Don Cherry - 1974 - Blue Lake

Don Cherry

1974

Blue Lake

01. Blue Lake 4:55

02. Dollar And Okay's Tunes 31:51

03. East 26:42

Bass – Jonny Diani

Drums – Okay Tamiz

Trumpet, Flute, Piano, Vocals – Don Cherry

Music from a 1971 concert in Paris with South African bassist Johnny Dyani and Turkish drummer Okay Temiz joining Cherry (a couple of other pieces from the concert can be found on another Cherry album, Orient). It is a pleasant album but fails to stick in the mind. The first track - Blue Lake - features Cherry playing flute: it claims to draw on Native American influences but also sounds hauntingly Oriental - but whether it draws on genuine traditions or just replicates a certain mood (one a bit like David Carradine playing the flute in the old TV series Kung Fu) I can't decide. The other two tracks are longer, both over 25 minutes and are also pleasant, likable, drawing in many influences, traditions, but they just seem to float along like a bottle thrown into the sea, drifting with the currents - all very gentle and peaceful but lacks any great dynamism.

Don Cherry is one of music's great adventurers. Always ready to stretch himself, he has seemed more concerned with growing as an artist and expanding his horizons than with getting a big paycheck. This live set, Blue Lake, is a worthy introduction to his solo work. The first part of the set begins with Cherry on a Native American flute. His simple song is as moving and spare as a New Mexico mesa. Next, he and his band move into their interpretation of some Dollar Brand tunes. First, they lay the melodies out straight and give the audience a window into this neglected composer's mind. Then it's time for their ferocious, free-wheeling, Ornette Colemanesque take on the same tunes. The last brace of tunes finds Cherry mostly singing á la Sam Rivers. Like Rivers' voicings, one forgets that this is a man, and hears only another instrument. Just when the tension rises to almost unbearable levels, Cherry breaks loose with some forceful, controlled soloing. The tone is muscular, and the ideas as sure and stringent as bitter salt. Cherry's journey as a musician has been that of a consummate artist. His remarkable career deserves stricter attention from fans and critics alike. Hopefully, the reissue of this set will start the ball rolling.

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.

Johnny Dyani - 1979 - Song for Biko

Johnny Dyani

1979

Song for Biko

01. Wish You Sunshine 6:10

02. Song For Biko 4:51

03. Confession Of Moods 8:20

04. Jo'burg - New York 16:29

Johnny Dyani – bass

Dudu Pukwana – alto saxophone

Don Cherry – cornet

Makaya Ntshoko – drums

Recorded July 18th, 1978

Song For Biko is a forgotten avant-garde Jazz classic, in the same company as Prince Lasha and Sonny Simmons' Firebirds. Cornetist Don Cherry may be the only well-known member of the quartet but he's the least interesting. He's the one that will lead people to quickly compare this album to Ornette Coleman's work. The other three musicians are from South Africa and bring a very different approach and sound to the table. It's like hearing guitarist Gabor Szabo for the first time. His combination of Hungarian Folk and Jazz is fascinating. Same thing here. Makaya Ntshoko's drumming is quite busy and very heavy. It gives the album a Rock feel at times. I'm surprised that alto saxophonist Dudu Pukwana's legacy is relatively obscure. He had some serious fire and passion at his command. The 16 minute "Jo'Burg - New York" is the most fascinating song. Everybody shows what they're made of, laying down a truly priceless slice of Jazz. The biggest surprise for me was bassist Johnny Dyani. He doesn't sit back and act content to play some boring walking bass line. He smacks the hell out of his bass. He makes it talk to you and you really get the impression that you are listening to his very core. If I hear more of his work I just might start calling him my favorite bassist period. He's THAT good. You could compare him to Cecil McBee and Richard Davis. He travels in those regions of emotive force.

Bassist Johnny Dyani had a large tone and a relaxed yet authoritative style. On this classic SteepleChase release he teams up with two other South African expatriates (altoist Dudu Pukwana and drummer Makay Ntshoko) plus cornetist Don Cherry for music that is haunting, emotional, somewhat adventurous, yet also melodic. While "Song for Biko" is the most memorable piece, all five of Dyani's originals (including the 16-and-a-half-minute "Jo'burg-New York") are special. The music combines together Dyani's South African folk heritage with Ornette Coleman's free bop and elements of avant-garde jazz. Highly recommended.

