david ornette cherry
T H E E N D O F T H E C E N T U R Y
May 23, 1999
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DAVID ORNETTE CHERRY, "The End of a Century,"
By DON HECKMAN
Cherry, the son of the late trumpeter Don Cherry, was born in
1958, the year his father and Ornette Coleman recorded their first
album. And the title of the younger Cherry's first solo project (as well as
its rap-jazz title piece) no doubt intentionally echo the intent of a
somewhat later Coleman-Cherry recording, "Change of the Century."
Although he has included two Coleman pieces ("The Memory of
Things" and "From Top to Bottom"), the album is oriented much more
strongly in the direction of the eclectic, world music combinations his
father pursued in the years immediately before his death in 1995.
"Multi-kulti" was the elder Cherry's description, and it applies here, as
well. Working with an impressive array of Los Angeles
talent--trombonist Phil Ranelin, saxophonist Ralph "Buzzy" Jones, bassist
Roberto Miranda and cornetist Bobby Bradford, among
others--keyboardist Cherry produces music that alternates
improvisational edginess and unusually textured ensemble sounds with
attractive melodies and surging, world music-tinged rhythms. More than
an extension of his father's (or Coleman's) goals, the album introduces an
intriguing and imaginative new talent.
* * *
Copyright 1999 Los Angeles Times
Ornette Coleman and his bandmates produced quite a crop of kids: Joshua
Eagle-Eye Cherry, Neneh Cherry, Denardo Coleman, and That Dog's Rachel and
Petra Haden. Now we can add to that list David Ornette Cherry, like Neneh and
Eagle-Eye a son of the late trumpeter Don Cherry. David's first solo album not only
takes its title, The End of a Century, from a twist on Ornette Coleman's Change of
the Century but also contains two previously unissued Coleman compositions. David
Cherry is a keyboardist and drum programmer, but his sense of harmony and rhythmic
movement is elastic enough to do justice to Coleman's harmolodic writing. David's own
compositions draw on his father's fondness for world musics by incorporating North
African, West African, and East Asian influences into trancelike, Pharoah Sanders-ish
jazz instrumentals, with help from sister Jan's violin and Bobby Bradford's coronet. But
David also experiments with incorporating hip-hop and old-school soul vocals into his
music on two other numbers. All in all, it's an impressive debut and a welcome
extension of the family tradition. --Geoffrey Himes
"...Let's just say that I'm continuing in the tradition of my dad. He called his music
"multi-kulti", so this is a multi-kulti record. I am influenced by Don Cherry's Organic
Music and Ornette Coleman's Harmolodic concepts along with music from around the
THE URBAN NETWORK
A. Scott Galloway, June 3, 1999.
David Ornette Cherry, son of avant-garde trumpet
great Don Cherry (who also fathered, with another mother,
Neneh Cherry and Eagle Eye Cherry), makes his bow as a soloist with a richly textured 10 - song debut,
The End of a Century. Equally influenced by straight-ahead jazz, world music, the harmolodic inventions of
his namesake, Ornette Coleman, and his father's "multi-kulti" -isms, David produces a dense mix of bristling
invigorating grooves that swing, swoop and lope with inventiveness and purpose. He states, "The name of my group is Impressions of Energy. The musicians have contributed to the music trhough a back and forth rotation
of energy -creativity which gives power to the music. Someone called (us) "a powerful presence conveyed in a
non-verbal but musical way." Check "Sing To My Heart," "Rainy Heart," "Distant Glance" and the incredible
"Escape to Jazziland."
entertainment guide published by the La Canada Valley Sun, 5/20/99
"One Cherry Musician"
David Ornette Cherry began learning the intricate
language of avant garde jazz
before he could tie is shoes. While most youngsters begin with a simplistic
"do, re, mi," Cherry, son of the late jazz trumpeter Don Cherry, was assimilating
polyrhythms and atonal scales....Not only does the music, much of which features rough-hewn garage beats,
transcends artistic boundaries, but Cherry envisions it will help people to
break down societal barriers...
Los Angeles Times
May 23, 1999
produces music that alternates improvisational edginess and unusually
textured ensemble sounds with attractive melodies and surging, world
music-tinged rhythms. More than an extension of his father's (or
Coleman's) goals, the album introduces an intriguing and imaginative
WPFW Pacifica Radio
Washington, D.C., 2/25/99
(David Ornette Cherry's group) Impressions of
Energy is a powerful positive presence
conveyed in a non-verbal but musical way...
Straight No Chaser
- reviewer, Paul Brad - Summer, Edition1999,
England, print review
DAVID ORNETTE CHERRY - THE END OF A CENTURY (TONGA)
With the names "Ornette" and "Cherry" on your birth certificate the pressure would be on for you to deliver music of a certain quality. Yes? David Ornette Cherry delivers. This is how modern jazz should sound - an album that doesn't try and pretend that the last two decades of innovation in urban American music never happened, but well...he is Don Cherry's son. David plays keyboards, including Bernie Worrell and Augustus Pablo's weapon of choice, the melodica, which instantly boosts his Chaser Rating to ***** as far as we're concerned. How does it sound? Loping grooves, African percussion, fantastic horn arrangements, occasional programmed drum patterns and a heavily funky harmolodic excursion with Ornette Coleman's "From top to Bottom". A bit of modern 'Multi Kulti' sensibility operates herein with a sophisticated jazz edge.
