Don Cherry - Brown Rice (1975)

Don Cherry – Brown Rice

One of the most accessible fusion jazz records is also Don Cherry’s best album. Brown Rice is one of those School of Rock required listening samples for anyone breaking into fusion for the first time (and jazz in general since fusion is a bit of a gateway itself) Brown Rice is relatively short, at just over 39 minutes and only four tracks, but Cherry never feels restricted, letting his trumpet solos breathe while his backing band carries the atmosphere. On “Chenrezig” Hakim Jamil’s slithering bass makes the song menacing right up until Cherry’s trumpet catches on and on the last track here “Degi- Degi” the progression is so frenzied and unsettling it leaves the listener to find solace only in Cherry’s brief solo. The way he surrounds and constructs these pieces is really what makes this record stand out from the rest, as more than just an eclectic selection of songs, even for Don Cherry. “Brown Rice” features some Damo Suzuki-esque scatting and a Tikki Tikki Tembo name drop, while “Malkauns” plays over a quiet Indian tambura, an instrument that surprisingly, would become somewhat popular in the 70’s jazz-fusion scene. That tambura is played by Don’s wife Monika “Moki” Cherry and together they would start a large family including Moki’s daughter from a previous marriage, Neneh Cherry and the stellar one hit wonder Eagle-Eye Cherry. Even without the lineage though, Don Cherry stands out as more than just a patriarch. It’s through his ingenious assembly of musicians and his specific but transcendent individual contributions that leaves this album as a classic of a very specific period in jazz history.

~9.0

Comments

Concert Review: Wilco at The Riviera Theatre, – 3/26/23

Wilco at The Riviera Theatre, – 3/26/23 Chicago’s Uptown neighborhood was once the center of the city’s booming entertainment district. Located at what had initially been the end of the L Train system, The Aragon Ballroom, Green Mill Jazz Club, and long-defunct Uptown Theatre quickly defined the corners of Broadway and Lawrence Avenue as the designated area for Chicagoans to congregate for the arts. As the area’s zeitgeist waivered though, the theatres grew into a weekend oasis of vibrancy amongst an otherwise casual and sleepy north-side neighborhood. Given Wilco’s consistent championing of Chicago’s local institutions, and another Uptown landmark Carol’s Pub in particular, The Rivera Theater seems like exactly the kind of venue for the band to host their latest three-night run and the start of their spring tour. Jeff Tweedy and company know the former movie palace well, playing there many times over the years and even using it as the base for a five-night series of performances b...

Buck Meek – Haunted Mountain (2023)

Buck Meek – Haunted Mountain Big Thief, one of the best and most adept bands of the 21 st century, has done more in six short years than most bands can squeeze out of an entire catalog. Each of their five studio albums has managed to expand their signature homespun charm into exciting, self-contained albums. The sound always moves forward but with distinct detours projecting their country-folk and singer-songwriter tendencies over disparate palates. The band’s prolificity extends to their solo catalog as well, the most notable inclusions naturally coming from lead singer and principal songwriter Adrianne Lenker. But behind her eclipsing generational talent, is guitarist Buck Meek, an artist who could easily shepherd his own headlining band if he needed to. Aside from some early, Big Thief-adjacent work, Meek’s true breakout was with 2021’s Two Saviors , a beautiful, alt-country collection of songs, most of which approached the quality, if not the scale of his mother band’s...

Fever Ray - Radical Romantics (2023)

Fever Ray – Radical Romantics Karin Dreijer’s debut solo album Fever Ray came out only shortly after Silent Shout , an album that was almost immediately hailed as The Knife’s masterpiece. The inevitable comparisons seeped out, no one was completely ready to accept the more cavernous Fever Ray as any sort of a replacement for the lush maximalism of Dreijer and her brother’s The Knife. Regardless, Dreijer had proved how essential they were to that project and by 2014, the two had disbanded. Fever Ray’s next album Plunge continued Dreijer’s push towards empty space with an angrier and more overtly political edge and simultaneously built Fever Ray into a proper entity in its own right. Radical Romantics is a Fever Ray album in that its fixations swarm around Dreijer, all their proclivities, and all their vulnerabilities. It’s also the closest Fever Ray has ever sounded like The Knife, whether it be the soaring and anthemic “Shiver”, or the pronounced synths ripples on “New Utensi...

The SoundBite

Search This Blog