c artist,very much of his time!
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I love Don Cherry
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nelsonlambor n
Was fortunate enough to see DC at Phillie's Ortlieb's Jazz House when Mickie Roker was house drummer...si z z l i n
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Can't get enough..
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ili_td86
Orgasmic
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Didn't like it.....

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