Johnny Mbizo Dyani - 1987 - Together

Johnny Mbizo Dyani 

1987

Together

01. Together

02. Johnny's Kwela

03. Marabi Soweto

04. High Priest

05. Kalahari

06. Crossroads

07. Tula Tula

All compositions by Johnny Mbizo Dyani, except 7, traditional, arranged by JMD.

Johnny Mbizo Dyani - keyboards, vocals

Dudu Pukwana - altosax, whistles

Virimuje Shimmy Radise - tenor sax

Kenny Hakansson - electric guitars

Hassan Ban - congas

Bosse Skoglund - drums

Felix Perrera - South African trad. harp

Produced by Stanley Koonin at Sound City Studios, Stockholm, Dec.1979-Jan.1980.

This was released posthumously on the Cadillac label in 1987 and label head John Jack is listed as executive producer, though whether he may have had anything to do with the original sessions is not clear.

Following Dudu Pukwana's Zila, here's Johnny Mbizo Dyani's Witchdoctor's Son. This is not to be confused with the Witchdoctor's Son that came out on the Steeplechase label with a different line-up, though with Dudu Pukwana in both. This here is a Swedish - South African crew assembled by Mbizo for a session in Stockholm in late 1979 - early 1980. Most of the South Africans on the record were living in Sweden at the time, including Mbizo while Pukwana flew in from London for the session. Kenny Haakonson, guitarist with the prog rock outfit Kebnekajse was roped in as well as drummer Bosse Skoglund, old chums of Mbizo.

What we have here is one side of Mbizo compositions drawing on the popular SA music of the 50s and later, one traditional (in fact the same tune as the one on the Zila album posted previously), one quickie fusion number and then the odd one out, I thought, "Kalahari", named after the Botswana desert. Here Haakonson gets to do a proggish uptempo piece which would not out of place on a Kebnekajse record from the 70s, though normally not associated with Mbizo, though . Mbizo has vacated the bass for keyboards and handles vocal duties on this record.

Johnny Dyani - 1978 - Witchdoctor's Son

Johnny Dyani

1978

Witchdoctor's Son

01. Heart With Minor's Face 04:17

02. Ntyilo Ntyilo 05:15

03. Radebe 06:24

04. Mbizo 04:46

05. Eyomzi 06:57

06. Magwaza 13:06

07. Radebe (tk 1) 08:05

08. Heart With Minor's Face (tk 2) 04:25

09. Ntyilo Ntyilo (tk 1) 03:57

10. Magwaza (tk 1) 10:05

Bass, Piano, Vocals: Johnny Mbizo Dyani

Saxophone: John Tchicai, Dudu Pukwana

Guitar: Alfredo Do Nascimento

Drums: Luez "Chuim" Carlos De Sequaira

Congas, Percussion: Mohamed Al-Jabry

Since his arrival in England as a South African expatriate in the early '60s and as a member of the Blue Notes, bassist Johnny Dyani served as a powerful and creative component of innumerable ensembles (including those led by Abdullah Ibrahim and Chris McGregor) before releasing a series of albums under his own name in the late '70s and '80s. Witchdoctor's Son is certainly one of the best of these, featuring the wonderful dual reed frontline of John Tchicai and fellow ex-pat Dudu Pukwana. The pieces reflect Dyani's upbringing in the township style prevalent in South Africa, a joyous, surging music which seeks to transcend the horror of everyday life as experienced by the native majority. None of the compositions give a better example of this than the superb concluding number, "Magwaza," a traditional song arranged by Dyani with a grooving, elastic bassline that is absolutely irresistible and which provides fertile ground for inspired solos by Tchicai and Pukwana. Dyani would die far too early in 1986, but his warmth and utter musicality happily found expression in several small group recordings made in the prior ten years, of which Witchdoctor's Son is a sterling example. Highly recommended.

Johnny Mbizo Dyani (Nov. 30, 1945 — Oct. 24, 1986) was a South African double-bassist who emerged as one of the founding members of Cape Town jazz heroes the Blue Notes, in which he played alongside saxist Dudu Pukwana, drummer Louis Moholo, and trumpeter Mongezi Feza.

Just as the Blue Notes began making waves in Europe, Dyani departed in 1966 to tour Argentina with American saxist Steve Lacy. The following year, Dyani and Moholo played alongside Italian trumpeter Enrico Rava on Lacy’s The Forest and the Zoo album. Over the next five years, Dyani also appeared on albums by Al Shorter, Don Cherry, John Stevens, and former band-mate Chris McGregor.

