Cherry ripe for free jazz

Press, 15 August 1984, Page 16

Cherry ripe for free jazz

Jazz review by

ALLAN FRANCIS

DON CHERRY — ED BLACKWELL. El Corazon. 12 tracks by Don Cherry, trumpet, and Ed Blackwell, percussion. ECM 1230. As Miles Davis learned his art at Charlie Parker’s knee, so did Don Cherry with Ornette Coleman, but the more important parallel is that both trumpeters were not always effective on their own. Cherry goes beyond the normal, range of instruments, however, by exploring the pocket trumpet, melodica, organ and “doussn’ gouni,” whatever that might be. Blackwell, on the other hand, sticks with more orthodox forms of percussion, including wood drum and cowbell — last heard of in Bob Crosby’s Bobcats and Bob Zurke. Cherry also travels beyond the normal range of ideas on trumpet playing and it is in this area that fragmentation sets in at times. “Free jazz,” so

called, is not everyone’s cup of tea.

In particular, his work with the pocket trumpet is less than convincing but with the confines placed on him by the presence of the older man, Ed Blackwell, Cherry performs in a more cohesive form. Cherry never leaves the trademark of Coleman behind him; his statements are practically identical in their exploratory nature, though Coleman would never have tolerated this rhythm section. In the lengthy solos on “Street Dancing,” "Short Stuff’ and the title track, Blackwell advances from variations on a theme, “Shave and a Haircut,” to Africans on the wood drum. In support, he provides a solid base for Cherry’s flights of fancy, so that here

is his greatest value. Most of the numbers are originals except for the courtesy appearances of Thelonious Monk’s “Bemsha Swing” and Roland Alphonso’s track of the same name. Cherry is highly expressive at best and shows signs now that he has overcome the former problem of rhythmical weakness. DAVE HOLLAND QUINTET. Jumpin’ In. Dave Holland, bass. Steve Coleman, alto, flute. Kenny Wheeler, trumpet. Julian Priester, trombone. Steve Ellington, drums. ECM digital 42281 74371. This is another of the modem groups with a jazz/ rock basis for some very boppish streams of invention — not too far removed from the older Art Blakey

train of thought. Once again, there is a line-up of orthodox instruments, and wonder of wonders, an acoustic bass! ' In this bop revival, all the Dave Holland-inspired numbers use the form that was very much in control of the jazz scene in the late 50s. Individually the tenor reflects the style of John Coltrane, the trumpet owes much to Miles Davis and the nimble trombone of Julian Priester might have echoed some of Kai Winding’s pyrotechnics. However, the music belongs to the leader. In the up-tempo tracks, “Jumpin’ In” or “New One,” and in the off-hand slower tracks such as “First Snow” or “Sunrise,” Holland sticks to a proven formula for his ideas. JAPAN VERVE REISSUES. George Lewis and Turk Murphy. The Jimmy Giuffre 3 Fusion. The Genius of Coleman Hawkins. Brief mention must be

made of the dwindling ‘i stocks of those mouth-2 watering Verve reissues; from Japanese studios.} There are but a few copies; of each disc and it becomes > more difficult to review af recording that may be out} of stock by the time this* review is read. } However, in the latest * batch are samples of three! totally differing issues that; feature musicians who may; appear in several albums} under alternating leadership ; — the Coleman Hawkins ’ discs being a notable ex-; ample. In several sessions the, membership is identical} with Herb Ellis, Ray Brown » and Alvin Stoller, but this} time it is Coleman ; Hawkins’s turn to head the/ team through 12 lyrical’, tracks. Jimmy Giuffre, clar- - inet, is now more in tune} with the times than when; this recording was first pub-.' fished while Turk Murphy is ' as sincerely traditional as" one could ever get. *