Vinyl LP pressing. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

Vinyl LP pressing. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagarp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.

Vinyl LP pressing. On vinyl in the U.S. for the first time since 1977, this 1975 release includes African, Indian, Arabic and 70's era Miles Davis style electric rock fusions. Featuring contributions from former Ornette Coleman bandmates Charlie Haden and Billy Higgins, and liner notes from Stanley Crouch.

The legendary Don Cherry with his great 1966 quintet featuring Gato Barbieri on tenor sax, Karl Berger on piano, Bo Stief on bass and Aldo Romano on drums. This quintet can also be heard on three releases on ESP-Disk, three volumes titled Live at Cafe Monmartre 1966 (ESPDISK 4032CD, 4043CD and 4051CD) and with the New York Total Music Company in 1968. This recording is taken from an excellent radio broadcast, presented here for the first time in a glorious vinyl release.

Vinyl LP pressing. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagarp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain. The musicians in Don Cherry's New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band-Don and Moki Cherry, Christer Bothen, Gerard "Doudou" Gouirand, and Nana Vasconcelos- performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance-including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out)-all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothen on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble's achingly tender rendition of Jim Pepper's oft-covered beacon of spiritual optimism, "Witchi Tai To," lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert's laid back, communal vibe feels like an attempt by the Cherrys to show Don's jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride.

Vinyl LP pressing. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagarp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.

Vinyl LP pressing. Recorded in November 1969 at the US Embassy, Live In Ankara saw the adventurous jazz trumpeter Don Cherry performing with saxophonist Irfan Sumer, bassist Selcuk Sun, and drummer Okay Temiz, with arrangements by trumpeter Maffy Falay, who had introduced Cherry to Temiz in Stockholm. Mostly comprised of Cherry originals and adaptations of Turkish folk songs, there are one-off takes of compositions by Ornette Coleman and Pharoah Sanders as well, the sparse musical ensemble giving Cherry ample room for soloing as they drift between the sounds of tradition and experimentation. A must for all Don Cherry fans.

Vinyl LP pressing. Archive release. An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the Italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community's musical belief emerges in it's simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms, while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.

In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

Pressed on 180-gram orange marbled vinyl LP - Restored & remastered from the original tapes - Comes with an insert featuring new & insightful essay by author & music journalist John Masouri - LP original gatefold sleeve & artwork faithfully reproduced with classy matte laminate finish Don Cherry and Ed Blackwell, graduates of the revolutionary Ornette Coleman quartet, are in perfect accord on this seminal free jazz set, recorded in Paris in 1969. The emphasis, as on all Don Cherry releases, is on the life-giving, often magical qualities of pure sound, created on instruments ranging from Indian and bamboo flutes to his signature pocket trumpet. What's also significant is that a composition like "Mu"was built entirely on improvisation, not just the solos, but the entire piece. All the parts played by the two musicians, the order and even the duration arose from within the session itself, and without anything being preconceived. Don Cherry's first chapter of his legendary "Mu"recordings has never sounded more vital or compelling. "This album is a masterclass of improvisation delivered by two musicians of impeccable integrity who play what they felt and heard with complete freedom, and at exactly the right time."John Masouri

- Pressed on 180-gram cherry marbled vinyl LP - Restored & remastered from the original tapes - Comes with an insert featuring new & insightful essay by author & music journalist John Masouri - LP original gatefold sleeve & artwork faithfully reproduced with classy matte laminate finish Inspired by his travels and endless quest to broaden his musical horizons, "Mu" Second Part finds Don Cherry playing lyrical passages on Indian and bamboo flutes, as well as piano, bells and his trademark pocket trumpet. He also refers to South African musician Abdullah Ibrahim, aka Dollar Brand, and jazz drummer Albert "Tootie"Heath on tracks that writer Ekkehard Jost has described as "unpredictable and endlessly fascinating..."� Don Cherry and drummer Ed Blackwell, both graduates of the revolutionary Ornette Coleman quartet, shared a highly intuitive approach to improvisation which, coupled with Cherry's keen explorations of folk music from other cultures, imbue the "Mu"recordings with undeniable beauty, spiritual depth and originality. More than fifty years later, the "Mu"albums sound as fresh and innovative as it did back then.