In 1972, Dyani and Feza formed a surname-sake free-jazz trio with Turkish percussionist Okay Temiz. Their album, Music for Xaba, Vol. I, was issued the following year on Sonet. A second volume would appear in 1979, four years after Feza’s passing, which sparked the Blue Notes 1976 reunion album Blue Notes for Mongezi.

Dyani and Temiz recorded one further album, Witchdoctor’s Son, in 1976. That same title would also be used for Dyani’s first solo album, recorded with Pukwana and Danish saxist John Tchicai and released in 1978 on SteepleChase. That same year, he played in Moholo’s eponymous octet for the album Spirits Rejoice! The late ’70s also found the bassist’s name on albums by Dave Murray, Dollar Brand, Joe Bonner and Phillip Wilson.

In 1979, Dyani released his most popular album, Song for Biko, with a newly formed quartet comprised of Cherry, Pukwana, and drummer Makaya Ntshoko. A string of further solo and collaborative efforts would follow into the mid-1980s, which also found Dyani behind U.S. vibist Khan Jamal and beside Nowegian saxist Frode Gjerstad in the free-jazz trio Detail.

In October 1986, Dyani died shortly after a performance in West Berlin. His passing inspired a second Blue Notes reunion album, Blue Notes for Johnny. In 1988, a vaulted 1972 Dyani Temiz Feza recording session was issued as Rejoice on Cadillac Records.

Okay Temiz & Johnny Dyani - 1976 - Witchdoctor's Son

Okay Temiz & Johnny Dyani

1976

Witchdoctor's Son

01. Gece [The Night] 3:38

02. Yesil Fener [I'm A Green Lamp] 5:37

03. Sark Gezintileri [Orient Trip] 4:06

04. Karadeniz Dalgari [Black Sea Waves] 2:03

05. Doktur [Play For Me] 4:06

06. Elhamdulillah Marimba [Marimba] 6:09

07. Hepimiz Icin [It's For You All] 3:49

08. Ben Muslumanim [I'm Muslim Man] 4:36

09. Moriva [Moriva] 7:30

Bass, Piano, Vocals – Johnny Dyani

Clarinet, Violin – Saffet Gundeger

Drums, Percussion – Okay Temiz

Electric Bass – Oğuz Durukan

Saxophone – Gunnar Bergsten

One of the hippest albums we've ever heard from bassist Johnny Dyani – and that's saying a lot, given his tremendous records of the 70s! The album's different than the album that Johnny recorded with fellow Blue Notes members on the Steeplechase label – and instead, the group here is led by percussionist Okay Temiz, and mixes Johnny's round, bold lines on acoustic bass with additional electric bass, plus clarinet and saxes too! The tunes are heavily rhythmic – still jazz, but with very strong global currents too – an even rootsier vibe than most jazz of the South African scene from whence Dyani came – in a mode that really seems to set him free. Johnny also plays a bit of piano, too – and the tracks are a mix of Dyani originals, plus Temiz arrangements of traditional Turkish tunes.

The recording captures a complex, funky and musically together exploration of folk themes, jazz messages and popular directions. After many years together discovering both South African and Turkish sources, Temiz and Dyani were intimately versed in each other’s traditions. Side one features material arranged by Temiz, and the second has material arranged and composed by Dyani – including a stunning arrangement of Don Cherry’s Elhamdulilhah Marimba with Dyani on piano and voice.

‘The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio.

“Another world,” recalls Temiz. “At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know… All kinds of music.” “Every musician,” Dyani said later, “should realize and acknowledge that folk music is the backbone of every music.”

Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry’s Marimba

Mystical grooves, deep forest psychedelic sounds, and freaky, wild, joyful sunny dances all happen here in less than 45 minutes. That review is actually quite ironic because the production is fine and, especially, because these rythyms and beats are very tight (well, it's Okay Temiz). I was shocked at first when reading that "some musicians sound behind the beat". Just listen to "Yesil Fener". That's some savage 9/8 madness in the greatest Turkish tradition.

Get this one. It's... spiritually enhancing, to say the least.

Johnny Dyani, Mongezi Feza, Okay Temiz - 1988 - Rejoice

Johnny Dyani, Mongezi Feza, Okay Temiz 

1988

Rejoice

01. Mad High 11:03

02. Makaya Makaya 11:07

03. Pukwana 9:02

04. Imbomgolo 12:07

Bass, Vocals – Johnny Dyani

Drums [Turkish], Percussion – Okay Temiz

Trumpet, Vocals – Mongezi Feza

Recorded at the Filial of the Museum of Modern Art, Stockholm, Sweden, October 21st 1972

The life of Johnny “Mbizo” Dyani (1945-1986), bassist with the legendary South African jazz troupe the Blue Notes, is celebrated by the reissue of two recordings dating from his period living in Sweden. “Rejoice”, culled from a live concert with trumpeter Mongezi Feza and drummer Okay Temiz, and the studio recording “Together” featuring Dyani’s group Witchdoctor’s Son, were issued posthumously, the latter in 1987, “Rejoice”a year later; both are treasured collectors’ pieces in their original vinyl formats.

