Free Jazz Music

being a psuedo jazz saxophonist myself i found that listening to the various styles and techs. used by the stars on these 5 discs a pleasurable and learning experience. well worth the price of the set. coolpappy 34

The history of the record - Ra recorded it in 1957 for Transition, but they went out of business and it didn't come out until 1968. Transition did release a Ra album in 1956, "Sun Song", before they went under. So Ra had practically no visibility in the consumer market until the late 60's, while making incredible music. He released two albums on his own Saturn label (small-scale)in 1956 and 57, "SuperSonic Jazz" and "Jazz in Silhouette", and later released many sessions from the late 50's on his Saturn label; these are now available on CDs on the Evidence labels. One Saturn that he put out in 1967 (before this material had been issued by anyone) contained 4 of the tracks recorded here ("Sun Ra Visits Planet Earth", Side B of the Saturn LP and tracks 1 - 4 of the must-have Evidence CD).

The session here is a good one though I feel the mastering is not as good as on the louder Evidence releases (the 4 tracks lifted from here sound stronger on "Visits Planet Earth", with all frequencies boosted). Had this been released in 1957, it could have and should have been well acclaimed and might have thrust Ra into the limelight. The tracks are lovely orchestrated big-band jazz.

I have this recording by Don Cherry and I suggest you buy it. There was never a voice as great as Don's--nor will there ever be--and when you hear this CD you will also agree.

As great as his voice is on this CD--done decades ago when you would think his voice was at it's finest---his recordings done today are as good if not better than ever before. The voice has the same warmth and soul reaching quality as it did many years ago and as seen on this recording...This voice only gets better and takes on a quality that is breath-taking.
As with this CD, I suggest you buy all Don Cherry CD's and those that have been made lately.

Mr. Cherry's music is alive and well.
I really love his new release ..
A Tribute to Perry Como.

Music that is searching and finding an atmosphere of pure abstract brillance. Free Jazz in a poetic mood. It all moves so very natural. This music is a document that will stand like a wondering monument. Beautyfull and powerfull forever. Listen and listen again. You will find yourself back smiling every time!

This is simply a great, great album. Every musician contributes to a sound that is just immense and beautiful. Joseph Jarman on alto, Bill Brimfield on trumpet, Fred Anderson on tenor, Christopher Gaddy on piano and marimba, Charles Clark on bass, Thurman Barker on drums, and Steve McCall also on drums for three of the songs. Christopher would pass away only a year or so after this was recorded, but thankfully a document of his atmospheric/melodic flights are perserved on this for us to hear. These musicians are really 'listening' and you can tell. I put this on and find myself saying over and over, "This is just fantastic!" Also check out Jarman/Moye/Dyani's Black Paladins (Black Saint), and Fred Anderson's Milwaukee Tapes (Atavistic) with Billy Brimfield, Hamid Drake, and Larry Hayrod.

Joseph Jarman's "Song For" is an early effort from the AACM movement of Chicago, or for that matter from the Art Ensemble of Chicago. While Jarman is the only Art Ensemble member featured here, the musical style of this disc, particularly the horn textures and the multi-layered, African-flavored percussive rhythms, would become the signature sound of that great group. While the Amazon editorial review designates this as an essential recording, I personally wouldn't quite go that far. (I instead would give that distinction to Roscoe Mitchell's "Sound.") However, this is an enjoyable session, with the exception of the track "Non-Cognitive Aspects of the City" -- the music is hauntingly poignant but the spoken-word "neo-dada" text is a bit dated. What I do like about this session is compared to most avant-garde jazz albums of the day it doesn't squawk and screech its head off. Instead it derives its exploratory feel from Barker and McCall's pervasive, polyrhythmic drumming (and Christopher Gaddy's earthy, subtle percussion), while the frontline of Jarman, Anderson and Bill Brimfield (on trumpet) play tight and structured, albeit creative and inventive, arrangements that for me are reminiscent of Booker Little's final recordings. In all, fans of AACM or AEOC will enjoy this disc greatly.