- Pressed on 180-gram black vinyl LP - Restored & remastered from the original tapes - Comes with an insert featuring new & insightful essay by author & music journalist John Masouri - LP original gatefold sleeve & artwork faithfully reproduced with classy matte laminate finish Don Cherry and Ed Blackwell, graduates of the revolutionary Ornette Coleman quartet, are in perfect accord on this seminal free jazz set, recorded in Paris in 1969. The emphasis, as on all Don Cherry releases, is on the life-giving, often magical qualities of pure sound, created on instruments ranging from Indian and bamboo flutes to his signature pocket trumpet. What's also significant is that a composition like "Mu"was built entirely on improvisation, not just the solos, but the entire piece. All the parts played by the two musicians, the order and even the duration arose from within the session itself, and without anything being preconceived. Don Cherry's first chapter of his legendary "Mu"recordings has never sounded more vital or compelling. "This album is a masterclass of improvisation delivered by two musicians of impeccable integrity who play what they felt and heard with complete freedom, and at exactly the right time."John Masouri

- Pressed on 180-gram black vinyl LP - Restored & remastered from the original tapes - Comes with an insert featuring new & insightful essay by author & music journalist John Masouri - LP original gatefold sleeve & artwork faithfully reproduced with classy matte laminate finish Inspired by his travels and endless quest to broaden his musical horizons, "Mu"Second Part finds Don Cherry playing lyrical passages on Indian and bamboo flutes, as well as piano, bells and his trademark pocket trumpet. He also refers to South African musician Abdullah Ibrahim, aka Dollar Brand, and jazz drummer Albert "Tootie"Heath on tracks that writer Ekkehard Jost has described as "unpredictable and endlessly fascinating..."� Don Cherry and drummer Ed Blackwell, both graduates of the revolutionary Ornette Coleman quartet, shared a highly intuitive approach to improvisation which, coupled with Cherry's keen explorations of folk music from other cultures, imbue the "Mu"recordings with undeniable beauty, spiritual depth and originality. More than fifty years later, the "Mu"albums sound as fresh and innovative as it did back then.

Archive release. An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the Italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community's musical belief emerges in it's simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms, while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.

- Two historic 1969 Paris recording sessions now gathered on one deluxe 2-CD set - Restored & remastered from the original tapes - New & insightful essay by author & music journalist John Masouri - 6-panel deluxe digi-sleeve echoes the vibe of the original LPs - 16-page booklet - Two printed inner wallets replicate the original LP covers back and front This deluxe 2-CD set assembles two historic 1969 recording sessions by Don Cherry and drummer Ed Blackwell, featuring the seminal albums "Mu" First Part and "Mu" Second Part Both musicians, who contributed to the revolutionary free jazz movement, had a near telepathic understanding of each other. That highly intuitive approach to improvisation coupled with Cherry's keen explorations of folk music from other cultures, imbue the "Mu"recordings with undeniable beauty, spiritual depth, and originality. More than 50 years later, those albums sound as fresh and innovative as they did back then and have never sounded more vital or compelling. "Mu"is masterclass of improvisation delivered by two musicians of impeccable integrity who play what they felt and heard with complete freedom, and at exactly the right time." John Masouri "Mu"First Part & "Mu"Second Part are also available on LP 180g and limited-edition coloured vinyl

Recorded in 1966 and released by Blue Note Records in August of 1967, Don Cherry's Symphony for Improvisers features Gato Barbieri, Henry Grimes, and Ed Blackwell, all of whom had appeared on Cherry's previous album Complete Communion. Also featured are Karl Berger, Jean-Francois Jenny-Clark, and Pharoah Sanders. The album received a rating of *½ on AllMusic, with reviewer Steve Huey stating that, "Even though the album is full of passionate fireworks, there's also a great deal of subtlety. Feverish but well-channeled, this larger-group session is probably Cherry's most gratifying for Blue Note."

Don Cherry & Krzysztof Penderecki - Actions - A memorable live recording of a unique encounter of jazz and contemporary classical music is available again. Don Cherry and Krzysztof Penderecki appeared live in concert in 1971 at the Donaueschingen Music Festival. Ever since this festival has been of major significance not only for avant-garde music. - The live recording of Donaueschingen was available only on vinyl on the Wergo-Label and has been out of print for many years. Before releasing ACTIONS for the first time on compact disc on Intuition, the original masters were carefully restored and 24-bit digitally remastered. - The booklet includes liner notes by producer Joachim Ernst Berendt and excerpts from an interview with Krzysztof Penderecki as well as previously unknown photos of the concert. Feat. The New Eternal Rhythm Orchestra with Manfred Schoof (tr, co) - Kenny Wheeler (tr, co) - Tomasz Stanko (tr, co) - Paul Rutherford (tb) - Albert Mangelsdorff (tb) - Gerd Dudek (ts, ss) - Peter Brotzmann (ts, bs) - Willem Breuker (ts, cl) - Gunter Hampel (fl, bcl) - Fred van Hove (org, p) - Terje Rypdal (g) - Buschi Niebergall (b) - Peter Warren (b, e-b) - Han Bennink (dr, Chinese woodblocks, tabla, thumb piano, perc).

Don Cherry - "Complete Comunion (Blue Note Tone Poet Series)". Cornetist Don Cherry first rose to prominence as part of the revolutionary Ornette Coleman Quartet in 1959, but it wasn't until he signed with Blue Note in 1965 that he began his leader career with a run of fiery albums including his bold debut, Complete Communion, featuring Gato Barbieri, Henry Grimes and Ed Blackwell. This stereo Blue Note Tone Poet Series was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.