REJOICE is a trio album with Dyani's compatriot Mongezi Feza and Turkish percussionist Okay Temiz, recorded at the Museum of Modern Art in Stockholm in October 1972, during a Swedish tour. Sadly by the time the album was actually released in 1988 only one member of the group remained, Feza having died in 1975 aged 30 and Dyani in 1986 aged 39. Both musicians had left South Africa as members of the Blue Notes group, settling in London never to return to their apartheid homeland. TOGETHER was also recorded in Stockholm, where Dyani was by then living, in Dec 1979 / Jan 1980. The group was put together specially with Dyani's old cohort Dudu Pukwana invited over from London to play. 'The music is very special. Transcending the boundaries of nations and cultures, Mbizo s enthusiasm spread and inspired the sessions with his intense passion. A passion which revelled in a nostalgia for the myths and melodies of Marabi and Kwela. Mbizo s life was music, he gave his life for music. These sessions are Mbizo's own testimony to the spirit of hope for the future, for a better world. It is a statement so filled with vitality and with the joy of rediscovered roots that it will stand as a signpost to the whole of his life and work.'

Dyani, Temiz, Feza - 1980 - Music For Xaba Volume Two

Dyani, Temiz, Feza

1980

Music For Xaba Volume Two

01. Mad High 13:00

02. Mighty Blues 8:10

03. Dear Africa 6:50

04. Makaya Makaya Makaya 9:05

05. Witchdoctor's Son 4:55

Bass, Piano, Vocals – Johnny Dyani

Drums, Percussion – Okay Temiz

Trumpet, Percussion – Mongezi Feza

Recorded at Theater Nine, Stockholm, Sweden on November 2nd, 1972.

Mongezi Feza began playing the trumpet very early, and by his teens was already playing professionally in groups, taking part in the very popular jazz competitions. Chris McGregor spotted him there and invited him to join the Blue Notes; with them he fled the country in 1964, playing first at the Antibes Jazz Festival and then in Zurich, London, and Copenhagen. Feza was a member of the ensembles McGregor led and played with Dudu Pukwana in his groups Assagai and Spear in the early '70s. In Flute Music (Caroline 1975), he plays flute and percussion on four original compositions, including the beautiful "Sondela." He was heard on Keith Tippett's huge Centipede (Septober Energy, RCA 1971); with avant-rock's Robert Wyatt (Ruth Is Stranger Than Richard, Virgin 1975), and in Henry Cow with Fred Frith (Desperate Straights and In Praise of Learning, Virgin 1974). In 1972, Johnny Dyani invited Feza to join the trio Xaba, with Turkish percussionist Okay Temiz. Feza recorded one of his last sessions (Diamond Express, Freedom 1977) with Dudu Pukwana. He passed away in 1975, from a combination of nervous disorder and untreated pneumonia; his friends and colleagues believed that his complaints were not taken seriously enough at the London hospital. Explosive yet lyrical, Feza was enamored of the style of Clifford Brown and Booker Little. His free improvisations, infused with the influence of kwela rhythms and African melodies, are a marvel of invention. With his premature death, the European jazz scene lost one of its most original voices and a person loved by audiences and colleagues alike.

Dyani, Temiz, Feza - 1973 - Music for Xaba

Dyani, Temiz, Feza

1973 

Music for Xaba

01. Idyongwana 9:30

02. Feelings 12:45

03. Traditional South African Songs 9:10

04. Görans Söder 11:30

Bass, Piano, Vocals – Johnny Dyani

Drums, Percussion – Okay Temiz

Trumpet, Percussion – Mongezi Feza

Recorded at Theatre Nine, Stockholm, Sweden, November 2nd, 1972.

A small contribution to the south African thread running through these pages, and by way of a response to a request, here's Music for xaba a great fusion of free jazz , tribal psychedelia and those unforgettable township melodies.

All these players had strong associations with Don Cherry.. and these sessions have a marked resemblance to many of his projects...(long may he be remembered).

To those who are familiar with Cherry and the many classics in the free ethno tribal trance out sub genre, but don't know this..its well worth checking out.