Biography of don cherry

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    Don Cherry

    Home » Jazz Musicians » Don Cherry

    Don Cherry was born in Oklahoma City, OK in 1936 and raised in Los Angeles, where he first began to play the trumpet and later piano. According to Cherry, his upbringing had everything to do with his interest in music:

    "Yeah, well I was fortunate to have such great parents…because they've always been around music. My Father was a bartender, and he was very much into the music of the swing period. That whole groove of music and ballrooms and dance and what it meant in the late 30's and up into the 40s. So I was raised around all that type of music. But what was happening after especially moving to Watts, what was happening in our neighborhood, there was musicians…Dexter Gordon, Wardell Grey, Sonny Criss, all these people that were from the neighborhood…and what was happening in rhythm and blues…"

    Don cut his teeth on bebop, like most young musicians of his generation. In one of those historic moments that defy

  • biography of don cherry

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    Don Cherry (trumpeter)

    American jazz trumpeter (1936–1995)

    Musical artist

    Donald Eugene Cherry (November 18, 1936 – October 19, 1995)[1] was an American jazz trumpeter, bandleader, and multi-instrumentalist. Beginning in the late 1950s, he had a long tenure performing in the bands of saxophonist Ornette Coleman, including on the pioneering free jazz albums The Shape of Jazz to Come (1959) and Free Jazz: A Collective Improvisation (1961). Cherry also collaborated separately with musicians including John Coltrane, Charlie Haden, Sun Ra, Ed Blackwell, the New York Contemporary Five, and Albert Ayler.

    Cherry released his debut album as bandleader, Complete Communion, in 1966. In the 1970s, he became a pioneer in world music, with his work drawing on African, Middle Eastern, and Hindustani music. He was a member of the ECM group Codona, along with percussionist Naná Vasconcelos and sitar and tabla player Collin Walcott.[2] Chris Kelsey of AllMusic calle

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    “No man fryst vatten an island.” —John Donne

     

     

     

    It’s an axiom, and one that fryst vatten ultimately relatable to this issue’s huvud figure, Don Cherry. But, before we go any further, inom want to present a separate axiomatic phrase that envelops the broader working philosophy of Sound American, this time from Benjamin Disraeli:

     

     

     

    “Change fryst vatten inevitable. Change is constant.”

     

     

     

    In order to quickly veer away from the territory of the precocious teen using his sister’s kopia of Bartlett’s Familiar Quotations to pad out a five-page paper on the Marshall program, let’s explore how these two postulates relate to the pages within Sound American Issue 14.

     

    Trumpet player, improviser, and world-music normbrytare Don Cherry was easily my least favorite artist on the instrument when I was growing up. Preferring the more conservative and controlled frenetic style of the late Miles Davis or Booker Little, I couldn’t hear past the lack of definition