Copyright 1999 Straight No Chaser
the Greek music etc internet review
The son of DonCherry is following the steps of his father, really closely, since he is a Jazz player too.. but not surprisingly since his older sister earns her living the same way. It is kind of unusual that David includes Ornette in his name, but it could be related to David's possible admiration for Ornette Coleman, probably the top neo-Jazz player.
But for such a young Jazz player (as David) to come up with a record like the 'End of the century' is unbelievable. Such rich mix of afrofunk, modern keyboards, soul-pop, ambient, touches of hard-rock, and free and latin-jazz, you don't see anywhere else. You only see this with veteran musicians that have mastered everything, and are now looking for ways to stretch the limits even further.
Where on earth is David Ornette Cherry going
to end up if he started at such a high level? He even raps
when he is given the chance.
Musica ! rock & altro numero 232 3/30/00
David Ornette, late jazz artist, Don Cherry’a son is after Neneh and Eagle Eye, the third musician-son of the unforgettable Don Cherry, the genial inventor of the "free jazz" with Ornette Coleman and pioneer of the "world music." His name is David Ornette Cherry, he is the eldest child, he is 41 and he was born from the first wife of the Afro-Redskin trumpet player. David Ornette plays keyboards following the loved father roots with a free-ragga-world full of very "Cherryan" mysticism.
Lately, he published a CD with the meaningful
title The End of a Century,
Elephant label, with a group of thirteen musicians.
O p e n S k y
Willard Jenkins - online Review THE END OF A CENTURY
October - November, 1999
"If the name David Ornette Cherry rings a bell
somewhere in your psyche, perhaps its because he is son of Don Cherry,
as the music-making children of the late, great musical griot continue
to produce. While sibs Neneh and Eagle Eye have chosen a more pop-oriented
path, David walks a deeper, more edgy path with his new The End Of A Century
on the Tonga label. Keyboardist Cherry performs largely his own original
material, often compete with verse, often engaging a variety of ethnic
musical expressions, befitting his legacy. Guests include cornetist Bobby
Bradford, trombonist Phil Ranelin, sister-violinist Jan Cherry, and numerous
vocal shadings and verses. And you'll definitely feel Don's deep legacy
and spirit here."
G21 The World’s g21.net
P O W E R S S O U N D
by Bob Powers
G21 Staff Writer
The title of David Ornette Cherry’s (CD) is "The End of a Century" (Tonga Records). I would call it jazz, but Cherry isn't sure about how it should be classified.
"This record could be called a world music record," he said. "But it's hard to pin down what world music is, as some definitions of world music are non-inclusive. Let's just say that I'm continuing in the tradition of my dad. He called his music multi-kulti, so this is a multi-kulti record."
Cherry is the son of the late trumpet talent Don Cherry, who for years collaborated with Ornette Coleman, who brought a new and startling sound to the world of jazz.
Cherry, who plays keyboards, is a chip off the old block in that he composes music that is challenging, yet not to be ignored. The album contains fascinating compositions that should attract listeners across a wide range of interests.
Reviewers have liked this one very much. The Los Angeles Times awarded it three stars.
It's a good one. Cherry isn't content to ape the
work done by his father or by Ornette Coleman. He strikes out on a trail
of his own, and you'll enjoy going along for the trip.
O's PLACE JAZZ NEWSLETTER
David Ornette Cherry -
The End of A Century 4/3+ (out of 4)
O's Notes: The son of Don Cherry grew up listening to his dad and the legendary Ornette Coleman. The influence is inevitable but David has expanded the genre with a more peaceful approach in his own compositions while retaining spontaneity and sense of adventure. The End of A Century
is an elixir to reflect on the 20th century and a welcomed approach to 21st century avant garde! -
D. Oscar Groomes
David Ornette Cherry
The end of a century
The end of a century: titeln på David Ornette Cherrys skiva alluderar
på klassikern Change of a century, som pappa Don gjorde med Ornette
Coleman. Men så banbrytande är inte David Ornette, som nöjer sig med
att lägga ut småfunkiga rytmer av ett slag som påminner om Miles Davis
under Bitches Brew-perioden, men som också förenklar det idiomet.
Sedan broderar han själv med intensiva keyboardslingor, och ibland
lösgör sig Ralph "Buzzy" Jones i en bångstyrig melodilinje som fint
fjärmar sig från grundmönstret. Jones närmar sig också de tidiga
avantgardisternas bökande bortom de grundläggande melodi- och
ackordsmönstren. Då fungerar musiken, men resultatet blir mindre
övertygande när Cherry vill vara mer samtidsmilitant, som när han
släpper fram Amber Hopson i en patetisk recitation i titelspåret.
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