Don Cherry - 1973 - Orient

Don Cherry

1973

Orient

01. Orient 25:14

02. Eagle Eye 6:50

03. Togetherness 18:33

04. Si Ta Ra Ma 19:19

Bass – Johnny Diani (tracks: 2, 3)

Drums – Okay Tamiz (tracks: 2, 3)

Drums, Percussion, Vocals, Accordion – Han Bennink (tracks: 1, 4)

Tambura – Mocqui (tracks: 1, 4)

Trumpet [Pocket], Flute, Piano, Vocals – Don Cherry

Recording live: Orient / Si Ta Ra Ma: Carpentras (France) August 11 1971.

Eagle Eye / Togetherness: Paris April 22 1971

Don Cherry, who passed away in 1995 at age 59, was a world musician long before the term became fashionable. Two recent early '70s reissues - Orient and Blue Lake (both previously Japan-only releases), help to solidify Cherry as not only one of the greatest (pocket) trumpeters/cornetists that jazz has known, but also one of its most well-rounded musicians.

His global approach and experimentations on Orient (1971), two live dates with separate trios, is supplemented through one half by Dutch percussionist Han Bennink and East Indian tamboura accompaniment. Bennink keeps things constantly moving as Cherry's nomadic musical-self transitions between pocket trumpet, flutes, piano and chanting on the first and last tracks ("Orient" and "Si Ta Ra Ma"). The title piece gets underway with tom-tom drum crescendos spilling over Cherry's Alice Coltrane-like arpeggio runs on piano and humming chants, before segueing dramatically into the leader's frenetic brass playing and Bennink's polyrhythmic percussive displays. After a few minutes the pace changes again with more wooden sounding drums—as well as gongs, bells, chimes, and "small" instruments (as memorably utilized by the Art Ensemble of Chicago).

The other half of Orient features the legendary South African bassist Johnny Dyani and percussionist Okay Temiz. Dyani's plucked and arco bass opening to the first movement of "Eagle Eye"—accompanied by a wistful clay flute, wind-like chimes, and sensitive drum tapping—resonates with the magic that often inspires bassist William Parker these days. The second allegro movement is much more rhythmic and borders on an outpouring of emotion. The third movement then settles the rhythm into gear with a meditative and melodic humming chant offered to the crowd by Cherry. Both trios feature masterful improvisational interplay by what would seem greater than a mere threesome; the experience is captured exquisitely.

The ever-evolving Cherry was a true music master whose example was an anomaly for record labels and music stores. It can never be stressed enough that Cherry, to borrow Ellington's catch phrase, was most definitely "beyond category," making the world a much smaller place.

I had heard a lot about how great this album was and i was happy to finally find a copy and have the chance to wrap my ears around it. since I've bought this cd, it has spent considerable amount of time in my stereo. recorded in France on August 1971, Don cherry is joined by wild man percussionist Hans Bennink. they both put on quite a spectacle on this magical night. there is a strange and magical chemistry evident on these recordings among all the players. i was under the impression that this was going to be a free-jazz skronkathon, but most of the music flows quite smoothly with a lot of Caribbean influence and cool percussion and simple melodic piano lines. Don Cherry tries to sing on a lot of these numbers and at first i hated it. but it grew on me. there is a certain childlike quality about it that is appealing. hmmm..an acquired taste, i think. the sound here is on an average bootleg quality. but I'm not too picky about those sort of things, because that murky sound just adds to the unique feeling of "Orient." there is a lot of different styles being played around with here and it takes some time to appreciate everything that was going on. but once you get adjusted to these factors, you may find yourself pleasantly surprised. i know that i did.